MenTaLguY’s Artblog

Original art by me, collected tutorials and inspirational material by others.

From scarygoround:





One thing I don’t undertand in comics is characters talking with their mouths closed. You see it all the time in mainstream books. I’m certain there’s a point when I was drawing comics that I flipped from not even thinking about the closed mouth talkers (my early stuff is full of them) to really hating them. It completely punctures the reality of a panel for me if someone’s talking with their mouth closed.

truth. i always try to make my mouth shapes logical.

My odd art choice i mainstream comics is people talking as they’re kissing. That’s just rude, in my experience, and it ends up all mumbly.

This never really bothered me. That panel of the character talking is just a snapshot; a slice of the seconds it takes them to get out whatever they’re saying.

Imagine you have a character saying: “My name is Bob.” Well, what part of the sentence are you going to use to inform how you draw their mouth? The lip curled into the nose to shape the ‘n’? The lips pursed and cheeks puffed to form the ‘b’? The compressed lips of the ‘m’ in ‘my’ or the wide open mouth of the vowel that follows? Or will you do the closed mouth second of time before or after the phrase?

To me, any of those are valid because they’re part of the slice of time that panel is illustrating. A character with a speech bubble and a closed mouth in a panel isn’t “talking with their mouth closed.” The artist has just picked that fraction of a second in their physical act of speaking where their mouth is not hanging open.

It’s like any physical action, like a punch, say. Often it works better to show the wind-up, and then the effect, and not the fist hitting face itself. Does this mean the punch didn’t happen because you didn’t see it?

Anyway, I think a closed mouth is valid in a panel for a speaking character, especially if it adds to the expression you’re going for. Why take that option out of your toolbox for no good reason?

From swegener:





Speaking of different body shapes. These are all basically peak human bodies. 

How come 99% of them don’t conform to what the entertainment industry tells us is the perfect body?

This is a FABULOUS set of body refs. So glad this came back across my dash so I could reblog it here :D

Totally reblogging it too cuz I lost it the last 3294 times I saw it on the interbutts. GJ!

I know you probably have seen this before, but here it is again. I love that this includes males bodies as well, and is a great reference for anyone wanting to design a various cast of characters. The mere size difference between some neighbours on some photos should give you artists great pointers on how to portray height variation in a believable way to your viewers!

(Also that way I have it in a place I’l remember and will be able to get it whenever I need it so there.)

From wishroom:


Bartek Gawel, CDPR’s art director, shares some insight on the importance of head construction for successful character design.

The secret to a good character concept  is its head. Not to brag about the eyes as the mirrors of the soul or the number of emotions a human face can express let’s just get on with it. Because it’s all in the head – believe me.

Any to-be concept artist will have to learn sooner or later how to draw a good face. I decided to take my time and start this little tutorial and share the knowledge, that was gathered by artists and human body experts (scientists to be precise) throughout the ages.

In this episode I’ll write a little bit about the first principal which defines the look and character of the head you are designing. Today I will write about the facial angle.

The most important element you will need while constructing the head is the middle of the ear. This is represented by the red dot on the illustration above.

A line crossing this point and perpendicular to the horizon helps us find the beginning of the neck i.e. the place where the neck meets the chest (point A). Traditional sculptors use a special pendulum  to find the correct line. It’s good if you have an aprentice of any kind to hold it for you, while you’re busy with your work.

The models character is determined by the so called facial angle. This concept was used for the first time in the 18th Century by Petrus Camper, a Dutch anthropologist, scientist and sculptor. He introduced  a constant head position based upon a line drawn from the middle of the ear (red dot)  to the septum (the red line). The second line needed to create the face angle is drawn from the forehead surface with the jaw (yellow line). This angle can have different rays and be even right.

Determining the facial angle allows you to have a base for further head construction and influences the look of the model on an early stage, before you start outlining other elements (e.g. a nose).

[blog post]

From kenyatta:

Focusing on making a partnership work is more profitable than focusing on making money.

Love your employees more than you love your clients.

The best new business is your current business.

Price projects by asking yourself what the client’s lawyer would charge.

It’s better to be hired for your work than for your price.

When it comes to getting paid, the first of the month is better than the thirtieth.

Making money off mechanicals, printing and computers turns your business into a commodity.

The books in your library are more important than the numbers on your balance sheet.

In order to love your work, take vacations.

Power, in business, comes from sharing money and valuing love.

What Bill Drenttel Knew (via kenyatta)

From flatteryoconnor:

Junot Diaz on Men Who Write About Women

  • The Atlantic: It sounds like you're saying that literary "talent" doesn't inoculate a writer—especially a male writer—from making gross, false misjudgments about gender. You'd think being a great writer would give you empathy and the ability to understand people who are unlike you—whether we're talking about gender or another category. But that doesn't seem to be the case.
  • Junot Diaz: I think that unless you are actively, consciously working against the gravitational pull of the culture, you will predictably, thematically, create these sort of fucked-up representations. Without fail. The only way not to do them is to admit to yourself [that] you're fucked up, admit to yourself that you're not good at this shit, and to be conscious in the way that you create these characters. It's so funny what people call inspiration. I have so many young writers who're like, "Well I was inspired. This was my story." And I'm like, "OK. Sir, your inspiration for your stories is like every other male's inspiration for their stories: that the female is only in there to provide sexual service." There comes a time when this mythical inspiration is exposed for doing exactly what it's truthfully doing: to underscore and reinforce cultural structures, or I'd say, cultural asymmetry.

From rvsa-deactivated20140726:

stavekoff asked: favorite mech not created by Go Nagai? Also, what's a good way to kick yourself into drawing?


I really like all the Patlabor mechs, also is it too boring to say the rx78 gundam? OH also black ox! And am I even allowed to say atom and mont blanc and epsilon??? I’m sure there’s more, but I can’t think of them right now.

To kickstart drawing…I don’t have a sure fire method but personally I try to listen to any voice inside me that wants to draw something, no matter how small or dumb, just so I keep making something. Often for me that’s fanart so maybe I’ll play a game or read a manga I know I like drawing. Usually not wanting to draw is a temporary thing but getting out of the habit of drawing every day is bad so long as you make something it’s good.