Attack for @bybliks-blog!!
There's something in the sewers... Character: Byblik
!!!! ❤❤❤❤!!!!

Product Placement
Fai_Ryy
"I'm Dorothy Gale from Kansas"
Lint Roller? I Barely Know Her

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The Bright Sessions
The Bowery Presents
Game of Thrones Daily
taylor price

ellievsbear
occasionally subtle

roma★
Cosimo Galluzzi

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bliss lane
Phantogram Three
Claire Keane
I'd rather be in outer space 🛸
The Stonewall Inn
PUT YOUR BEARD IN MY MOUTH
seen from Colombia
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seen from Malaysia
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seen from Türkiye

seen from France
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seen from Ecuador
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seen from United States

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@bybliks-blog
Attack for @bybliks-blog!!
There's something in the sewers... Character: Byblik
!!!! ❤❤❤❤!!!!
Getting back what's mine
Spy comes for his Kit. A continuation to The Next Morning - Snieprspy Edition
As always, this was supposed to be one page and turned into this
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HII my character & shape design tips PDF is now available! ^_^ hope you enjoy !!
BUY HERE
a little while ago someone asked me how i do my fur, so i made a guide!
the following tutorial was originally written for chickensmoothie's oekaki (chickenpaint v2). ymmv using this guide for other programs, though i have done my best to make this guide general!
1. choose colors, lay down your base
if you want your base to have an established pattern (like stripes, spots) do so now while coloring your base!
personally i have only tried this technique with a limited amount of colors (3-4), but it should be possible to use whatever colors and as many colors as you like!
if you have a hard time choosing colors, you can stick to black and white and instead practice only using values (dark and light). later on, you can use a color mode (like "overlay") to colorize your artwork in cs, or drag your artwork to another program where you can color it instead!
be aware that the next step is blending (during which new colors are created and some colors might not "blend well"!)
2. blend
i blended here using the default watercolor brush on cs!
if you have difficulty using the watercolor brush (or do not have access to it), you can alternatively try a low opacity pencil/pen, the air brush, or a soft edge eraser.
i blended on the base layer, but we'll be doing the "fur strokes" on a new layer above (taking advantage of "clipping" layers, to keep our brush strokes within our base!)
i like to leave some "brush strokes" of my blending tool visible to make the base more visually interesting! but you can try for a more smooth gradient if you prefer the look of that
creating a nice base is a super essential step!
for more realistic animal coats, you should follow the anatomy of your subject. for example, coloring the "upper coat" darker and the "undercoat" lighter
be sure to account for the patterns of your subject too, don't blend them out too much or they might lose their shape!
3. following the fur direction, start adding brush strokes
make a new layer above your base, this is where you'll add your individual fur strokes!
using a small brush with size sensitivity and opacity sensitivity, go between each section of color, using the base colors already set down
using varying size and opacity, continue to add small lines of color to resemble fur strokes. for longer fur, draw longer strokes. for shorter fur, draw shorter strokes
eventually, i will use the color picker between strokes to add more variation in color
the goal is to use the blended colors we created during step 2 to "blend" out sections, making a gradient with individual fur strokes
you don't need to color pick often if you remain in areas of "similar" color!
i also like to use the soft edge eraser to lower the opacity of some strokes, and to soften the tips of some strokes to make them blend better into the base
if you do not have a tablet or pressure sensitivity, you can manually adjust your brush and eraser to change the size and opacity. i also recommend using the soft edge eraser often to create more "variation" of opacity with less effort!
4. keep going, keep adding fur
be patient here, this is a time consuming step, but well worth the wait!
basically, keep going with step 3 until you've filled out your whole base (or are otherwise satisfied with it!)
5. duplicate your strokes layer and box blur it
here i just duplicated my strokes layer (i used 1 layer for all my brush strokes), then i used the default box blur on cs (find box bur underneath the "effects" menu at the top)
skip this step if you prefer the plain look and rather not blur it!
for those not using oekaki, this is basically a low amount of gaussian blur over the entire layer of fur strokes!
6. lower opacity of box blur
here, i set the opacity of the blurred strokes layer to about 50%, but you should experiment and see what opacity you like best!
of course, if you prefer not to lower the opacity of ur blur, u can do that as well!
7. add brush strokes outside the lines
optionally, for more realism and to make your subject look fluffy,
you can add a layer atop your lines and color pick from your fur to add a few brush strokes outside the lines!
and that's it! now you've got some realistic looking fur!
below is an example cat i've colored using this technique:
background: qwertyo on cs (Solminol on th!) lines: adamanted on cs and th! edits and coloring: castiiian (hey that's me!!) character owned by Lokisaurus on cs!
thanks for reading! 💖 if you have suggestions for other tutorials, lmk!
Colour Tips by yuming_art
Support the artist and check out their painting course!
(my script is in the alt text if ever the font is hard to read)
I’ve been getting a lot of asks wondering how I go about picking my colors for character designs, pages, backgrounds, etc, pretty much anything about color in general, and I figured in some attempt to try to answer them all at once, here’s my attempt at a color-centric art tutorial! I’m far from an expert on the subject, and I haven’t received any formal training on the matter, so this is entirely constructed of ideas I’ve gleaned from a bunch of snippets of different people’s advice over the years, studying other people’s art, and experimenting on my own to create something that works for me. Nonetheless, I feel passionate about the subject, and I hope this is able to help make color “click!” like a key in a hole for anyone who reads it. I had to discover my key-click moment on my own through trial and error, but i don’t believe in gatekeeping advice, so hopefully I can help you skip the trouble I went through lmfao.
None of this is meant to be like… a shaming or judgmental authoritative truth of “this is how it must always be done! anything outside of my vision is wrong and morally bad! Harrumph!!!” Especially since this is random shit I’ve figured out on my own with no formal training. It’s more just “if you are looking for something to ease your strain, perhaps this might help you give you what you need to have an easier time!” But most of the time I don’t even color my illustrations the way I do in this tutorial. Usually I try to balance & combine these principles with the “standard colors” that a scene is “supposed to be,” like if the ground is a concrete gray and the trees are green, I’ll keep them looking gray and green (depending on the lighting), but with the knowledge of “I want this to be a sad scene, so I’ll make the grays and greens lean heavily closer to blue, so the audience knows that it’s time to be sad.” Stuff like that. They’re cheat codes for strategic intent, not strict rules.
Now hopefully when it comes to covering more specific things, like how I design my characters, you guys now know the baseline foundation I’m running off of so I don’t have to explain all of this first before I get into the nitty-gritty hairs of “why I made this character purple and green vs why this character is blue and yellow” lmao.
Color is a hard subject to explain! Most of the color theory explanations I’ve heard primarily cover stuff like the science of reflecting light, then name drops all the famous kinds of color palettes, tells me what a cool vs warm color is, explains nothing else, and dips. Which, personally, has literally never been helpful for me when it comes to understanding why the fuck my painting should include the color blue in the shadows. Heaven forbid applying any of that shit to character design. Ough. No I had to figure that out on my own lmfao. So therefore this tutorial is more skewed towards that kind of perspective, someone who doesn’t really benefit (at least at this skill level) from the scientific cerebral shit. I want to know the why behind your creative choices!!! Tell me why the curtains must be blue!! That’s what’s important to me on a practical level. Dont get me wrong, I’m sure one day I’ll learn the purpose behind the scientific stuff, I’m sure there’s a reason behind it, but you’ve gotta figure out how to take the first steps at all to begin with before I can get to the master level stuff of like………scientifically understanding how bounce light works. And if we don’t understand why the curtains are blue, I don’t think we’re gonna get why the bounce light should be blue, too. So I wanted to explain it!!! I wanted to cover it!! Because I’ve never seen it explained before!!! And it’s important to know the why!!!
And uhm. Hopefully I managed to do an alright job at that lol. I hope you guys enjoy! <3
🎨color study note
Another tutorial I‘ve made, about digital brushwork this time!
You can find more tutorials for a few bucks on my Ko-Fi Shop if you've found this helpful and would like to support me in making more resources like this🙏 ☀️🍃
I've opened a shop. Come take a look!
I was asked by a friend yesterday if I could offer basic tips about comic paneling. As it turns out, I have a lot to say on the matter! I tried breaking down the art of paneling using the principles of art and design, and I hope it helps you out!
EDIT: uh uh there are a lot of people reblogging this, so i figure i may as well append this now while i can lol
This whole thing was very much cranked out in a few hours so I had a visual to talk about with a friend! If this gives you a base understanding of paneling, that's awesome! Continue to pull in studies from the comics you see and what other artists do well and don't do well! You can tell paneling is doing well when the action is flowing around in its intended reading format.
Here's the link to the globalcomix article from which I pulled the images about panel staggering! Someone sent in a reblog that it wasn't totally clear that the 7th slide mostly covers what NOT to do in regards to staggering, and that is my mistake!
I saw in a tag that someone was surprised I used MamaYuyu too, and I don't blame them lol. If I had given myself more than a couple hours maybe I would have added something else on, I just really admire MamaYuyu's paneling personally.
uh uh, final append: I am by no means a renowned master of paneling, so if you find anything off base here, by all means, counter it with your own knowledge and ways you can build upon from here! Art is always a sum knowledge of everything we find. 💪
more ugly stuff
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