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stlop:

in tribute to this post, have some more color palettes that i’ve been keeping locked up for a while, hehe

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more than just the spare –inspired by x

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Yakimono;  color analysis | inspiration 

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fucktonofanatomyreferences:

Another superb fuck-ton of head angle references.

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meulynn:

sangcoon:

What you’d call a walkthrough on my art process I guess…

full view

there you go anon that asked for something like this……

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timepolice-art:

I just started making some references for myself, but got carried away hahah… ha :’D

I figured I’d share. I’m hoping to make a series of these things for all the drawing bits that give me trouble: woman torsos, hands, wings, different body types, etc.

I hope you also find them useful!

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Anonymous: out if curiosity what program do you use for art? and if you use pant tool SAI, what are your brush settings?

jo-scribbles:

I do indeed use Paint Tool SAI !

ok I’ve doodled up some little thingies here ok yeah (they aren’t terribly great bear with me)

SO first up we have my trusty pen tool. I use this guy for everything mostly sketching + linearts ect ect
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Next is this awesome brush thing. Good for painting?? very blendy. You kinda have to get used to scribbling with it though, to get vibrancy. Once you do, though, its GREAT for making palettes.
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This one looks a lot the same I know but its a lil different I SWEAR. I switch between these two  a lot they’re a gr8 pair for speedpainting

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This one’s kinda like the top two but its really smooth!!!! so smooth
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aaand last but not least, I like to use this nifty lil guy for backgrounds n stuff.

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(I switch between Fuzystatic & Fine_Flat a lot)

I use lots of others a lot, depending on whatever effect I need (airbrush for glowing, a smoke brush for mist/fire/smoke, ect ect) But these are my main & favourites!! (◡ ‿ ◡ ✿)

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lexxercise:

I’ve been getting a lot of asks lately about the brushes and textures I use in my work, so here’s a BIG FAT REFERENCE POST for those of you who were curious! Bear in mind that I’m really lazy and don’t know what half the settings do, so don’t be afraid to experiment to figure out what works best for you :>

BRUSHES

Pencil

I use the pencil tool with SAI’s native paper texture both for sketching and for applying opaque color with no blending. Lower opacities give it the feel of different pencil hardnesses, while full opacity makes it more like a palette knife, laying down hard-edged, heavy color for detail work or eventual blending with other brushes.

Ink Pen

Mostly made this because I’m lazy and I didn’t want to have to keep turning my textures off/opacity up when I wanted to ink something (even though I don’t do it very often), or lay down flat colors. I find the line quality to be much more crisp than Photoshop, and you can manually adjust in-program stabilization to help smooth out hand wobbles.

Round Brush

The plain ol’ brush tool acts as sort of an in-between for me in terms of brush flow. It’s heavier than my usual workhorse brush, for faster color application and rough blending, but not as heavy as the pencil tool, which has no blending at all. I like to use the canvas texture on this brush to help break up the unnatural smoothness that usually accompanies digital brushes, but it works just fine without.

Flat Brush

A brush tool set to flat bristle is by far my favorite to paint with. I don’t use any textures with it because I think the shape of the brush provides enough of that by itself. I use it for everything from rough washes to more refined shaping and polish. It’s just GREAT.

Watercolor

Best used for smooth blending, washes, gradients, and smoky atmospheric effects.

Cloud

Basically a grittier version of the watercolor tool, because too much smoothness weird me out. Good for clouds and fog, as the name suggests, or just less boring gradient fills.

TEXTURE OVERLAY

To further stave off the artificially smooth look of digital painting, I almost always overlay some sort of paper texture, and it’s almost always this one, which I scanned and edited myself. You’re all welcome to use it, no permission required!

Using overlays in SAI is just as easy as using them in Photoshop. Just paste the texture into its own layer above everything you want it to apply to, and change the layer mode to Overlay. That’s it!

Want a more prominent texture? Up the contrast. Something more subtle? Lower the contrast or reduce the layer opacity. You can also use a tinted overlay to adjust the overall palette and bring a little more color unity to an otherwise disparate piece! Just be aware that too much texture can hurt the readability of the work beneath it, so I’d err on the side of subtlety.

Hope that helps!

-L

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deltaink:

runescratch:

I’ve been asked a lot about how I draw hoods, mostly Talon’s hood, so I hope this helps a little? Just a pretty basic thing but hey there ya go

Hoods are pretty cool, they usually have a lot of variety in how they can look (and sometimes people even wear two hoods at once) so just get creative with it and have fun

MIGHTY NEED

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gigidigi:


   Hi Gigi! I wanted to ask you a question about colors! I have a problem with choosing colors when there is drastic lighting, whether its really bright light or if the characters are in a really dark, dimly lit place. I’m not sure how to choose the colors that fit the characters (that make them look like they’re themselves, and not different. I hope that makes sense!) So, how do you choose your colors when doing that sort of lighting in your comics?    — waddledoops

I hope this is a little bit helpful!

gigidigi:

   Hi Gigi! I wanted to ask you a question about colors! I have a problem with choosing colors when there is drastic lighting, whether its really bright light or if the characters are in a really dark, dimly lit place. I’m not sure how to choose the colors that fit the characters (that make them look like they’re themselves, and not different. I hope that makes sense!) So, how do you choose your colors when doing that sort of lighting in your comics?
    — waddledoops

I hope this is a little bit helpful!