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.
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.
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.
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.
🧼 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.
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.
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.
➿ 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.
🖨️ 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.
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Another exercise in nostalgia. I must have watched the entire 'Arthur' series as a child. I don't know why, but I remembered it being drawn in raw pencil lines, similar to 1977's 'The Rescuers.' I hold the series in high regard, though I find certain design choices: the stray hair-lines, the way Binky's protruding teeth are depicted who has a nose that is completely different from the others.... extremely off-putting. I also find the repetitive color palettes across characters puzzling, but the 'Pluto-Goofy' dissonance is what truly escapes me: how can the protagonist keep a pet dog when his friend Binky is a dog as well? Does Arthur inhabit a post-genetic experimentation dystopia that birthed these new 'furry' races?
You can upload the two images in their corresponding positions
(you can upload just one or all six individual square images); the application will
form the cubic maps into a seamless, high-resolution 360° projection (4096 x 2048 px).
After processing the images, you will see that the result is a single equirectangular
image. The missing images were filled with transparent space, but you can fill it
automatically to make it easier to continue coloring from that point.
It also offers the ability to project images directly onto the 3D visualization with
extreme precision. But to do that, I recommend first taking a screenshot using the
button indicated and working directly on the screenshot.
Once done, we can upload the corrected result and adjust the image until it is in the
right place and project it at that moment.
You can upload as many images as you want to project them and make large collages.
When you exit the 3D view, you will see the result displayed.
The app can also be used to view our illustrations in 360, since painting one of these
illustrations displayed in 2D causes us to lose perspective on sizes and distances,
so it is useful to review the scene in 3D from time to time.
Finally, you can upload it to an app to create explorable three-dimensional scenes
such as Marble so that you can walk through your scene and convert it into a 3D
mesh scene.
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It's curious, but I remembered the Sesame Street characters being far more expressive; it is interesting how memories work. I don't recall all these characters from my time, but the main challenge I set for myself was to imbue the puppets with greater expressiveness and life. I have sought a balance between caricature and staying faithful to Jim Henson’s magnificent design (though I couldn't provide everyone with more forehead or skull space). I worked with loose, expressive strokes to capture the personalities of Elmo, Cookie Monster, Abby, and the rest of the cast, focusing on conveying emotion through their gaze and mouth dynamics (which now feature cartoonish teeth). Do you like the redesign, or have I committed heresy?
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I recently watched “#1 Happy Family USA.” It's fantastic, and I can't wait for season 2 to come out. For now, here's my fan art of the adorable lesbian couple in one of the most hilarious scenes. In fact, if you watch it out of context, it's even funnier.
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En la web oficial de "Conguitos" de "Lacasa", no veréis productos con la mascota de la marca por lo evidente de su carga racista, pero no es difícil encontrarla en cualquier supermercado en España.
Incluso el autor original de la mascota ha expresado su desacuerdo con que siga usándose, ya no hay excusas. Si hay un momento para retirar definitivamente una iconografía que perpetúan estereotipos coloniales, es ahora.
La mascota de conguitos es de las más famosas de la Negrobilia española, que refiere a objetos, anuncios, postales y material impreso de principios del siglo XX, a menudo despectivos, que representan a personas negras en estereotipos raciales, coleccionados para documentar y estudiar la historia del racismo.
Este boceto se enmarca en la "apropiación crítica", proceso de tomar elementos preexistentes (ideas, imágenes, diseños...) y resignificarlos activamente a través del análisis, la reflexión y la reinterpretación.
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On the official website for Lacasa's Conguitos, you won't see any products featuring the brand's mascot due to its obvious racist connotations, but it's not difficult to find it in any supermarket in Spain.
Even the original creator of the mascot has expressed his disagreement with its continued use, so there are no excuses. If there is ever a time to permanently retire iconography that perpetuates colonial stereotypes, it is now.
The Conguitos mascot is one of the most famous examples of Spanish Negrobilia, which refers to objects, advertisements, postcards, and printed material from the early 20th century, often derogatory, that depict black people in racial stereotypes, collected to document and study the history of racism.
This sketch is part of “critical appropriation,” a process of taking pre-existing elements (ideas, images, designs...) and actively re-signifying them through analysis, reflection, and reinterpretation.
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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"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? 
