tooie's sketchbooks!

Sketchbook 69! Started on May 14, 2014.

And because this is #69 there is more adult art in here than my usual sketchbooks. I’ll be sure to tag those pages as #nsfw

I’ve spent the past few days coding this and trying to figure out if it works and all that fun stuff that is the headache of trying to figure out everything. It’s been at least 3 years since I last attempted coding (my old website) and I forgot a lot. I’m currently in the painstakingly slow process of going through my art files and duplicating and making thumbnails of everything I want to be on the site. But I do have a few things up for now.

I think my lightbox (picture viewer code whatever) needs to be updated since I used the old code from my old site, but I haven’t looked into that yet. You can still see the pictures in full if you click on them. Any feedback is appreciated though!

I feel like an adult with responsibilities now.. gotta keep this updated.

Still on that neopets kick. Love drawing my babs. Here’s Motts, drawn on my new tablet which I am having oh so much fun with.

sketchbook 68 is over!


One of the nice things about marrying another artist is that we often will do collabs together. It’s a nice bonding experience and we both love each others art, so there’s plenty of mutual enjoyment out of the process. These are just some of the collabs we’ve done since we started dating back in 2010. With how many there are here I don’t feel like going through and listing who did what on each. Just know she usually draws the characters and I usually draw the lettering. I love my ostrich waifu :3

You can find more of tooie’s work at

Everyone go follow my hubby Poey!!! He finally got a tumblr :V

I made a short comic!


Hello friends!

Here is a little taste of my brand new hand-lettered & illustrated how-to zine, Art Journal Basics. It’s available here, as an instant download, from PAPERCUTS handmade.
( : : [ ♥ ] : : )

(via sosuperawesome)



Dear Students,

This is important.


Professor Bootsy

From the "Unbored" website:  Drawing tips from the great GARY PANTER!


Get a book-size (or paperback-size)d sketchbook. Write your name and date on an early page and maybe think of a name for it — and if you want, write the book’s name there at the front. Make it into your little painful pal. The pain goes away slowly page by page. Fill it up and do another one. It can be hard to get started. Don’t flunk yourself before you get the ball rolling.

You might want to draw more realistically or in perspective or so it looks slick — that’s is possible and there are tricks and procedures for drawing with more realism if you desire it. But drawing very realistically with great finesse can sometimes produce dead uninteresting drawings — relative, that is, to a drawing with heart and charm and effort but no great finesse.

You can make all kinds of rules for your art making, but for starting in a sketchbook, you need to jump in and get over the intimidation part — by messing up a few pages, ripping them out if need be. Waste all the pages you want by drawing a tic tac toe schematic or something, painting them black, just doodle. Every drawing will make you a little better. Every little attempt is a step in the direction of drawing becoming a part of your life.


1. Quickly subdivide a page into a bunch of boxes by drawing a set of generally equidistant vertical lines, then a set of horizontal lines so that you have between 6 and 12 boxes or so on the page. In each box, in turn, in the simplest way possible, name every object you can think of and draw each thing in a box, not repeating. If it is fun, keep doing this on following pages until you get tired or can’t think of more nouns. Now you see that you have some kind of ability to typify the objects in your world and that in some sense you can draw anything.

2. Choose one of the objects that came to mind that you drew and devote one page to drawing that object with your eyes closed, starting at the “nose” of the object (in outline or silhouette might be good) and following the contour you see in your mind’s eye, describing to yourself in minute detail what you know about the object. You can use your free hand to keep track of the edge of the paper and ideally your starting point so that you can work your way back to the designated nose. Don’t worry about proportion or good drawing this is all about memory and moving your hand to find the shapes you are remembering. The drawing will be a mess, but if you take your time, you will see that you know a lot more about the object than you thought.

3. Trace some drawings you like to see better what the artist’s pencil or pen is doing. Tracing helps you observe closer. Copy art you like — it can’t hurt.

4. Most people (even your favorite artists) don’t like their drawings as much as they want to. Why? Because it is easy to imagine something better. This is only ambition, which is not a bad thing — but if you can accept what you are doing, of course you will progress quicker to a more satisfying level and also accidentally make perfectly charming drawings even if they embarrass you.

5. Draw a bunch more boxes and walk down a sidewalk or two documenting where the cracks and gum and splotches and leaves and mowed grass bits are on the square. Do a bunch of those. That is how nature arranges and composes stuff. Remember these ideas — they are in your sketchbook.

6. Sit somewhere and draw fast little drawings of people who are far away enough that you can only see the big simple shapes of their coats and bags and arms and hats and feet. Draw a lot of them. People are alike yet not — reduce them to simple and achievable shapes.

7. To get better with figure drawing, get someone to pose — or use photos — and do slow drawing of hands, feet, elbows, knees, and ankles. Drawing all the bones in a skeleton is also good, because it will help you see how the bones in the arms and legs cross each other and affect the arms’ and legs’ exterior shapes. When you draw a head from the side make sure you indicate enough room behind the ears for the brain case.

8. Do line drawings looking for the big shapes, and tonal drawing observing the light situation of your subject — that is, where the light is coming from and where it makes shapes in shade on the form, and where light reflects back onto the dark areas sometimes.

9. To draw the scene in front of you, choose the middle thing in your drawing and put it in the middle of your page — then add on to the drawing from the center of the page out.

10. Don’t worry about a style. It will creep up on you and eventually you will have to undo it in order to go further. Be like a river and accept everything.

Thanks to our pal, M.A.G. for bringing this to our attention

Instant reblog always.


Craig McCracken’s guide to becoming a cartoonist

(via bloominrose)



Hi friends, I still need to post up something about my recent Iceland trip (which I forgot to let you know about! I went to Iceland! The photo above is of Haystack, a little needle-felted friend who came with me for the journey) but since I got back there’s been a lot on my mind about art practice, and I’ve been trying to think of how we make and especially when you make art for a living there’s some weird things you have to navigate as you get deeper into it. Such as making work for yourself versus for a client and letting it not ‘be’ for anything but for making it, learning when and where you need to switch things up to keep it stimulating for yourself, how to go back and shake yourself out of the bad habits you’ve built up over years, how to keep patient when you just want to move onto the next thing, how to stoke excitement when art feels like work, and the like.

I’ve been doing some sleuthing online and a lot of the advice given is geared towards beginners and is a little more technically dry than I’d like. But I do think there’s some good things to mine from it; lately I’ve been trying to think of art practice like a sport or like exercise— you build up skills like muscles as you create work, but sometimes you let other muscles work to cover up weaknesses and get lazy. So drills and exercises (something I think we often think are boring/simple or for beginners) are useful to help break those habits and become a little more well rounded, as well as help you regain some excitement when things feel routine, or feel more patient when you’re hitting a wall.

I solicited responses on Twitter last night and got a good slew of ideas to practice no matter what stage you’re in! I wanted to share them with you (if you have others feel free to message me and I’ll add to this list!)

  • completing a sketchbook where you work with ink or paint only- no pencil underdrawings!
  • thumbnails of existing compositions/movie stills/etc to gain better color/tonal/composition sense.
  • do warmup paintings in a found or altered book- working with type on a page gives you a compositional challenge, but is also less intimidating than a blank page.
  • do morning warm up drawings, such as doing a small lettering warm-up.
  • figure drawing sessions or drawing at a coffeeshop/public space.
  • make a list of the things you get specific about and make them iconic and simpler. Make a list of things you use visual shorthand for (a t-shirt, car, bar of soap) and get specific.
  • create a list of words/phrases and randomly pull from them, then illustrate something fusing those ideas. (magnetic poetry style!)
  • do 100 20-minute sketches from life.
  • draw with kids to find spontaneity and focus— learn from their fearlessness!
  • also, have kids as art directors giving you assignments.
  • take bad, rejected, or old sketches and spend time to fix them into a finished piece.
  • take something you’ve made/designed and translate it into the spirit of another style/time period/art movement/voice. Or try and draw it from a different perspective or viewpoint, or try and draw what happened before or after it, or draw the opposite of it.
  • give yourself an alter-ego with a totally different visual voice, and try and create work for them.
  • create a project with parameters and a goal to explore, and a set end date and accomplish it.
  • if you draw fast, try to redraw it really slower and slower, find places to add specificity. Or redraw with your eyes closed. If you draw really complicatedly and slowly, find ways to redraw quicker and simpler but still keeping the essence of the subject.
  • blind contour drawings are really great to practice seeing without assuming. Drawing upside down, working with continuous line, or drawing negative spaces of things is also a good way to think differently.
  • sitting with another person who draws, draw the same thing with your eyes closed.
  • stream of consciousness drawing.
  • change scale, draw standing up (or bonus, draw with your pencil on a dowel 3 feet away from the paper).
  • draw something you feel very comfortable drawing. Then consider how an alien would consider that thing and what it wouldn’t know about it. Is there a way to convey more personality/information into that drawing?
  • try and draw things without line.
  • try and translate your drawing into a 3D medium and then redraw it after making it.
  • the biggest thing is though: build time to practice, and DON’T TALK YOURSELF OUT OF DOING A DRILL. Think of it like a musician practicing their scales and don’t worry that it’s just for you. Sow those seeds and reap ‘em later!
Whew, I gotta stop writing books instead of blog posts, but hope you find it useful! I may need to compile a pdf sometime…

I really like both of these.

so not wanting to do like, multiple reblogs of my sketchbooks posts, what would be the best time to upload those posts?

or basically, when do you usually check tumblr?

Sketch Dailies prompt: Todd and Copper 8/21/2014