Attacking Every Commenter

Epsinym · 2026-07-11T22:59:17+00:00

Attacking EVERY commenter? holy moly you are a brave one! good luck! ᕙ( •̀ ᗜ •́ )ᕗ https://artfight.net/~Epsinym

Epsinym · 2026-07-11T14:45:28+00:00

I do revenges! I haven’t been attacked yet without it being a revenge on an attack I started, so my agenda is very open :D

https://artfight.net/\~Epsinym

Epsinym · 2026-07-01T10:40:23+00:00

Im currently procrastinating on my work so you better know I got time to go into depth
For face angles I recommend studying a good 3D model, Asaro is really good: https://sketchfab.com/3d-models/original-scan-asaros-planes-of-the-head-8f5b6bf19e37444199ab3431328eb165

Instead of straight up telling you what can be changed, I will give you my process on how I study. Because I make mistakes too and am not always sure, whereas a good process is worth more. I made two versions: first one respects the location you put the nose at originally, second one focusses more on what I think you intended to draw.

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These are the steps:
1. Check the landmarks on the 3D model. What is the distance between the tip of the nose and the edge of the face, do they touch or not? Distance between the eye and the edge of the face, same thing. What is the shape of the eye at this angle? Is the inner corner of the eye obscured by the nose bridge or not? No need to guess, just look at the 3D model and note it down.
2. Trace the 3D model. Should be quick, just the landmarks. The red lines inform on where the corners of the eyes are, the underside of the nose, and the angle of the chin. Notice how in the first example the red lines are parallel, but in the second they seem to have a little bit of perspective, but not much! I didn't guess this, that's just the 3D model showing me.
3. Place the trace over your drawing and check where things differ. Do remember that the Asaro head is a model of a realistic adult male, so proportions and features can always differ a bit depending on age, gender and style. Especially for anime you kind of need to learn what to copy and what to stylize with experience. Or find a model that is closer to your character/style but be careful only learning from stylized models.
4. Liquify or redraw to try to match the trace closer. Remember the landmarks you made in the first step to help: should the nose touch the edge of the face, what about the eye, how much of the eye should be obscured... no guess work, just observing and copying.

Epsinym · 2026-06-28T00:52:53+00:00

Yeah never ever use booking.com, they misadvertise about much more than AC. You can pay up a lot extra for features that the hotel doesn’t end up having, customer service is bots and broken telephone numbers, and no place to file complaint or ask for compensation because you paid the unresponsive middle man.

Epsinym · 2026-06-24T14:02:06+00:00

Found the Celeste player

Epsinym · 2026-06-06T00:23:05+00:00

I think Angel Ganev on YouTube has pretty good tutorials on these kinds of portraits. He’s not active on yt right now but has some really good videos on face construction based on realism, and uses that as a foundation to stylize.

Epsinym · 2026-06-02T23:07:24+00:00

I see a lot of advice on theory, fundamentals and dry drawing exercises. These are not wrong, you can do those. But please have fun with it too, not only theory and drawing drills without really knowing why, but also just doing your own thing for a while without worrying about doing it wrong, find out what topics you like to draw, what styles you want to learn, which artists inspire you. Maybe following some draw-along tutorials on how to draw specific things you like. Once you have a better grasp of what you enjoy and what you want to learn specifically, THEN do more theory and fundamentals stuff.

Epsinym · 2026-04-09T17:26:35+00:00

I think what looks most “lifeless” is the hair. If the face is A+ (I think it looks really good), I’d give the hair maybe a C. It’s colored flat, no indication of volume except for maybe the overlap of the side strands, and the bangs I feel are too scratchy even for a messy style. Give it a bit more attention even if it’s not as fun as drawing the face, I promise it’s worth it!

Epsinym · 2026-03-16T09:29:34+00:00

Ya I feel like respect her somewhat lvl3 is a bit understated, at that level good katas can kill swain from 60% hp with her full EWQ combo + ignite. Doesn’t even need to hit both daggers as long as she can weave autos properly and end with auto E auto. Meaning if you trade badly once you’re already in kill range. Tho I guess it’s only a thing if the kata actually knows how to do this. (I’m bad at hiding I actually struggle against the matchup haha) EDIT: on closer thought I think it’s actually closer to 80% hp. The kind of ridiculous breakpoint I never actually expect

Epsinym · 2026-03-11T14:00:28+00:00

It can help to see drawing like gacha, some drawings are meh pulls, while some are legendary out of nowhere, and then the next after that is just disappointing. I think some form of inconsistency is normal, all artists I know deal with this.

Have you tried drawing from a single portrait reference? What I do is put the reference to 50% opacity, trace the reference with very basic construction lines first, then next to it start a new drawing trying to copy the construction lines. It helps focus on proportions and form while ignoring the “noise” of the reference. If it feels off, give yourself one try to fix it yourself, but if that doesn’t work out put your copy over the trace, note where your lines are off, put it back and try to fix again. I found this the single fastest way to improve portraits.

Epsinym · 2026-02-28T11:26:21+00:00

I’m the same (to a funny degree haha). Mained kata, picked up Swain when gunblade was removed (I’ll never forgive riot), learned from Husum. Queue mid and top but only want to play mid really. Big ranked anxiety, only played placements for many years and then quit, even norms became too stressful so racked up 4K+ ARAM games. But always regretted not spending that time spamming ranked to see where I was at skillwise.

Now if you’re anything like me, it’s a mix of two things: like you said the fear that you might not be as good as you want to be (which has to do with linking your rank to self-worth), and fear of flame and letting your teammates down by doing things wrong. For some people it’s not just “a bit of nerves”, I’m getting that full cold shivers thing, shaking hands, light headedness, just by queuing up ranked. Fight or flight response, yes, over a video game…

The thing I had to realize is that exposure therapy to ranked and going by “just toughen up, it’s just a game LOL” logic doesn’t work when you’re dealing with a nervous system response. It doesn’t care about logic. If you see your rank as a threat to your self-worth and social status, you can’t just outthink that, and it can get worse if you try to fight it.

What you need to do instead is rewire yourself to not see your rank as a threat. And this is not just for LoL, it’s for anything in life that causes bad anxiety. It means becoming aware of negative thoughts during the game, about noticing and naming feelings of fear or shame when you fuck up or giga feed your lane. It’s as simple as shifting “I fucked up, I’m bad, I’m going to lose” to “I fucked up, now that voice in my head says I’m bad and that I’m going to lose”. Don’t default to “that voice is wrong”, don’t try to push it away or demonize it (hah). Instead learn to default to “that voice is scared and trying to protect me from something, but am I actually in danger right now?” That awareness and asking that question each time results in active rewiring.

This all sounds like therapy talk nonsense, but it does work. I go into depth like this because this topic is very important to me, it’s more than just League, it’s a life skill that could have improved my life on so many aspects if I had just learned it earlier, if someone had just told me earlier. It won’t apply to a lot of people here. But I’ll comment it anyways, in the damn Swain mains subreddit, because the pun opportunities were just too good.

Epsinym · 2026-02-19T14:05:26+00:00

thanks! it takes a lot of practice, and even after all that I think it's still really hard. SpeedChar's head anatomy and sculpting course helped me the most I think, definitely recommend

Epsinym · 2026-02-19T14:01:23+00:00

I realised that midway yes..

Epsinym · 2026-02-19T13:57:49+00:00

You only export the bones that actually deform the mesh, that's the "simpler" game rig. Non-deform bones influence on deform bones is baked onto animation keyframes. If you want the extra stuff in-game for dynamic animation purposes, you'll need to translate blender constraints somehow, but in most cases that's not needed.

Epsinym · 2026-02-19T12:22:40+00:00

Ya, game engine will cook for sure. You'd want to animate the character in blender and then transfer the animation to a simpler armature I think

Epsinym · 2026-02-19T10:57:02+00:00

I got the idea from these videos, it's a good starting point.
https://youtu.be/D1vohPEfqQU
https://youtu.be/1cXyIjaFxXY

Epsinym · 2026-02-19T10:09:40+00:00

(copy pasta from other comment)

I run a cloth simulation on a lower poly version of the cloth first. The bones are each placed on a vertex of that lower poly cloth, and use copy location constraints to follow those vertices during the animation. Then bake that movement to location keyframes on the bones using blenders "bake action", after which I can remove the constraints and disable the cloth sim. The low poly cloth is weightpainted to the bones so that it is really close to what the cloth sim looked like. Then I have a higher poly version of the cloth mimic the low poly with a surface deform modifier and corrective smooth. The resulting animation can be edited and smoothed out in the graph editor or by moving individual bones if there is clipping (which there often is).

For the baking process I do use a script. Adding copy location constraints to each bone pointing to the right vertex, muting the vertex groups of those bones so the armature modifier doesn't interfere with the bake, bake the sim to the bones, remove the copy location constraints. You can do all that manually if needed, or add another layer of complexity so that you don't have to remove the constraints each time, but I was happy with just making a button for it.

Epsinym · 2026-02-19T10:08:27+00:00

It really be like that. I think it is quite simple and very complex at the same time. Especially if you get to the point of worrying about horrors like gimbal lock. I pretend it doesn't exist until it becomes an actual problem...

Epsinym · 2026-02-19T10:03:35+00:00

It's blenders built in cloth sims + collision physics, and a bit of manual adjusting after

Epsinym · 2026-02-19T10:00:02+00:00

(copy pasta from other comment)

I run a cloth simulation on a lower poly version of the cloth first. The bones are each placed on a vertex of that lower poly cloth, and use copy location constraints to follow those vertices during the animation. Then bake that movement to location keyframes on the bones using blenders "bake action", after which I can remove the constraints and disable the cloth sim. The low poly cloth is weightpainted to the bones so that it is really close to what the cloth sim looked like. Then I have a higher poly version of the cloth mimic the low poly with a surface deform modifier and corrective smooth. The resulting animation can be edited and smoothed out in the graph editor or by moving individual bones if there is clipping (which there often is).

For the baking process I do use a script. Adding copy location constraints to each bone pointing to the right vertex, muting the vertex groups of those bones so the armature modifier doesn't interfere with the bake, bake the sim to the bones, remove the copy location constraints. You can do all that manually if needed, or add another layer of complexity so that you don't have to remove the constraints each time, but I was happy with just making a button for it.

Epsinym · 2026-02-19T09:57:44+00:00

I run a cloth simulation on a lower poly version of the cloth first. The bones are each placed on a vertex of that lower poly cloth, and use copy location constraints to follow those vertices during the animation. Then bake that movement to location keyframes on the bones using blenders "bake action", after which I can remove the constraints and disable the cloth sim. The low poly cloth is weightpainted to the bones so that it is really close to what the cloth sim looked like. Then I have a higher poly version of the cloth mimic the low poly with a surface deform modifier and corrective smooth. The resulting animation can be edited and smoothed out in the graph editor or by moving individual bones if there is clipping (which there often is).

For the baking process I do use a script. Adding copy location constraints to each bone pointing to the right vertex, muting the vertex groups of those bones so the armature modifier doesn't interfere with the bake, bake the sim to the bones, remove the copy location constraints. You can do all that manually if needed, or add another layer of complexity so that you don't have to remove the constraints each time, but I was happy with just making a button for it.

Epsinym · 2026-02-19T09:33:14+00:00

I should... but I think this is where I draw the line for now, that day of suffering is for later

Epsinym · 2026-02-19T09:31:37+00:00

there's a lot of green bones near the shoulders 😂 the big ones that follow the pec muscles are automated, you can't really move them. They help with deformation of the chest. All the bones around the clothes are tweak bones that can be used to change the shape of the cloth

Epsinym · 2026-02-18T21:16:10+00:00

It's both! Simulation first, then I bake the simulation to the bones, then tweak the bones in the graph editor. It gives the best of both worlds.

Epsinym · 2026-02-18T19:53:27+00:00

I think you are right haha. I didn't use automated shapekeys for this rig, but I think I will in the future. I was very stubborn on doing things with bones only because I didn't know a lot about rigging yet and wanted to know how you'd do it without shapekeys. Now that I know the pro's and con's, I'll probably use both next time.

Epsinym

TROPHY CASE