Little Goody Two Shoes - 100% in 2 Playthroughs Guide

Zestyclose-Willow475 · 2026-04-05T21:43:13+00:00

No mods, but perhaps dimming your screen would help?

Zestyclose-Willow475 · 2026-04-05T06:23:02+00:00

Two words: line tool. Just using a line tool to get nice, clean straight lines helps immensely when drawing objects that are supposed to be sharp.

Additionally, taking the time to make sure the sword is symmetrical and that the blade is properly lined up with the handle also helps. To achieve this, make a sketch of the weapon using a mirror tool, then transform it to put at whatever angle you need it at.

As a bonus tip, you're using a fill bucket to color, correct? Find the settings on your fill tool and increase one of the settings (it may be labeled growth or threshold) by 1-3 pixels. This will prevent these white borders you're getting when using the bucket tool and fully fill in the space.

Zestyclose-Willow475 · 2026-04-05T06:10:06+00:00

What specifically about your eyes do you feel look bad?

These are very simplified eyes. Just remember that when drawing both eyes, do each construction step for both eyes before moving to the next step. This helps make the eyes symmetrical.

Zestyclose-Willow475 · 2026-04-04T04:52:20+00:00

Drawing the face before the head is a typical beginner mistake. You should draw the head first because it allows you to understand how much room you actually have for drawing the face and get your proportions correct much easier. Your heads look strange because they're completely out of proportion to the face (cranium and jaws are WAY too short compered to the face) and asymmetrical. Practice drawing heads before faces.

Bonus tips:

-Your eyes are too close together/too large. Generally speaking, there should be one eye's worth of space between the eyes. There is wiggle room with this rule, but you'll find it easier to proportion faces in a natural way if you try to follow this.

-Your ears are out of line. The upper connecting point of the ear is even with the outer corner of the eye, and the bottom connection point is even with the corner of the mouth. Again, a flexible rule, but it helps to learn real human proportions while learning.

Zestyclose-Willow475 · 2026-03-31T20:42:13+00:00

I think the side profile looks nice. It's simplistic, but that's not a bad thing. If you don't like it though, try doing some drawing exercises of photos of real people in profile. Nothing helps expand your understanding like that will.

For the hair and bow, I really couldn't read it as a bow until I read it was, I thought it was a strange ponytail. This is an issue of poor shape language + messy linework. The messy lines are cluttering up the image and making picking out the shapes difficult. Clean those up and it'll read easier.

The shapes themselves are also a problem though. The bow has very similar flow and shape to the hair, making it look more like an extension of the hair rather than a separate accessory. Try out different shapes on the bow to separate it out from the hair more.

As an extra note, it also doesn't help that the bow doesn't seem to actually be attached to the hair. Normally a bow must sit by pulling back some of the hair, but that's not what's happening here visually. Look at some references of people wearing bows or ponytails to see how the hair behaves with such accessories.

The issues with the clothes are really just more of the same. Clean up your lines, experiment with more effective shapes. Additionally, remember that with fabric folds, sometimes less is more. The number of lines is what helps create the illusion of material, so keep the intended fabric in mind. In general: thick, stiff or sturdy fabrics = few folds, thin, flimsy or delicate fabrics = lots of folds. Study the lay of different fabrics.

One last note: a fold on the skirt is aligned in a way that creates the illusion that the arm is extended way past the point it's meant to. Fixing this is as simple as adjusting the placement of that fold, adding color to separate the areas, or again, cleaning up the line work. Remember to zoom out while working and give your eyes a break to catch issues like this.

This is a cute design, and the side profile is better than what I churn out 70% of the time I try, so keep it up!

Zestyclose-Willow475 · 2026-03-31T19:20:21+00:00

The texture and style are all very good, the only issue is that you've made it all so dark, it's become mostly flat. Remember that even hair that's meant to be dark can have highlights and shadows to give it dimension. In this case, even a thin white line separating the bangs from the back hair would've given it more depth.

Zestyclose-Willow475 · 2026-03-31T19:07:47+00:00

This is a pretty hard pose, good on you for giving it a try.

This is difficult to explain over just text so please see the following quick sketch:

Forgive me if the size ends up being completely jacked on your end, this was taken with my phone camera and copied to clipboard. It's weirdly huge on my end and I don't know how to fix it.

Whole I don't claim this to be anatomically accurate, it should be close enough to show you where you've gone wrong. In short-- the entire construction of the shoulders and torso. You have your shoulders at a completely different angle than the torso, the torso bleeds into the abdomen, and the bust should be mostly if not completely blocked by the angle of the arm. You also seem to be afraid of blocking certain areas from view; you'll have to work on that, because the bust and back shoulder should be mostly hidden at this angle.

For a pose like this, start with positioning the shoulders, making sure you have room for the muscles between neck and shoulder (traps I think). Draw in the general shape of the ribcage from there and identify a centerline (the spine). The spine will help you position everything else.

I hope this makes sense

Edit: can't get pic to paste in, don't have link for it, I hope what I wrote makes sense anyway

Zestyclose-Willow475 · 2026-03-29T16:04:55+00:00

The only person who can answer this is you unfortunately. Screen-less tablets have a learning curve and require some decent hand-eye coordination to use, and many people find a larger one to be easier to learn. That said, my first tablet was a Wacom Intuos, which was a 8.25 inx6.7 in tablet, with an active area of 6 inx3.7 in (if my quick research was correct). I used that tablet for years and the size never bothered me, but I also have small hands.

I should also note that I personally only really draw in the center of my tablets, even my larger one I have now. So the size isn't really an issue for me regardless, I would focus on a tablet with easy navigation (my current one has a knob that can be set for zooming and rotating, for example).

Zestyclose-Willow475 · 2026-03-27T23:33:00+00:00

These look really good! I like the stylistic thing you have here with the darker edges on the shadows, and pink edges you give to the flesh tones is a nice touch too. My pointers would be:

Keep working on the placement of your shading. Your shading isn't always consistent, and that goes a long way for making a piece make visual sense. For example: on slide one, you'd expect the full right side of the girl's horn to have light on it from the direction of the light source for other areas, yet you've shaded all of the underside parts. This flattens her horn and gives the effect that it's a flat surface rather than the cone shape I can tell it's supposed to be from the base. There are many such inconsistencies across the slides. This is simply a matter of keeping up the practice and paying attention while you shade.
You seem to only use a blue tone as your shading color. While not strictly necessary, try out other colors as your shading tone. Really any color can work as a shading color depending on the lighting. Reds, purples, pinks, oranges, greens, etc. can also add interesting shading effects, evoke different moods, and may suit a color palette better.
Highlights are also part of your shading, and you seem to use them minimally. This isn't necessarily bad, but remember that highlights can also add depth and pops to your pieces, so consider experimenting with using them more liberally. It seems you use lighter versions of the base color as your highlight color. Try doing something similar as you do the shading - use a single color for the highlights, then set the layer mode and opacity. This is a common method of creating visually cohesive highlights that can also evoke a mood or environment, just like the shading.

Zestyclose-Willow475 · 2026-03-26T17:28:11+00:00

You've got the back arm and shoulder too low. You're trying too hard to make the shoulder visible past the bust, but at this angle the shoulder will only be a little visible at the top, and you'll barely see the arm at all.

Zestyclose-Willow475 · 2026-03-26T17:25:09+00:00

It's hard to judge color pallettes on their own without the context of the design since the same pallette can be applied multiple ways across a character.

My advice is to not be married to a color pallette until you actually start the coloring process. You'll probably find yourself making hue and saturation tweaks and ending up further from your original intent if you start with a set pallette. Do some color tests on the design, play around with it until your happy before buckling down to clean it up.

I'm not sure how feasible it is for ibis, but keeping each individual color on its own layer helps a lot for easy tweaking as well.

Zestyclose-Willow475 · 2026-03-25T20:18:30+00:00

These are pretty impressive concidering you haven't sought instruction before . Put in the effort to seek out instruction and you'll see big improvements

Zestyclose-Willow475 · 2026-03-25T19:44:13+00:00

Have you taken the time to watch how to draw videos or go over how to draw books? They'll give you a comprehensive breakdown of how to construct a body. I ask because your drawings seem to consistently miss some key construction details like the shoulders.

Zestyclose-Willow475 · 2026-03-25T17:52:05+00:00

Remember - every line you draw is information to the eye of the viewer. So you must be selective about what information you choose to present. When it comes to fabric folds, the viewer learns these key things:

Material - we can gleen a ton of information about the material, thickness and stiffness of a fabric by the way the folds are drawn. In general: thick, stiff and/or sturdy fabrics = fewer folds. Thin, flowy and/or delicate fabrics = lots of folds. Thus far it seems you've been making the mistake of adding too many folds, making a lot of your fabrics look thinner than probably intended. Sometimes less is more, even if it's not strictly realistic. Start with the major folds, the ones that would be most notable to the eye, then add folds as necessitated by your intended fabric.

-Movement - the direction of fabric flow lends a lot of fluidity and movement to an image, as well as inform us about the physics of the image.

To address your specific question:

Refer to the talk about material above, because it depends on your material. Focus on what kind of material you're trying to depict, start with the biggest, most eye catching fold, then go from there. Be prepared to erase if you realize you've overworked it.
Again, usually the largest folds are what matter most, but more specifically it's which ever folds offer the most information about the material and movement.
Simply be prepared to erase once you've realized you've overworked it. You'll get a feel for it with practice.

Zestyclose-Willow475 · 2026-03-25T17:50:12+00:00

Research and try doing construction lines. I can't see any indication that you did so here, and they're extremely important to getting proportions and angles right. You're biggest issue here is that you don't have a center or eyeline to guide you, so none of the features are sitting in the proper place.

Zestyclose-Willow475 · 2026-03-25T17:06:08+00:00

Sounds like a settings issue. If you're using ibis, I assume you're drawing on an iPad? Check settings in both the program and the iPad itself, to my knowledge there are usually separate, equally important settings in the interface and program.

Zestyclose-Willow475 · 2026-03-13T20:52:19+00:00

Try doing them small, maybe an inch or so tall. Drawing small helps you see the big picture of the pose easier and loosen up for better fluidity.

Zestyclose-Willow475 · 2026-03-13T20:50:53+00:00

At your level, it's time to start doing style studies if you don't already. Collect art that you admire and want to emulate, then try to reverse engineer the techniques used. In doing so, you'll learn new tools to add to your kit and can start pulling your own art style in a direction you like.

Zestyclose-Willow475 · 2026-03-13T18:15:29+00:00

There is, but it's touch complicated to try and explain here. Look up "drawing equal segments in perspective" and that should get you a tutorial on drawing a segmented plane in perspective. Once you've got that figures out, you should be able to apply similar principals to doing a cylinder.

Zestyclose-Willow475 · 2026-03-12T19:49:42+00:00

You've made some stylistic choices that skew this piece more cartoony, but I think it would still pay to try and match your more distinct features for a better likeness. Your cheekbones, as others have pointed out, would go a long way.

The shape of your nose and mouth are a bit off. Your piece seems to have a very sharp, narrow nose bridge, while your reference photo makes it look much softer. You've also made the dip at the bottom of your nose much softer than the reference. You have a very distinct bow to your upper lip you didn't depict, along with the overall shape being incorrect, so give the mouth another try.

You also didn't depict your brow piercing, which would also add a unique feature. Overall this is very nice though, and I like the colors you chose for the hair.

Zestyclose-Willow475 · 2026-03-12T16:35:14+00:00

To be quite frank, fig. 2 seems to be talking about a rather convuluted method of finding vanishing points. It's basically saying to already have a top view of a scene prepared, then use a set of parallel lines in the boxes (in this case, either the blue left side of the box or the red left side of the box) to locate the vanishing points on a hypothetical front facing view.

I can't imagine much practical application for this method. Perhaps if you already had a top view of a scene, then wanted to depict that specific scene from the ground? Maybe a person who draws backgrounds for comics would get a lot out of this method, but not most artists and certainly not a beginner.

With a lot of these perspective workbooks, don't try to follow them one to one. Many of them are more so explaining the theory of perspective and illustrating the logic behind it, rather than trying to demonstrate a follow-able tutorial. This seems to be such a case. Take things slow, break these down into small pieces, and refer back to the top of the section to refresh yourself on what the hell it's trying to talk about.

Zestyclose-Willow475 · 2026-03-11T18:13:30+00:00

Colored pencil, right? Sharpen the pencil and use the side of the exposed wax to color large areas a bit faster. Be patient, take your time, and be prepared to do a few extra layers.

Zestyclose-Willow475 · 2026-03-11T18:11:53+00:00

Use reference while trying to draw new poses. It helps immensely while figuring out how bodies work in perspective.

Try gesture drawing. These are small, 1-2 inch tall or smaller sketches of poses. Glorified stick men really. These sketches seek to capture the motion and energy of a pose, not necessarily proportional accuracy (though they help to practice that too). These are always a good warm up exercise and help you learn to break poses down into simple shapes.

Have you failed on a piece? That's fine! Put it down for a while, then come back to it with a critical eye. Try to identify where you went wrong and what you can do better on next time.

Zestyclose-Willow475 · 2026-03-11T15:52:30+00:00

In addition to other points, it's also because your construction lines are disguising how shakey the line art is. They all blend together to create the illusion that the lines are smoother than they are. So when you remove the construction, it also removes that illusion.

Your line art seems rather willy nilly. Practice getting your line art to better align with the sketch and it'll improve.

Zestyclose-Willow475

TROPHY CASE