Origami Around
Three Goblin Art
❣ Chile in a Photography ❣
d e v o n
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JVL
Product Placement
@theartofmadeline
Stranger Things
h
"I'm Dorothy Gale from Kansas"
Love Begins
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Aqua Utopia｜海の底で記憶を紡ぐ
ellievsbear
Alisa U Zemlji Chuda
noise dept.
I'd rather be in outer space 🛸
#extradirty
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@aleakcim
Drawing Wrinkles
I made a tutorial-thing about drawing clothing wrinkles - something I’ve had a few requests for. For all the banality of wrinkles, they’re an expansive topic. Anyway, these are some previews. The full tutorial is available to all $1+ Patreon supporters. You can find it here!
shading colour tips
hey yall its me the Art Mom™ to help you shade pretty
rule 1: DO NOT SHADE WITH BLACK. EVER. IT NEVER LOOKS GOOD.
red- shade with a slightly darker shade of purple
orange- slightly darker and more saturated shade of red
yellow- i think like..a peach could work but make it a really light peach
green- shade with darker and less saturated shade of blue or teal
blue- shade with purple
purple- a shade thats darker than the purple you’re using and maybe a little pink (MAYBE blue)
pink- darker shade of red
white- a really light lavender or blue..or i guess any really light colour??
black- okay listen dont use pure black to colour anything unless you want to leave it with flat colours because you cant really shade black lol
grey- a slightly darker shade of purple or blue (less saturated)
brown- slightly darker and less saturated shade of purple or red
aaaaand thats all i got lol. let me know if there is anything i should add to this list!!
If you’re a visual learner…
I made some Balls of Colour to go with Art Mom™’s post:
Okay… I’m sorry, but as an illustrator, I think this is terrible advice. This is my opinion, feel free to believe that I’m wrong. This is purely based on my experience with color and color theory.
1) The don’t color with black thing is valid to an extent. Most painters will tell you not to use it or to use it sparingly because black will make things look flat and will heavily desaturate your colors if you’re not careful. I have a problem with telling new artists “DON’T SHADE WITH BLACK OMG NEVAH NOT EVEN ONCE” because there are valid times to use black in shadows, and when you do that, you are telling them that using black is “wrong”, which means they’re less likely to experiment and try new things. I prefer to say, “as a beginner, try to shy away from using black to shade anything until you learn more about color theory. Experiment by all means, but here are some other methods that you might like better.”
2) Telling an artist, especially a new artist to only use a specific color when shading is terrible. I equate it to giving a math student a formula to plug in on tests, but never telling them what the formula actually is or why they’re using it or why it works. It’s an absolutely terrible way to teach someone- especially in art.
There are also so many different ways to color and shade with digital art, telling someone to do it one way is really limiting and not really giving them the best advantage that they have, which is versatility. Plus with painting, there are SO many things to take into account besides the color of the shadow that is going to affect what color the shadows should be- you have local color, relative color, reflected light, and so on.
Here’s some quick and dirty tips on what I do to shade in my paintings:
A) Color wheel- decide what color the shadow is. The most common shade for shadows is ultramarine blue (for those who don’t know, it’s a staple paint color for traditional artists) for natural lighting, but experiment, experiment, experiment! Once you decide on a shadow color, pretend there’s a line going straight through the color wheel dividing it in half. If you use Ultra Blue, the opposite color is MOST likely going to be yellow depending on your art program, colors in your painting should move toward Ultra blue equallyish (there’s lots of room for fudging, do what looks best!) Yellow will be a bit of a toss up depending on your painting and executive decisions as an artist. But basically orange will be shaded with a darker shade of red, red with purple, green with teal, teal with blue, blue is like yellow, dependent on your painting and executive decision. You might choose an indigo, or something warmer (more greenish/tealish) might suit your painting. Experiment! The same works in reverse for painting things lit by direct light AND reflected lighting.
B) Blending Layers- Sometimes you want your shadows to be consistent across the board and don’t want to have to figure out exactly how each color should be altered. Using a multiply layer with a color on it (and it can be any kind of color depending on what kind of lighting you’re doing) can help you manage your values and keep things from getting disjointed. This also allows you to change the color of the shadow if you decide it isn’t working out quite how you wanted it to.
C) Quicker and Dirtier- Sometimes you just don’t want to do any kind of figuring anything out. You can take the flat colors of your painting, copy onto a new layer, and then adjust that layer’s hue, saturation, and value to find shadow colors that you like (and you can experiment with other color correction tools, don’t be shy, try new things!). Once you have a good shadow color, create a blank layer mask on the layer and then erase out bits of the mask to get the lighter colors to shine through.
And remember, if the colors look flat when you’re done, saturation is generally a way to breathe more life into things- Shadows don’t have to be just one layer, you can try doing multiple effects and layer multiple colors to achieve the look you want. Is the green shadow looking a little flat? Try putting some yellow down in an Overlay layer and see if that’ll help it pop.
These are only three of the MANY ways digital programs can help us create art. Experiment! Try something new! Don’t be afraid to mess up, that’s when you find the hidden treasures you didn’t know were there!
Now, all that said, if you have not yet, I strongly encourage you to learn some color theory. Understanding how light behaves and how colors are affected by that and how they interact with one another is something every artist should (in my opinion) take the time to learn. There are a lot of great free resources online that cover color theory and lighting. Google is your best friend! Take advantage of your access to these resources, please!
Sup. Been a while.
So I got a question asking me to clarify what I meant about cutting the color wheel in half so here we go.
using a grey, completely desaturated ball here because for this is doesn’t matter what color the flats are. This is a very typical lighting scheme. the shadow being a desaturated blue, and the highlights a very pale yellow. Paint using the colora on the direct opposite enda of the color wheel is a complimentary color scheme. But in the case of using it in shadow/multiply and highlight/screen layers with blending effects and all that jazz, we’re gonna call this a complimentary lighting scheme.
This is more close to natural lighting because we generally see natural light aka light that comes from the sun as yellow to orange. As a result, when we look at things in natural light, our eyes compensate but balancing out those very strong pale yellow colors with blue in the shadows. This is part of why when you stare at a light and you turn it off, you see afterimages of the light in the OPPOSITE color, because your eyes were compensating for the huge amount of light it was just taking in. Eyes are natural balancers/compensators/equalizers. The same happens when you shine a colored light. place an object in the light and the shadow will start to look like it’s complimentary color.
FUN FACT: This is why in hospitals surgeon smocks tend to be pastel blues and greens, to help compensate for all the red they have to stare at in surgery, sometimes for hours on end. It helps combat eye fatigue.
tbh, I have no idea what the original post was getting at with their suggestion, because if you follow those suggestions to the letter and don’t understand what you’re doing, you could end up with something that looks like crap and you don’t know why and then you blame yourself because the sample balls turned out so pretty so why did you painting not? Well none of those color balls look like they belong to the same lighting scheme, do they? Coloring something with multiple colors that way without understanding the principles of color theory is going to end up with a disjointed looking piece.
Now what if you don’t want to use natural lighting? What if you want to do a true analogous color or lighting scheme instead of complimentary? No problem, pull your colors like this:
In this case the actual direct light is leaning more blue green, so to compensate and make the shadows look as vibrant, make them more yellow green.
But Yoko, can we just choose one color and make the whole picture that?
Why yes. Yes you can. This is call a monochromatic color scheme and AKA it’s ADDING BLACK to your shadows and adding WHITE to your highlights. The colors will look much flatter and not as vibrant compared to the sample above, which is why beginners are discouraged from using black and white to shade and highlight. But you know what? Sometimes you just want that look. You don’t want a piece to be vibrant. So knowing that black desaturates helps you control the mood of a piece.
There are all kinds of crazy things you can do with light and shadow. It doesn’t even have to be one color, your lights and shadows could be multiple colors.
And they don’t even necessarily having to follow a specific color scheme (of which there are many: achromatic, monochromatic, complimentary, split complimentary, triadic, analogous, etc etc etc.)
You know who’s REALLY good at using colors liberally in shadows and highlights? Watercolorists. Watercolorists are the best at using color expressively.
Cuz
C’mon
Just
Look
At
These
Super
Neat
Paintings
So for real, just go hog wild and do what it is you like to do. Experiment. Find out what you like and what you don’t like. And remember that just because you start coloring something one way, doesn’t mean you can’t change your mind and do it different. Especially if this is art you’re making for yourself. Make art that you like. If you want to shade with black, shade with black. If you want to shade with white, shade with white. If you like your art then like your art and NEVER feel bad about it when someone tells you, “You should be doing it this way”. ESPECIALLY if it’s unsolicited feedback (but that’s a whooooole other can of worms). You can listen to feedback and use whatever knowledge you think is valuable, but you don’t HAVE to keep any of it. Throw it all away if you think it’s useless to you. That’s what’s pretty great about art; it’s not a math equation.
Trash Queen Out.
Foreshortening tips.
If you have a problem with forshorten characters and need tips, check out my simple guide. These are just basic foreshortening tips. I am planning to do even more on the topic of perspective and foreshortening.
Check it by subscribing to my Patreon: http://bit.ly/foreshortening_basics
Your support helps a lot!
The lovers at the crossroads
A step by step process and PSD file of this will be available at my Patreon on february 1st!
Photoshop Tutorial: How to paint water in 10-ish steps. Reblog to save a life.
I’ve received a lot of letters from artists asking to check out their artwork and their blog, and I’ve noticed that a lot of them openly write unhealthy amounts of negative comments about their artwork, it was super depressing, honestly. :( Confidence plays a very very important role as an artist, it’s what helps us learn and grow without the constant feeling of doubt and jealousy! You are a unique individual who must go down your own unique path, and as scary as it sounds, you can’t rely on others to hold your hand all the way through. You are the only one who can get yourself to where you need to go, and beating up your artwork is not the way! Trust yourself and your abilities to make a change, and you can do anything!! Love your art, love yourself!
TIME MANAGEMENT STUFF / TERM 7
I’ve got a lot of questions about this during my Art Center time, so I drew it ! This system came from when I had to manage my time during art high school (8am-5pm everyday) with 2 waitress jobs. Everybody has different working method, but I will be more than happy if anyone gets new idea from it !
Better quality : https://www.behance.net/gallery/37722243/Time-Management-Stuff
The Maple God
Dr Martins Hydrus watercolors, faux sable brushes, Deleter white 2 ink, zebra brush pens, Arches hot press watercolor paper, audioblocks piano track.
Some Photoshop Tips
I’ve been getting quite a few asks about the process for the patterns in my stylized artworks, so I decided to put together a couple of tips regarding them.
Firstly, what you need are
— CUSTOM BRUSHES —
Most of the patterns I use are custom brushes I made, such as those:
For the longest time I was convinced making brushes must be super extra complicated. I was super extra wrong. All you need to start is a transparent canvas (2500px x 2500px max):
This will be your brush tip. When you’re satisfied how it looks, click Ctrl+A to select the whole canvas and go to ‘define brush preset’ under the edit menu
You will be asked to name your new glorious creation. Choose something that describes it well, so you can easily find it between all the ‘asfsfgdgd’ brushes you’ve created to be only used once
This is it. Look at it, you have just created a photoshop brush. First time i did I felt like I was cheated my whole life. IT’S SO EASY WHY HASN’T ANYONE TOLD ME
Time to edit the Good Boi to be more random, so it can be used as a Cool Fancy Pattern. Go into brush settings and change whatever you’d like. Here’s a list of what I do for patterns:
- under Shape Dynamics, I increase Size Jitter and Angle jitter by 5%-15%
- under Brush Tip Shape, I increase spacing by a shitload. Sometimes it’s like 150%, the point is to get the initial brush tip we painted to be visible.
- If I want it to look random and noisy, I enable the Dual Brush option, which acts like another brush was put on top of the one we’ve created. You can adjust all of the Dual Brush options (Size, Spacing, Scatter, Count) as you wish to get a very nice random brush to smear on your backgrounds
The result is as above. You can follow the same steps to create whatever brush you need: evenly spaced dots that look like you painted them by hand, geometric pattern to fill the background, a line of perfectly drawn XDs and so on.
BUT WAIT, THERE’S MORE
— PATHS —
But what if you want to get lots of circles made of tiny dots? Or you need rows of triangles for your cool background? Photoshop can do all of that for you, thanks to the magic of paths.
Typically, paths window can be found right next to Layers:
Draw whatever path you want, the Shape Tool has quite a bit of options. Remember, paths are completely different from brush strokes and they won’t show up in the navigator. To move a path around, click A to enable path selection tool. You can use Ctrl+T to transform it, and if you move a path while pressing Alt it will be duplicated.
Now, pick a brush you wish really was in place of that path you’ve drawn and go to layers, then choose the layer you want it to be drawn on. Then, click this tiny circle under the Paths window:
Then witness the magic of photoshop doing the drawing for you while you wonder how tf have you managed to forget about this option for the past 2 years
You can combine special brushes and paths for all sorts of cool effects. I mostly use them in backgrounds for my cards, but you can do whatever you want with them.
I hope that answers the questions for all of the people who were sending me inquires about the patterns. If you have any questions regarding this or any other Photoshop matter feel free to message me, I’m always up for complaining about how great and terrible Photoshop is C’:
Here is a Process GIF for Page 7 of Chapter 8 from my webcomic Daughter of the Lilies. If the GIF isn’t loading here on Tumblr, click on the very next link that will take you through to Patreon.
Click here to read an entire breakdown about the process on Patreon.
Credits: Perspective Grid by Beast_Pixels on Twitter (Grid Source) Flats by @roseyroseymae Colors by @yokoboo
PRINT NOW AVAILABLE IN THE HIVEMILL STORE
I made a little video on ink techniques that I’ve learned this month during Inktober!
Little relaxing process video of the pups from yesterday
Again this is my personal take on color! It really depends on the situation and what you personally value, and in the end practice is your best friend.
links:
genice’s color practices
color palette challenge (one iteration of it; there’s lot of people who made them)
(not mentioned, but helpful)
Patrick (H) Willems’s video essays on color in film; specifically his ones on
Wonder Woman and Marvel
I thought he had one on John Wick too but I can’t find it. If you like saturated colors though, check that movie out!!
those are only a couple of exterior references, there’s lots out there!! so good luck & I hope this helped!!
New Kickstarter Collection!
We’ve added 3 amazing new dinosaur skull pendants, 3 new prehistoric earrings, and we’re very excited to introduce a new line of fossil pendants!
Dinosaur Skulls
Our sixth collect starts with three iconic dinos: The Archaeopteryx, Triceratops, and Tyrannosaurus Rex with a “Must go faster” hinged jaw! ;-)
Brand New Fossil Pendants
We have always been fascinated by fossils. They are snapshots of the past that let us travel back in time. Using a 3D depth mapping process, we’ve created a brand new series of framed relief fossil pendants including the famed Berlin Specimen Archaeopteryx discovered in 1875.
New Prehistoric Skull Earrings
We’ve also added to our popular line of skull earrings. You can now adorn your lobes with the Dire Wolf, Saber-Toothed Cat, or Velociraptor.
Available Now!
Everything is available now at special Kickstarter prices, which are 30-40% lower than retail! Click here to see the new skulls & fossils!
I need them all 😂
Your work is amazing, and I consider you one of my top artistic inspirations. HOW, I beg you, HOW do you make things so fluid? Your panels are so cinematic, it’s ridiculous (also thistle is adorable)
1. th-thank you very very much
2. th-thank you again!
Ah, well, DotL’s compositions probably come off as cinematic because I tend to mentally develop stories as movies that play in my head, but also, and more prominently because I have some experience in Storyboarding. In fact, a lot of the fundamentals of Storyboarding translate incredibly well to comics, like:
Screen Direction
180-Degree Rule (and how to break it without confusing the audience)
Variation of Shot Types (close, mid, wide, etc)
Emphasis on Silhouettes and Clarity of Poses
Rule of Thirds for Interesting Compositions
Keeping Compositions Clear & Consistent Across Cuts
and so on and so on
Framed Ink is an incredible and essential book for people who want to learn the basics of cinematic compositions and the essentials of storyboarding. On top of that, the author (Marcos Mateu-Mestre) is both a Storyboard and Comic Artist, and the book provides examples in and from both mediums to illustrate his points (and wow, his draftsmanship… he’s amazing…)
An additional exercise you can do is watch any show or movie you really love on mute, and quickly scribble out studies of the framing and composition of each shot as the movie plays. Spielberg films are the best for this exercise. He’s a master.
(they don’t have to be this clean, your drawings have to be just clear enough to communicate the elements of the composition)
This is a nice transition into making things look fluid, because drawing this quickly will also help you loosen up and make your lines more gestural. Additionally, if you like to do gesture drawings or are good about doing timed studies, you can set your custom timer to 10 seconds to train yourself to be even looser and focus on the essence of the form you’re drawing. Practice training your eye to find the Line of Action as you do this, too, and learn to work this into your comic or illustration work.
Shoot, I hope that’s enough for you to start working with. I know that feels like a lot to look up and start thinking about, but over time it’ll become second nature.
3. th-thistle thinks you’re adorable too
Hey I'm in the beginning stages of a graphical nice and just wanted to ask: Should I draw the whole thing as a greyscale piece, or all lineart, or should I complete each page and I go on? Basically, should I do the entire thing at "low quality" before I start finishing individual pages, or should I do each page one by one? ^^" sorry for the confusion ask
OKAY DUDE I GOT AN ANSWER FOR YOU THAT’S BOTH GOOD NEWS AND BAD NEWS: There ain’t no right answer to this question!!!!
Everyone’s process is very different because people are very different, and they’ve developed and finessed their process based on their experiences and what they found has worked well for them.
By which I mean, I can’t give you something that reads like “Aha! Well, here is a 10 step list of how I do things that works,” because what I do might not work as well for you. BUT! I can try to give you some things to be thinking about, that should hopefully help your confidence as you move forward, and I can tell you about what I do so you can have some ideas you can try out and potentially use as your starting process.
Keep reading
Library books art hack by @danarune on Twitter
:eyes:
