New Alunya (and friends) thread...

New Alunya (and friends) thread. Unfortunately the last thread was pretty much completely destroyed by the board restoration. Post your Alunya art!

Rodina art is always welcome too.

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fuck this shit more theory less lame internet shit


Theory is better done in real academic enviromnents. Internet is best for internet shit.

First post best post

really isnt

if you mean OP yes

Any male versions of Alunya etc.?

We can have threads for both

Just posting some recent Rodinas.

Very good Rodinas!

Where are the drawings of the ancap drawfriend?


These Rodinas are beautiful.





The last one spoilered this one so imma follow along


Apparently leaving my posts blank on here to post images counts as flooding for some reason.

I don't actually remember what ideology she represents…

Some more Alunya



More Leftcom Cat

And even more!

needs more nsfw

Some semi-lewd Alunyas


semi-related I guess


Some group stuff

p u f f y v u l v a

Some more cartoonish Alunyas

Some stuff a nice user made for halloween

Some Rodina

those zizek censors tho

I love Stirner Chan! More of her

That's all I had, sorry user

A nice comic an user made

Character reference, Alunya speaking truth(?) and Tomoko being jealous

Oh shit, already posted the tomoko thing. Ah whatever, I'm pretty much done with everything I've got now anyway.

So, yeah. Other anons can contribute now.

I just wanna say, it's nice we have so many good drawfags with different, beautiful styles
so much nice art in this thread only

How do I learn to draw?



Pick up a pencil and a sketchbook and draw like crazy. Even if its really bad, just continue drawing. There are also a bunch of pretty good guides on the internet which you can look up.

Are those Loomis books good?

-post any porn depicting underage (including drawings)

First one is based Situationist kitten, not pretentious, dishonest, stupid leftcom cat.

yes but not if your a beginner, I advice you look up proko/sycra on youtube

Approach Loomis cautiously: he is a staple on /ic/ and so very popularity, but when it comes down to it he was not very skilled and a lot of his writing is verbose and outdated. The Eye of the Painter and Successful Drawing are both worth reading, though - Successful Drawing especially.
Don't do:

Consider videos supplementary material: they can be very helpful in reifying theory, but suffer on an educational level and are often plagued with the artists particularities. (Don't fret if you are visual learner: there are some excellent books to help you along as well.)

I can provide you with what you need to begin, but I'd like to know what you intend to draw first: scenes, figures, landscapes, graphics (as in design)?


Damn, how do i learn to draw like this?

Second one isn't Alunya.




Pretty good.

Now I'm imagining a comic in the style of the old 50's superman PSAs where Alunya teaches people the basic practice and theory of communism.

what are you, a fag?

I want to be able to draw characters, cartoonish human figures (with faces) in different poses and stuff, like all the shit you see in this thread for example.

For context: I picked up the cartoon/moé aesthetic only a year or two ago so I am not the best to advice specifically on those. However, I have been active as an illustrator-designer for many, many years and have experience as a professional educator.

Just like everyone else you will need to start with the basics: lines and shapes. There are three exercises I would like to recommend:
1) Circles. Ad nauseam, over and over again drawing circles. This helps with hand-eye coordination, loosening (or awakening) the muscles and committing the motion to memory.
Be sure to mix it up by drawing circles in the opposite direction. Doing the same exercise with your off hand - or both hands at the same time - also does wonders. Latter two are a bit advanced, though, so focus on your dominant hand for the time being.

2) Shapes and forms: the former referring to flat geometry and the latter to geometry with depth. This exercise is largely the same as the one above, but has an additional boon: you are training your eyes and mind to recognize shapes alongside codifying the motions in muscle memory. Understanding that every complex figure can be reduced to simple shapes is crucial.
Start with shapes and try forms once you are comfortable with drawing lines. Just like the previous exercise this is a good activity to experiment with different strokes and techniques.

3) Pencilling in, or 'hatching': this one is a bit more involved than the other two. Draw a grid of squares and fill in each grid from light to dark. The way you do this is up to you: you can use diagonal lines, horizontal ones or curves and swirls. It doesn't matter as long as you get a smooth gradient from light to dark.
This exercise is great for familiarising yourself with tones - training the eye to distinguish different levels of chroma - and learning how to texturise. It also combines the latter two exercises and helps you loosen your hand.

4) One extra, as this one is a little different: get a hand gripper (you can buy a set for as low as a few bucks). Also recommend doing finger stretches and wrist rotations.These are flexibility exercises, so you only need to do twenty for each.

All of these exercises are excellent at about every level of skill, too. Do them often and don't stop doing them. You can easily sneak these while doing other stuff: I like to draw circles with my off hand when I am going through paperwork, or do stretches while in transit.

To get going with theory I recommend Loomis' 'Successful Drawing': it will be a bit boring at times, but it will provide you with just about all the information you need. 'Keys to Drawing' by Bert Dodson is a bit dated but helped me immensely when I was learning my fundamentals.
The latter is the superior resource and use Dodson's as a fallback: Loomis' is better for learning the fundamentals from nothing. Keys to Drawing is still very much recommended, but you might want to skip it to save time.

Once you get the hang of the fundamentals, which will take a while, it's time to get to the meat and potatoes: figure drawing.
Read Michael Hampton's 'Figure Drawing - Design and Invention': it's text light, but invaluable. I've been using it for five years plus and found most of his pointers hold up across racial groups. Combine Hampton's with Loomis' 'Figure Drawing for All It's Worth' page 27 to 67 (don't waste your time doing double) to get the full package of gesture, anatomy and proportions.
Figure Drawing - Design and Invention is not gospel, though: Hampton's theory and examples give you a strong framework, but you will need to put in time to nuance your understanding. This means lots of figure drawing practice. I recommend at least 10 minutes of gestures and two hours of figures a day, but do what you can. Remember: any practice is better than no practice.
You can find model references here: . Although they have a lot, you can't rely on this website for bodyparts (their assortment of portrait photos is ridiculously slim) and their choice of models lacks diversity somewhat (though this has improved a little). There are other resources out there, though none that I can recommend top-of-my-head.

Looking at your long-term goals I also recommend 'Framed Ink' by Marcos Mateu-Mestre. It won't give you much on anatomy or proportions, but I found Mateu-Mestre's reification of scening, framing, and panelling to be invaluable. It's a fun read, so I recommend checking it out for yourself.
You will want to build an understanding of character design as well, but I do not have a good, singular resource to offer. My recommendation: make a gallery specifically of characters and character designers you like. Copy the designers and try to figure out their (mental) process.
Additionally: familiarising yourself with the animation process helps you understand the design and technicalities of cartoons and anime. Don Bluth's 'The Art of Storyboard', Preston Blair's 'Cartoon Animation' and Richard Williams' 'The Animator's Survival Kit' are all insightful in their own way and will introduce you to the (harrowing) animation process. I do not have any resources specifically on the moé aesthetic, but I can tell you that a familiarity with its history helps significantly. More on that below.

Additionally: I am making a starter pack consisting out of resources I think will be of use to you - or any starting artist - but I will need a bit to compile it. I will post it shortly.

Some final thoughts:
Be VERY weary of infographics and image tutorials. These are, more often than not, made by inexperienced or insulated artists who are unable to recognize their particularities and shortcomings. The images are then recycled by others who lack the understanding to recognize errors, which in turn entice beginning artists to learn the aforementioned particularities and so perpetuate the cycle.
I fear video tutorials largely suffer from the same issue, though with two differences: 1) the artists making them are more often experts or scholars and 2) you get to see the entire process from start to finish - even if sped up - which can be educational in learning and distinguishing handwriting and styles. Be cautious all the same: recently I stumbled upon a self-proclaimed master of digital painting, only to find that he did not grasp basic anatomy and lacked figure drawing skill - ignorantly masking his lack of proficiency with fancy brushes and many hours of rendering.
Autonomous learning skills are what you should learn: drawing from reference is far more valuable and worthy of your time than learning a specific way of rendering the skin or drawing hands. Flexibility and universality, not stylisation and partiality.

Steal and steal ferociously. It took me years to understand "fake it until you make it", passing it off as a cynical approach to commercialising ones work. Once I did I realised it was not about commercialisation, but about building a meta-understanding of art.
The "fake it until you make it" mantra is poorly worded, a better one would be: "test it until you best it". The intend is not, explicitly, financial, but educational: by copying other artists - even exactly - you familiarise yourself with their particularities. Once you are familiar with the others particularities you move on to the next, ever expanding your mental index of styles and methods.
By increasing this mental collection, you greatly enhance your ability to draw as you have more styles to copy from. It's almost dialectical: you have your own style, forged by years of practise; the others style, which you are copying; resulting in the synthesis of both.
(To avoid confusion with the previous part: my issue with micro-tutorials is that they fail to teach the underlying mechanics relevant to the subject, instead teaching a particular approach to rendering the subject which is touted as a mechanical examination. Because of this presentation, beginning artists can be tricked into believing they have to draw the way the tutor does, as opposed to learning the theory and organically developing their handwriting.
The following part emphasises the importance of wilfully and knowingly copying someone's particularities, specifically to build upon it rather than mimic it one-to-one.)

Don't fall into the trap of employing a single (art) 'style'. Style, as I have used it previously, refers to someone's default mode of drawing - it is something that needs considerable effort to change. This is different from an 'art style': the aesthetic expression someone chooses to utilize.
There will be many forces pushing you towards adopting a single style: it's more recognisable, leading to exposure and monetary gain; it's easier as it requires less self-examination and experimentation; and it's comforting as it is the norm and alleviates anxiety/insecurity. However, merely adopting a style for exposure and only ever utilising one style are two different things.
Adopting a style is, sadly, necessity to make ends meet (unless you are one of the lucky few who can break out as a fine artist without the need to kowtow to the bourgeoisie). Opting to only ever utilize one style, on the other hand, prevents you from familiarising yourself with technique - that universal understanding I touted earlier - and instead only bolsters your own particularities. This will inevitably lead to plateauing: getting to a point where (it seems) you can no longer improve. You have done everything you can with your particularities and, mistakenly, convince yourself you are at the peek of your ability.
Keep experimenting, keep exploring art and learn to love artists. Only by constantly seeking the boundaries of your knowledge and skill - and overstepping them - will you keep improving. Remember: complacency is death.'

Familiarising yourself with the history of art and philosophy of art can have tremendous effect on your creative abilities. However, both are time consuming - the latter in particular - and so I recommend, at most, a cursory glance at the history of art for now. If you do get into this, do not miss out on Takashi Murakami's Superflat: this book has helped me contextualise Japanese (pop) culture like nothing else.

Lastly: don't become a 'woe is me', self-deprecating artist or an 'I am better than my audience' snob. These persona's are trite and played-out.
You depend on your audience, your audience does not depend on you. Be humable, but don't be afraid to suck: we all suck. Remember you have your entire life to complete the journey. Overcoming the visual artists variant of stage fright is very difficult, but necessary: an artwork is not complete until an audience presents itself. Keep that in mind.



What about also combining them into one pic?

makes sense

I need to leave for today, I will make that archive tomorrow.

Thank you!


Rodina for GETchans 6th birthday!
Literally my second digital drawing so be nice. Just flat colouring for now but I might try to add shading tomorrow if I have time. This shit took a long as time to make, about 4-5 hours. How the fuck do people dish out drawings so fast and easily.

Pretty cool user keep up the good work! Be sure to post it on GETchan, they will love too!

That was my idea when I returned here to drawfag around, but then I never got around to finishing the pencils for the first comic that user scripted.

I want to smell Alunya's boots

Nice job! Some shading would be great.


Yeah I know. I just suck ass at it so im gonna look up some guides first.

pretty cute. too cute.



Ugly af, tbqh.


Post your artwork so we can see how worthwhile this blogpost of advice is, please.

I want to build barricades with Alunya!



Checked and rated




That's great!

ayyy good work comrade

and he never returned

It's been a rough week - I have been busy and struggling with an upset sleep schedule besides. Process has slowed a down a bit as I have been re-reading a couple books to make sure they are worth recommending. I also tried to find a few books I own physically on the web, but alas no luck yet. (If nothing else I'll include a list of recommended/supplementary reading so you know what to look out for.)

I would warm her up by torching some cop cars ;)

no worries comrade


is this oc?

Rodina looks like she's about to wet

I found it on twitter because apparently we are not cool enough to get new Alunyas anymore:



Can someone draw alunya beating the shit out of pepe?

Is this not good enough?

I want it to be official


Repost for archiving purposes. Original:

Hey, thats pretty cute

how will we deal with Zionist cat? Should she be teamed with Erika? (since Hitler made deals with zionists)