Tijerín Art

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Salinar Couple (Pareja Salinar)

Cataloging Code: ML004443

Location Code: NGE-V05-001

Culture: Salinar

Provenance: North Coast - Chicama Valley - Salinar

Rowe: Early Horizon (800 BC - 200 BC)

Sculptural Stirrup Spout Bottle

As soon as I saw this figurine from Ancient Peru... with those mischievous faces... wow, it's fantastic. You really have to see the original to understand what I mean: https://coleccion.museolarco.org/detail/4443

It's actually an illustration from last year; I don't have a video of the process, and I spent quite a bit of time on the line work, unlike now when I usually just add color and work on highlights and shadows much faster.

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Wait, was it a Spanish-Japanese animated series?

I remember watching a few episodes of "Around the World with Willy Fog" and it really evokes very pleasant feelings in me. I remember it as a very calm and entertaining series. I really wanted to do an illustration (especially of Willy Fog), but since the list of illustrations to publish is so long and the list of series I want to redesign is enormous... it ended up taking me almost half a year to finish the illustration, even though I wanted to do it at the beginning of this year.

Do you also remember this series? Because I think it's a very beloved series.

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After discovering that "Around the World with Willy Fog" from 1983 was partly a Spanish production, I continued investigating and saw that Sandokan 1992 is also a Spanish animated television adaptation; although curiously, I barely remember it compared to the 1998 adaptation. In any case, it's worth checking out nowadays; the series cover you see here doesn't represent the quality of the designs and the final animation of the series.

I really would have liked to make the characters a bit more cartoonish, smaller, and with bigger heads because I think it would be more faithful to the style of the series. But it turned out this way; I hope you like it.

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Seated female figure with geometric body decoration - Nayarit - Lagunillas - Mexico

Standing female figure - Central Mexican Highlands (No. 52 22 MA FA 57PJ 351)

Amparo Museum in Puebla, Mexico

I've done it again! I love pre-Hispanic figures, and the Amparo Museum in Puebla is a gem; it has a ton! (Although I admit I'm not 100% sure that the seated figure from "Nayarit - Lagunillas" is from this museum).

I wanted to push the lighting I've been doing lately to create something between the lighting of the figurines and that of a real person. I don't know how it turned out; maybe I'm only halfway there. I think that perhaps with more texture I could have had more creative possibilities, but the truth is that adding textures is something I don't want to get into.

#MuseoAmparo #Puebla #México #Altiplano #prehispanico #figurillas

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Little Demon (from 2022) was a series I enjoyed, and I was very sad when it was canceled. I think it didn't get the attention it deserved, and to this day, I'm surprised by how few people even know it exists. The truth is, I had a lot of fun making this particular fan art, and I hope that whoever sees it, even if they weren't familiar with the series, will at least be interested in watching the trailer.

I forgot to post this illustration on Saturday morning as usual. The wildfires in Spain have me very worried and distracted. I hope the situation is resolved as soon as possible now that resources from several European countries have arrived to help with the firefighting efforts, and that the ecological disaster doesn't get even worse.

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Many were already wondering when he would redesign the famous "Stivenson" series. The world-renowned and highly successful "Aprende con los Stivenson" series is by no means a blatant rip-off of any American animated show.

I think we all remember that episode, "Help Matt and Linda hang the laundry by tracing the dotted lines," which changed so many of our lives. Undoubtedly one of the franchise's great classics.

Who didn't have one of these Spanish educational magazines from the 1990s at home, costing 300 pesetas (VAT included)? A true classic, undoubtedly one of the great works Spain has offered to the rest of the world—and yet it’s so underappreciated!

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I recently found this other drawing from that project that started this series of sketches I began uploading every weekend about six months ago. It was an illustration project that ultimately fell through. I remember it was something like the aesthetic of the Metro video game, but with small anthropomorphic animals. I added color because I'm used to adding it to everything I upload, but I never really settled on the colors, the tone of the story, or even who the main character was. I hope you like it; it's better to publish sketches before they end up forgotten in a drawer.

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Sculpture from the Tairona culture: 12.5 cm high, 18 cm long and 4 cm wide.
I find these sculptures quite entertaining; I might make some more, amongst other redesigns of animated characters. This photo illustrated the following text from the work ‘Erotic Representations in the Art of Pre-Hispanic Colombia’, by Hugo Sotomayor (Bogotá University Foundation for Health Sciences): ‘Within indigenous systems of thought, sexual relations between people were not conceived as isolated acts, but were always considered as part of a whole, within their concepts of health, illness and their cosmogonies.’

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As a child, I remember watching some episodes of the Angela Anaconda series. I don't recall disliking it back then, but now as an adult... I suppose I'm not saying anything new when I say it makes me extremely...w uncomfortable. I saw some of the making-of footage; I understand how revolutionary the technique is, and I understand the aesthetic result stemming from a somewhat experimental project. But I'm incapable of watching a single shot without wondering... what on earth were they thinking when they made this?

I haven't seen anything of the new series. I don't agree with the characters now having normal skin instead of white; it's not a decision I like, but I understand it's a fundamental pillar of the series' aesthetic.

*Wait, what do you mean "the series has 65 episodes"?

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I was inspired by a Discord user's argument defending how sexy David the Gnome really was, and I decided to do... this. While drawing it, I discovered it's a Spanish animation! Am I the only Spaniard who didn't know that?

Everyone knows who David the Gnome is, but does everyone remember how he bathed? There are even figurines of him. So here I am to remind you how he used to dry himself with a bath towel.

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I came across these figures on Google while searching for a product, and then I saw that they're relatively popular, at least judging by all the photos online. They really inspired me; I wanted to create a less brutalist and more endearing representation of this cave-family. I took the opportunity to place the light source at the bottom. My idea was that they would be illuminated by the light entering through the cave entrance and bouncing off the floor, along with the magical light emanating from inside the cave where this sort of giant terrestrial octopus once lived. I really like how squat they look; it would be fantastic to do a project just with dwarves in a similar desing.

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I absolutely loved BlackBook back when I first played it; I even did a nice sketch of it back then, which I stumbled upon the other day while cleaning up my computer. Since it’s been so many years, I decided to give it a remake and add some light and shadow so it would fit in with the rest of the illustrations I’ve been working on lately. Seriously, if you have a spare moment, you should give it a try—it’s a very evocative indie game that’s a pleasure to get lost in.

*It's not a spolier, it's just a fan art of Vasilisa and the demon dead mermaid Rusalka; they would make a cute couple.

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"The Muppets Hollywood Bowl Shows" is one of those pieces of Muppet history that has always given me a special feeling, although I admit it wasn't something I remembered very well. I've always wanted to try to create a drawing worthy of Miss Piggy (it's not the first time I've sketched her) with an absolute diva touch. But Kermit, Fozzie Bear, and Gonzo are also there, maintaining the essence of the original designs but with a slight redesign of the camera structure to improve facial expression.

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I was looking for something new to draw, and when I heard about "Lloyd in Space," it caught my eye. Trying to find a good frame with all the characters together to practice composition, I ended up watching two or three episodes before I realized what I was doing.

The original design has that distinct early 2000s aesthetic. The process led me to rediscover some really fun character designs, although the danger of watching the entire series in one afternoon was very real. Has anyone else ever gotten stuck in a loop of classic cartoons looking for references?

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I really wanted to draw the girls from Bikini Bottom in the SpongeBob SquarePants universe: Sandy Cheeks, Pearl Krabs, Karen Plankton, Mrs. Puff, Margaret SquarePants, Sam Star, Princess Mindy, and, of course, Queen Jellyfish. It’s been many, many years since I last saw anything from the franchise, but now, to my surprise, there are tons of series and movies I didn’t even know existed. I’ve only included the characters I was familiar with... I really need to catch up on all of this.

The hardest part was drawing Puff’s body, and I’m not entirely sure how I feel about how Pearl’s body turned out. But I hope you like it; as always, you can find the making-of video on Instagram: @art_tijerin

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"Donkey Kong 64"—doing the math, I was four years old when it came out, so I'm not nostalgic. In fact, I'd say the first video game I remember is Brother Bear from 2003, and then the games for the "V-Smile Pocket, VTEC Interactive Learning," which was extremely popular in Spain for young children in the mid-2000s.

The thing is, I find the character designs, frankly... very unappealing. Maybe I've committed sacrilege with this redesign, but it was fun redrawing the cover and giving it more dynamism.

*Unfortunately, I don't know exactly how, but I lost most of the behind-the-scenes video of the illustration. What a shame.

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¿Alguien más a leído el comic "Pan de ajo" de Sabela Prendes? Esta guaaaapisimo. Va de una adolescente de 15 años a la que le gustan las chicas en un pueblo español perdido, no hay página que no te haga sonreír.

Tan solo mira las etiquetas: amor imposible, gótico, lesbianas, terror, 4º de la ESO, pueblo

200 paginitas que se pasan volando.

No suelo hacer este tipo de cosas, pero aprovechando que este año tengo esto del reto de hacer 1 dibujo a la semana, he pensado que podría hacer esto también para esta maravilla.

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"Moses & Plato - Last Train to Clawville" is one of those games that grabs you from the very first minute. I love its noir and detective atmosphere, but it's much brighter (in every sense) than in previous games in the series. It's very interesting to see how the team decided to go with this cartoon style for the anthropomorphic characters.

I was fascinated by the care put into the environments and how everything moves to the rhythm of the train. The fact that you can explore everything in 360 degrees allows you to appreciate details in the backgrounds that tell stories on their own, and I think that's where the soul of the project truly shines. The chemistry between the main duo and the romance that develops with the male lead are truly captivating. Did I mention that it takes place on a beautiful train?

Have you played this game or any of the previous ones in the series?

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I discovered 'The PJs' completely by accident while looking for some stop-motion series references, and although I haven't seen a single episode, I liked the original designs from the first moment—very chibi style, if you ask me. I'm surprised I didn't know about it because a stop-motion series isn't exactly easy considering there are so many characters. My intention with this redesign was to refine the facial features to give them a more modern and solid visual finish. I mainly focused on working on facial expressiveness, but along the way, I appreciated even more the design work that had been done in the modeling. I hope I've achieved a cleaner visual style. Does anyone know the series well, or has anyone become curious about it now that they know it exists?

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I was recently looking for the cover art of another series when I stumbled upon Bucky O'Hare by pure chance. I must confess that I had no idea this series existed, but I was immediately drawn to that aesthetic so characteristic of late 80s American animation. It was curious to discover that it wasn't just a cartoon, but part of a much larger franchise originating from comics. As I began investigating, I couldn't help but notice certain design similarities; for instance, the character that looks like a duck is... almost identical to Daffy Duck, which gives him a very familiar yet somewhat repetitive silhouette. My goal with this redesign was to try and distance it from those references and give each crew member more consistent volume and their own structure, seeking more organic shapes that provide visual weight. I wanted the design to move away from that sense of flatness and achieve much more pronounced facial expressiveness. Does anyone here happen to be a fan of the original comics, or does the show just ring a bell for you?

tutorials

Gaussian Fo

Gaussian Fog Generator is a utility designed for 3D artists and Gaussian Splatting enthusiasts. It allows you to create high-quality, customizable volumetric fog and point clouds that can be exported directly into .PLY format for use in your favorite splatting viewer.
What is it?

Unlike standard particle generators, this tool is specifically built to simulate the visual density and data structure of Gaussian Splats. It provides a conceptual 3D visualizer with a multi-layer parallax system, allowing you to preview the depth and color distribution of your fog before exporting.
Key FeaturesVolumetric Precision: Define the exact dimensions of your fog volume (Width, Height, Depth) with a synchronized locking system for uniform scaling.
High-Density Clouds: Support for up to 50,000 splats with real-time visual feedback.
Dual-Axis Color Gradients:Depth Gradient: Blend colors from Front to Back (Z-axis).
Vertical Gradient: Blend colors from Top to Bottom (Y-axis).
Bias Control: Use precision sliders to shift the weight of the gradients for non-linear, organic transitions.
Generation Algorithms: Choose between a perfect Ordered grid distribution or a natural Procedural randomized cloud.
Interactive Parallax: Explore your creation in a conceptual 3D space with a reactive parallax system that responds to your mouse movement.
Professional UI: A clean, dark-themed interface designed for creative focus and color accuracy.
How it WorksSet Dimensions: Adjust the volume area. Use the lock icon to keep proportions uniform.
Configure Splats: Set the number of points, their opacity, and scale to achieve the desired density.
Define Colors: Pick your Start/End and Up/Down colors. Use the bias sliders to fine-tune the color transitions.
Preview: Move your mouse over the visualizer to explore the depth and parallax effect.
Export: Hit the "Export PLY" button to download a standard Gaussian Splatting compatible file.

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tutorials

Gaussian Iridescence Architect is a professional-grade utility designed for 3D artists and researchers working with Gaussian Splatting. This tool allows you to "paint" directional iridescence and complex color reflections directly into your .ply splat models by manipulating Spherical Harmonics (SH).

Key Features:Directional Iridescence Control: Define unique color shifts for Top, Bottom, Left, and Right viewing angles using an intuitive schematic viewport.
Multi-Layer Editing: Stack multiple iridescence effects using SH1 and SH2 layers for non-linear, highly complex material behaviors.
Hardness & Intensity: Fine-tune the "falloff" of your reflections, from soft pearlescent glows to sharp, mirror-like metallic highlights.
Real-Time Schematic Preview: Visualize your iridescence logic instantly through a multi-ring splat simulation before exporting.
Advanced Attribute Filtering: Surgical precision in application. Filter effects by Splat Scale, Opacity, or even specific original colors with adjustable tolerance and inversion options.

How to use:

Import your binary .ply Gaussian Splat file.
Create layers and adjust directional colors.
Use Attribute Filters to target specific parts of your model (e.g., only small splats or only splats of a certain color).
Export the modified .ply and view it in any standard Gaussian Splat renderer.

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I'm warning you, this isn't a color study; I don't have the patience for something like that. It's a paintover. I wasn't even born when the series ended, but it was definitely one of my childhood favorites. I remember it fondly. Now, seeing how it was made and paying attention to all the details of the costumes, I truly think it's incredible that something like this was accomplished and turned out so amazingly well. Even today, I can't believe it. I encourage you to at least look at the behind-the-scenes footage.

While researching the work of the creators behind the legendary "Dinosaurs" series, I stumbled upon a gem from 1996 that (I confess) I knew nothing about: Aliens in the Family.

It turns out they share that unique aesthetic of puppets and animatronics that only Jim Henson's studio knew how to achieve. This particular frame caught my eye; I simply couldn't resist working on it. I think it will be the last paintover I do; the truth is, I don't enjoy it as much as doing line art.

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A redesign of several costumes and... creatures? from The Sims franchise. This time, while translating the 3D models from the game, I wanted to apply lighting that gives them a 3D-modeled feel; does it work? I hope I've managed to at least make the faces more appealing and expressive. Some of the original costumes are... quite terrifying, to be honest.

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I recently discovered the British series 'Fantomcat,' which ran for two seasons back in 1996—the same year I was born. The character designs are quite unique; it is a style rarely seen in classic animation. In my version, I focused on defining the forms more clearly, as I found the original linework lacked consistent volume. I also applied a more pastel, less saturated color palette, which I believe better suits the aesthetic of a project with this theme.

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Burundis: Enredos y Marañas (2003). I previously developed this series of sketches, focusing on the technical challenge of reinterpreting traditional animation designs to provide them with more consistent volume. Throughout the process, the results leaned closer to illustration than animation. I have since refined these sketches and applied color, aiming to preserve the essence and attitude of the original expressions while establishing a more defined facial structure.

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I've been really enjoying watching Strip Law lately. Irene's antics are particularly fun to watch. I'm glad to see there are still some animated shows on Netflix, but it's clear they've drastically reduced their animation department, laying off creatives and canceling a lot of projects. I hope things improve.

tutorials

SplatCraft is a high-performance, browser-based utility designed to bridge the gap between traditional 3D geometry and Gaussian Splatting. It allows users to convert static 3D models and 2D images into discrete point-based datasets that mimic the appearance of Gaussian Splats.

1. What is this tool?

SplatCraft is a "reconstruction engine" that lives entirely within a single HTML file. It leverages Three.js for 3D processing and React for its modern, glassmorphism-style interface. Unlike traditional renderers, SplatCraft doesn't just display models; it "disintegrates" them into thousands (or millions) of colored particles (splats) that carry position, color, transparency, scale, and rotation data.

2. What is it for?Asset Conversion: Converting standard 3D formats (OBJ, GLB, FBX) into .ply
files compatible with Gaussian Splatting viewers.
Volumetric Sampling: Creating "cloud" versions of 3D objects where textures are baked directly into the points.
Image Projection: Turning a 2D photograph into a 3D "Image Plate" (a volumetric screen) with depth-aware point distribution.
Prototyping: Testing how different sampling densities (from 10K to 1M points) affect the visual fidelity of a 3D reconstruction.

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"The Land Before Time" is one of the films from my childhood. I wanted to revisit it, and I didn't remember the characters looking like this at all; furthermore, there are many characters I don't recognize, as the saga is much larger than I had thought. There are certain graphic choices that... I don't quite like. But importantly, while it's understood that the resemblance to the original dinosaurs is relative due to the stylization process, Ducky has such a loose design that she doesn't even resemble a Saurolophus; I don't understand why she has the privilege of having hands and the rest do not. My focus was on the resemblance to the real species, while also simplifying details and rethinking the silhouette. It's my way of honoring a character design that already managed to convey innocence and adventure through soft lines and rounded shapes.

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"Los Lunnis" is one of the series from my childhood that aired on public television; it was an excellent show. I was one of those who went to sleep when the Lunnis sang the song "vamos a la cama". Did anyone else know they released video games? One was even for the Nintendo DS! My goal has been to capture the essence of their expressions and the identity of each original design, from the witch Lulila to Lucho. While working on these redesigns, I realized there are several species involved: some have pointed ears and no nose, while others have noses but round ears, and some even share specific traits. Is there some underlying lore here that I am unaware of?

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A user on DeviantArt suggested that I reference the classic series 'The Get Along Gang' (which I was completely unfamiliar with) to reinterpret it through my current style. The goal of this sketch is to do so without altering the essence of the original 1980s designs; I have even tried to respect the proportions. Facial and physical expressiveness are the elements I have refined the most, alongside an effort to give Montgomery, Dotty, and the rest of the group a more solid, organic, and cohesive aesthetic while maintaining the original poster's composition.

tutorials

Quick GAUSSIAN SPLATT Editor

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If you like the app, please consider supporting me so that I can continue working as an artist and publishing these types of tools. Any help is greatly appreciated.

Technical Specifications & Official Description
Quick Gaussian Splat Editor (QGSE) is a high-performance, professional-grade browser application optimized for real-time visualization, editing, and optimization of 3D Gaussian Splatting datasets (.splat, .ply, and .spz). Engineered with custom WebGL shaders and a non-destructive layer composition pipeline, it allows you to sculpt, paint, clean, and project texture maps directly onto point clouds with desktop-class performance.

Key Features & Workflow Modules

📦 Loading & Project Management

Multi-Format Support: Instantly load individual .splat, .ply, or .spz files.
ZIP Drag-and-Drop Archive: Drag a single ZIP containing multiple splat layers to automatically create and align an independent multi-layer workspace.
Production Exports:
- Export PLY: Consolidated, standard-compliant binary PLY coordinate clouds that merge all visible layers.
- Export ZIP / SPZ: Packs each active layer individually into highly compressed .spz formats inside a single ZIP file to preserve non-destructive editing nodes.
- Additionally supports high-res PNG captures, SOG files, and 360° turntable animations.

🗂️ Non-Destructive Layer System

Independent Layer Stack: Easily show, hide, duplicate, rename, or merge individual layers.
Gizmo Transform Inspector: Keep precise Position, Rotation (in degrees), and Scale (X, Y, Z) vectors visible at all times. Click coordinates to type values directly or drag axis labels to adjust properties continuously.

🎥 Cinematic Camera Controls

Orbit & Pan: Right mouse drag to rotate · Middle mouse drag (or WASD / Arrow keys) to pan · Scroll wheel to zoom.
Speed Modulation: On-screen parameters to alter camera travel and rotational sensitivity to handle macro and micro scenes gracefully.

🖌️ Precision Brush Tools

Selector: A circular, 2D ray-based painting brush that highlights selected splats in a high-contrast magenta/rose tint. Isolate and manipulate points on the fly. Left Ctrl + drag deselects. Invert selections instantly with the I hotkey.
Sculpt (ZBrush-Style): Drag-displace splats along camera normals or brush contour paths. Features customizable strength (displacement amplitude) and boundary stiffness falloffs. Splats in range glow with a warm yellow outline.
Lasso Selection: Click and draw customized shapes. Powered by a stabilized and debounced path-tracing selector to capture complex structures cleanly.
Clone (Stamp Tool): Capture a selected region of points and stamp replicas onto customizable virtual depth planes in 3D space.

🎛️ Local & Global Edit Panel

Fine-Tune Adjustments: Adjust Hue, Saturation, Luminosity, Splat Size, Opacity, and Tint Strength via smooth slider controls.
Targeted Scopes:
- Global Mode: Modifiers apply across the entire layer.
- Selection Mode: Restricts impacts to masked/selected points.
- Color Select Mode: Targeted hue isolation. Edits only affect a specific color tone within your active selection boundaries based on a tunable color tolerance percentage (ideal for shifting specific textures without bleeding into adjacent structures).

🗺️ Projection Texture Mapping

Draw, project, and bake static PNG textures directly onto Gaussian Splats from current camera viewpoints representing localized visual context.

🧊 Volumetric Modifier Areas

Define non-destructive regional bounds using Box (linear) or Sphere (radial) volumes to drive shaders natively:

Gradient Areas: Apply live, non-destructive coordinate color gradients, opacity falloffs, and custom contrast balances across specific zones. Supports inverting masks (Cut Inside vs Keep Inside).
Mask Areas: Instantly crop or isolate heavy sections of the dataset for cleaner editing, previews, or export pruning.
Color gradient: It is able to average the color splats from the interior of the area to achieve a blur effect that is very useful for quickly removing mistakes.

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🧼 Intelligent Cloud Cleaners

Automated dataset cleaning tools to strip artifacts instantly:

Statistical Outliers: Isolates and deletes scattered, distant points based on neighborhood density metrics.
Denoise: Targets and wipes abnormally small floating "spores" or noisy artifacts.
Opacity Filter: Automatically purges semi-transparent, low-importance splats.
Color (Chroma Key): Sample pixels using an active Eye-Dropper tool to erase background green-screens or specific studio backdrops with variable chromatic tolerances.
Random Thinning: Procedurally deletes random points to lighten overall file weights.

Automated Cleaners

Advanced Procedural Operations

🛠️ Restorer (Hole Patching Studio)

A multi-stage spatial generator designed to bridge structural gaps or camera blind-spots:

Draft 3D Boundaries: Place custom wireframe vertices manually directly in 3D viewport coordinates over the empty zone.
AI Projection Reference: Export the wireframe-masked camera perspective directly to your PC as an absolute visual frame to guide external AI Image generators (inpainting).
Mesh-to-Splat Conversion: Re-import references or use built-in synthesizers to procedurally populate and build dense Gaussian points tracing the exact contour of the new geometry.

3D Restorer

➿ Multiply (Density Densification)

Calculate centroids of thin point clusters inside designated volumes, interpolating the coordinate structures to procedurally inject new splat particles. Generated children points inherit averaged local color values, rotations, and dimensions to avoid visual blurring. High-Fidelity Splat Print

🖨️ Print (Surface-Aligned Detail Transfer)

The ultimate tool for projecting high-definition detail into blurry regions:

Duplicates high-fidelity details from scanned regions and stamps them into low-fidelity areas.
Adaptive Elevator Grid: Rather than losing definition through chaotic point stretching, QGSE employs a custom virtual 2.5D grid dividing the workspace into sections on the X and Z axes. The splat points act as unified "elevators"—raising or lowering locally without stretching relative distances.
Contours & Color Adaptability: Dynamically conforms, blends, and color-mimetizes the high-definition stamp into the contour of the destination surface.

🎭 Project (Local Retouch Node)

Nondestructively brush, projection-tint, or filter chromatic variables across sections. This allows you to correct lighting errors and scanner flares locally without deleting point coordinates.

Low-Level Viewport Enhancements

Manage rendering performance dynamically via dedicated system toggles:

Center: Re-focuses the look-at camera target to the calculated visual center of your active layer.
Solid: Overrides soft transparency blend modes, forcing true depth Z-testing and opaque rendering to reveal the raw underlying structure of the 3D data.
LOW (Adaptive Draw Calls): Intelligently skips distant splat calculations, providing massive frame-rate (FPS) boosts on lighter computers or mobile devices.

Spherical Harmonics

Iridescence Retention: Updated the parsePly parser and internal modifier systems (cloning, deleting, and active layer updates) to slice, preserve, and pass through the rest Spherical Harmonics coefficients.