You can browse the most popular ones or search for certain colors, themes, and even specific hex codes!
When you find one you like, you can download a wallpaper swatch of it and also select the specific colors it uses to look at more palettes that use those same ones.
Violence: A Writer’s Guide: This is not about
writing technique. It is an introduction to the world of violence. To
the parts that people don’t understand. The parts that books and movies
get wrong. Not just the mechanics, but how people who live in a violent
world think and feel about what they do and what they see done.
Hurting Your Characters: HURTING YOUR
CHARACTERS discusses the immediate effect of trauma on the body, its
physiologic response, including the types of nerve fibers and the
sensations they convey, and how injuries feel to the character. This
book also presents a simplified overview of the expected recovery times
for the injuries discussed in young, otherwise healthy individuals.
Body Trauma: A writer’s guide to wounds and injuries. Body Trauma explains what happens to body organs and bones maimed
by accident or intent and the small window of opportunity for emergency
treatment. Research what happens in a hospital operating room and the
personnel who initiate treatment. Use these facts to bring added realism
to your stories and novels.
10 B.S. Medical Tropes that Need to Die TODAY…and What to Do Instead: Written by a paramedic and writer with a decade of experience, 10 BS Medical Tropes covers exactly that: clichéd and inaccurate tropes that not only ruin books, they have the potential to hurt real people in the real world.
Maim Your Characters: How Injuries Work in Fiction: Increase Realism. Raise the Stakes. Tell Better Stories. Maim Your Characters
is the definitive guide to using wounds and injuries to their greatest
effect in your story. Learn not only the six critical parts of an injury
plot, but more importantly, how to make sure that the injury you’re
inflicting matters.
Blood on the Page: This handy resource is a
must-have guide for writers whose characters live on the edge of
danger. If you like easy-to-follow tools, expert opinions from someone
with firsthand knowledge, and you don’t mind a bit of fictional bodily
harm, then you’ll love Samantha Keel’s invaluable handbook
The first species of raptor to grace the site from the Birds of Prey trip are the stunning and speedy aplomado falcons! A huge thank you to everyone who helped crowdfund that trip.
Artists creating derivative or transformative works (without AI) have blanket permission to use these and all photos in the repository as references, including works that will/may be sold.
The Animal Photo Reference Repository is an independent, permanently open-access project and funded entirely by donations, please consider contributing if you can!
RUNNING IN SKIRTS! To get the FREEMONTHLY How to THINK When You Draw digital MAGAZINE (including NEW tutorials, a YEAR before they appear online!) just send “Magazine, please!” to [email protected]
so. i was not happy with the 3D models of horses on offer in the CSP store or literally anywhere else i could find them, i needed one to use for my work, and i went ahead and made my own that is now available for the low low price of FREE in the CSP assets store.
textures included are greyscale basic shapes, multicolor basic shapes, and white with no shapes (but eyes, mouth, nostrils, and hooves emphasized for ease).
shape is ROUGHLY based off the silhouette of an Andalusian. size-wise, it by default stands at around 16 hands, but of course it can be resized to suit your needs. for that, I recommend sizing a human pose doll to the correct height (in centimeters), lining them up on the same plane, and resizing the horse to match the human doll’s height. remember that a horse’s height is measured at the shoulders!
it also comes with the following preset poses:
if you use CSP and wanna snag it, type 2204263 into the search bar in the CSP assets store. happy horsing!
Hey there! I keep coming back to your nature ink sketches of trees to learn. I’ve been trying to get back at it but can’t seem to fully understand what to do to get different foliage textures and juxtaposition of leaves…
I’m very happy you like my sketches and want to learn from them! I think that inking trees is quite difficult, and creating an inking style that works takes time and a trained eye for inking. I’m still struggling with drawing trees.
I’ll do two step-by-step studies of tree photos to show my approach. Hopefully this helps!
First tree
The first thing I notice about this tree is the feeling I get from the leaves, then the general shape of the trunk and branches, and lastly where the light and shadow areas are. The leaves have a slightly angular shape to them, and are both in clusters and by themselves.
I start off with drawing the leaves. Sharp edges and implied detail is my interpretation of this tree. I’m not just drawing an outline, I’m also drawing clusters on top of each other within the outline.
Then I draw the trunk and branches. These are mainly in shadow, but I’ll leave the darkest tone to the top half of the trunk.
Lastly, I draw leaves in shadow and add some more detail.
Second tree
This pine tree has its needles more clustered, and the shapes are a bit rounder than the previous tree.
Pine needle clusters tend to point upwards. So I’ll keep that in mind when drawing them.
Add some shadows and details.
More shadows, and some extra upward pointing needles. I might have overdone the needles a bit.
If I were to fix this, I’d remove some of the details to keep it simpler. Something like this.
Summary
I think my approach to inking trees has a lot to do with trying to understand the character of a tree and its species. How dark are the shadows, how do the branches look, what’s the feeling I get from the leaves and leaf clusters? Working from life or reference is very important too, otherwise the trees turn in to a kind of generic tree without character.
Further Reading
Keep making your own studies from photographs, and also do studies of other artists. I can recommend looking at Hermann Huppen, Linnea Sterte and Jean Giraud/Moebius for example.
I know I say that I’m kinda nuts for doing the amount of visual research I do, but at the same time: Specificity is SO much more compelling and real feeling, and imo not getting references often makes things look more amateur.
Eg. drawing a sofa- my mental image of a sofa is something like this:
Like. Its a sofa. It works. But it’s not very convincing, the pillows are kinda wrong at the back, and it’s not really giving any information about the owner.
Even if you want a basic sofa… What kind of basic.
comfy and cheap?
kinda rigid?
inherited? ——
who does this comfy cheap ikea sofa belong to anyway?
guy living alone?
teenage girl?
Grandma?
Anyway I’ll get off my soapbox but specificity is sexy and fun and it can do your storytelling for you!
i’d like to add that the shadow color isnt necessarily dictated entirely by the primary light source, but the bounce light! so for the example of a sunny environment, the reason the shadows are blue are because of the light from the blue sky reflects across the environment; but, if the character were to be under tree cover, the bounce light would be coming from the leaves and thus the shadow would look greener.
Yee yee!!! You got it right on the nose!
Bounce light is something I didn’t cover but I adore it!
James Gurney is an absolute master and gives really good clarity on colour techniques. Yes, it is traditional paint focused, but the principles are the same. Yes it is informed by the environmental colour but as a painting technique it is achieved this way!
I would also suggest that in digital processing, rather than apply a regular colour layer at a mid opacity, try out the different types of layers, Eg. Screen or Multiply. This can give you at least a starting point to help direct your colour palette.
Layer Blend Modes are so so so important to working in digital art. There’s a ton of math that goes into figuring out how the layers should blend together, which is why some of the modes you can pick are literally called Multiply, Add, Divide, and Difference (that’s subtraction). The graphics software takes the color values of your base and blend layers and runs a calculation to get your resulting layer appearance. The ones that don’t have specifically mathematical sounding names are still doing calculations, but they’re more complicated (think linear Algebra and higher). Some of them, like dodge and burn, are named for actual photo editing techniques.
While it’s not super important to know about the mathematical side of blend modes, I think it’s worth knowing at least enough about how each of the categories of blend modes works and why they do what they do; if for no other reason than having a starting point when you start experimenting with them in your work.
An overview of the basic blend modes and how they work from Genevieve’s Design Studio: Accessible with minimal color knowledge; practical and illustration focused. https://youtu.be/kMc87hQrJd0?si=TWCB365pKSfWS8p0. (16 minutes) This creator also has a ton of free resources you can download, including a Blend Modes cheatsheet, but fair warning: you have to create an account to get them!
Want to learn even more about the math-y stuff? It has great film visuals! A video from FilmmakerIQ: You need some basic knowledge of RGB color models, understanding of values/luma, and at least a tenuous understanding of Algebraic formulas. (26 minutes) https://youtu.be/F7_kaTP7_W4?si=x0urqXZ8f51nQVKl
Everyone says NEVER TRACE!! THAT’S ART THEFT! Ok but we can do a little crime in the name of Learning.
Trace to learn, not to earn.
I like to take my own photos, but you can study whatever you want. Link back to original photos, and don’t post copied artwork unless the artist is dead, cool with it, or both.
As always with learning, start every sketch with the intent to throw it away (trash for paper, quitting without saving for digital) This takes the pressure off and lets you make Bad Art, which is very important.
So let’s make Bad Art of a Deer because I happen to have one handy
Start with a photo of your subject in a nice/neutral pose with all four feet visible. (so not like me)
Freehand copy it. Try not to stylize, focusing instead of matching proportions and pose. Don’t get too detailed!
It’s ok if your art looks terrible and has broken legs. I’ve drawn LOTS of deer so I have a leg up. Everyone’s art sucks in their own eyes and here’s where mine went wrong:
Either lasso-distort (recommended for beginners) or redraw a copy of your first sketch with your reference behind it (scaled to match the main body of your sketch)
Put the original and modified sketches together and compare the differences. Write it down if you want. This shows you where your eyes saw things the wrong size, so you can correct for that next time.
After learning about both deer and yourself, try freehand copying again.
Marvel at your newfound knowledge and skill!
but there’s always room for improvement
You can stop here and move on to your real drawing, Or do another freehand-fix-compare cycle. I actually overcorrected my “draws heads too big” and veered into “heads too small.”
Another note on tracing: Learning HOW to trace is more important than anything you could learn By tracing. Draw the Anatomy, not the outline. In real life, things don’t have outlines, they have bones.
These are from the same shoot which is extra useful for consistency. The lines are minimal and follow where the animals joints are, and only important parts are drawn.
You won’t know what Important Parts means right off the bat, which is where in-depth study comes in. You need to do learn the hard parts to do the easy parts right.
Next up: how to study bones and muscles.
How to study Bones and Muscles
“Study the anatomy study the anatomy” but they never tell you HOW. It’s not “read a book,” It’s more like flailing around wildly and crashing your browser from too many tabs.
This is going to be about How to Make a bones and muscle chart. Because even if your art sucks, you learn so much more by doing than by seeing.
Get Set up. Get a photo, like above, but it doesn’t have to be the same photo. And now… gather reference.
We’ll start with bones. Search up “[animal] skeleton” and get photos or super scientific illustration. Add in things like “top view” to spice it up.
Next, search “[animal] skeleton sketchfab.” This pulls up 3D models that you can rotate in your browser. Remember that these are art and the anatomy is only as good as the artist, so pick a good one.
Time for bone!
The spine is the most important, and in a lot of animals it will surprise you. Draw it in over your photo and then add spikes because skeletons are punk. These are not scientific and I didn’t count them because their number doesn’t matter to art. So you better be referencing from scientists and not me!
The rest of the bones and some notes. These are my notes to myself about things I want to remember. My personal discoveries in anatomy that made my art better. You can make the same notes but also make sure you have your own thoughts on there as well. that’s how you help yourself the best. Be as detailed or vague as you want.
Same deal with muscle. Here are my personal notes to myself. Label stuff that is important to you. I actually grouped a bunch of muscles together based on what is visible from the outside. Muscles are way more complicated than this, but Baby’s First Anatomy Chart gets to be simple.
This is good enough for me because I have intimate knowledge of the other muscles working under and over these ones. Feel free to add as many or as few muscles as you like. You chart your own course.
This is very VERY much not an anatomical chart. I’m sure there’s nerds out there pulling their hair out looking at this. But listen, it works for art!
And you know the wildest part about this?
I don’t need to look at it to use it. The act of making your own anatomy chart puts that knowledge in your brain. Like how you can make “cheat sheets” even for tests that don’t allow them - the act of making the sheet helps you remember what you struggle with most.
And after all that complexity? Your simplification will be based on Real Knowledge and you’ll put those random circles in the right spots.
Look at all this hard work you’ve done. Eventually this will be second nature to you.
Show me what you make! I’d love to see what creatures yall make anatomy charts of.
Photo Reference Packs
I put together some photo packs and uploaded them to my gumroad. You can use them and this guide to study! So far there’s only a Doe and a Fawn pack, but if I get sales I will put in the effort to do more for deer, horses, cats, birds, and anything else I can point my camera at.
@animalphotorefs is a great place to get photo refs of many different animals and is in fact made for that purpose! You can freely download the photos, use them in art projects, and if you want to trace them to learn, or upload whatever you make with them, it’s usually fine! The site has its guidelines listed, and anything not stated, you can contact the owner about
Boosting because this is a great guide on learning to see and draw anatomy.
To clarify prev: if you’re making art or learning to do art or even vaguely thinking about art-like ideas, you can use the repository photos!
As long as you’re not using GenAI for it you can trace, sketch, scribble on, scrapbook, decoupage, satirize, collage, sticker over, sculpt, animate, make cartoons of, paper mache, finger paint, wood-burn, and anything else you can think of with the photos.
The only guideline is for your use to be transformative/derivative in some way: please don’t reproduce a copy of the images without using them in something or changing something or making your own version. An exception here is if you’re showing the references you used alongside a piece - just link back to the site alongside it. You can post your art and sell art you made using the reference site with no restrictions - it’s your art!
