will of the fire.

jess - nineteen - in college and surviving - am i talking? formerly an art blog, now an art ref blog multifandom / sideblog.

[mahoushoujoarchive]

Corrector Yui - The Official Art of Corrector Yui

[hordraomin]

Krita tutorial the way I know it.

Basics: What is where.

Gimmicks.

Specific advice on specific tools.

Basics: What is where.

Upon opening the program this is what you're met with. First of all, must comment: The layout is HEAVILY editable so you can just drag menus anywhere you want, even leave them floating amidst the sheet you're drawing on.

You can create custom art templates, I have two o'mine here as both have my signature background color.

As well, you can edit the custom document settings, as in what size you want it, what resolution, even the initial content of the image. As well you can create from clipboard: Just copy some image from your browser and Krita will recognize it (useful for making meme edits lol).

Now, once you have your file, I will show you what is where.

Brushes:

Brushes are easy to edit and there are tons of free bundles to download online. I myself only got one bundle, Jackpack (bit hard to find now due to original source being lost, it is still available but bit tricky to come by).

There. Are. Tons.

Some of these are my custom brushes for calligraphy in neography, you might even guess which ones. You can edit existing brushes, make new ones from the ones you've edited without changing the original, and all sorts of stuff (more below in the third chapter).

There are numerous packages of brushes once you enter Krita, but only one/two are available when you first open it. To unlock them all, click here:

And make sure all bundles are dark gray in color (example of both dark and light below).

Now Tools Options: those will pop up depending on what tool you're using.

Symmetry: Fun stuff. You can drag the lines depending on how you need them and then center them back to the center of the screen if needed.

Gradients and Textures also have their tools options, you can play with those to get the feeling what they can do (more in third chapter).

The Filters tab is useful too. Blurring, motion blurring, color mapping, artistic filters and all that: Quite fun.

Gimmicks.

Krita allows you to customize your workspace freely. Floating menus, tabs, anything you want. It has quite many drivers at that-

To access the workspace templates, go to Window and choose Workspace.

Krita allows for copy-pasting any image onto the sheet. Though, for me it sometimes crashes if I accidentally copy-paste text into it without choosing the Text tool first.

The software allows for both raster and vector work. It is basically Photoshop sharpened to be used by artists primarily.

There are some interesting mechanics regarding the Eraser (default bind E).

You can use it with any brush, allowing for textured erasure/quick work. Good for sketching.

You can use it on gradients (given there's a transparent point on the gradient preset).

There's a Multibrush tool:

People say Krita is good for animation but my brain can't wrap around it yet honestly @~@.

The keybinds:

B - Brush tool.

E - Erase tool option.

M - Mirror (useful for checking accuracy from a new angle).

Ctrl - Color pick (when used with brush or other color-using tools).

Shift+L.Mouse+drag - Changes the size of the brush by dragging left and right.

Ctrl+E - Merge layer with the one below.

Ctrl+G - Group selected layers.

Ctrl+A - Select whole sheet.

Ctrl+Shift+A - Deselect everything.

F - Bucket tool.

G - Gradient tool.

Ctrl+S - Save document.

Ctrl+Shift+S - Save As document.

Ctrl+N - New document.

Ctrl+O - Open document (will be seen in a new tab on top of the sheet).

Ctrl+C - Copy selected layer or selection.

Ctrl+X - Cut selected layer or selection.

Ctrl+V - Paste copied/cut layer or selection.

Q - Multibrush tool.

R.Mouse - Interesting thing: Opens up a quick selector for brushes and colors you've already used in the piece.

1 - Zoom 100%.

2 - Zoom to fit the piece vertically.

3 - Zoom to fit the piece horizontally.

4, 5, 6 - Turn 15 degrees (4 and 6) or undo the turning whatsoever (5).

Ctrl+I - Negative filter applied to layer.

Ctrl+U - Color editing on the layer.

Ctrl+Y - Soft proofing mode (for color mistakes and stuff like that, mostly annoying for me tbh).

Ctrl+T - Transform selection/layer.

Ctrl+R - Square select tool.

Ctrl+J - Lasso select tool.

Honestly you can just hover your mouse over tools and see their shortcut binds, as well. Or edit them in Settings.

Specific advice on specific tools.

Brush:

Brush editor is a great tool for making custom brushes, and it even has a sratchpad to test them out. Lots of settings, but no need to be afraid; Most of them you might never use on purpose.

Use Brush Smoothing for great and pretty lines in lining pieces or making calligraphy.

Gradient:

The four icons to the right top are:

Mirror gradient.

Arrange by lightness value.

Arrange by color value.

Space the stops evenly.

Click the gradient to add a new stop. The three things to the left are:

Make the stop use Primary Color.

Make the stop use Secondary Color.

Make the stop use a fixed color.

[urapocolypticcrush-deactivated2]

thinking about this

[reputayswift]

CLUE (Taylor's Version): The Case of Este's Husband

11 partygoers. 8 rooms. 1 mystery. Trace the evidence, make it make some sense below↓ (flashing gif) insp. 1 2 3

[obiwan]

Olivia Rodrigo | Good 4 U (Behind the Scenes)   2021, dir. Petra Collins

[mylifeincinema]

My Best of 2021: Posters

My Best of 2021 is a series of annual lists in which I pick the best of the best from 2021, all leading up to my official picks for My Top 10 Films of 2021.

2021 was a pretty ‘meh’ year for posters, wasn’t it? There are a few hear I love, and some I really like, but for the most part I found myself mostly shrugging as I went through what the year had to offer. Oh well.

Note: As always, these picks have nothing to do with my thoughts or the quality of the films, only the posters themselves and how they sold the films to me.

Enjoy!

-Timothy Patrick Boyer.

Next Up: Best Non-2021 Films.

More of My Best of 2021...

[haunted-hitodama]

teen tv shows with boarding schools be like:

[deadlyclasstv]

‘Deadly Class’ Character Posters

[professorfaf]

Screentones in Clip Studio Paint - Part 1

Since Clip Studio Paint was made for comics, and originally for black and white comics, they’ve made sure to include screentones. There’s actually a number of different ways to go about it, all of them pretty easy. Which style you like to use is up to you. In this article I’m going to cover one of the ways to apply basic screentones to your work. Keep reading below to see how.

Keep reading

[professorfaf]

How Clip Studio Paint Makes Flatting Your Colors Magical

I didn’t even mention once during the vector layer tutorial that Photoshop stinks sometimes (even though I could have), but I’m gonna bring it up here. Photoshop stinks for flatting. It wasn’t made for it. It was made for photo retouching, not all this illustration business. CSP, on the other hand, was designed from the ground up for comics and then for illustration. You want to flat colors? CSP has you covered. Read below the cut to find out how flatting in CSP is awesome.

Keep reading

[undergroundwubwubmaster]

Art tips for facial features?

I would love to help but you need to be bit more specific. “facial features” can mean a lot of stuff.

Most vague tip i can give is uh - silhouette, shapes and proportions: silhouette helps block out unique features, geometric shapes can aid with structure and keeping the same face consistent between drawings, and proportions convey characteristics like age easily to the viewer.

[professorfaf]

Comic Paneling Tools in Clip Studio Paint

This is probably one a few people have been looking forward to. Clip Studio Paint was originally created to handle making comics, back before it could even work in color. So they’ve put thought into making a good working environment to make panels easy for comic artists. In this tutorial, I will be covering the basics of rectangular comic paneling, with a look at what tool settings you need to change to create different panel shapes. For an in-depth look at custom panel shapes, I’ll be making another tutorial later. Read below the cut to find out how to use CSP’s comic paneling tools.

Keep reading

[tinywitchdraws]

Anti-Aliasing in Clip Studio Paint

Okay, so today I want to talk about anti-aliasing in CSP because it’s kind of a lifesaver? 

But also I have a super hard time remembering how to do it or that it exists so here we go. 

Basically, anti-aliasing helps you color line art without going outside the lines. Here’s a gif of me coloring with my mouse so you can kind of get an idea of what it is we’re talkin’ about here: 

So how do we do that?

 First, select your line-art or sketch layer in the layer panel of CSP. Click on the little lighthouse icon at the top of the panel. When you click off there should be a little lighthouse on the side of your line-art layer! This icon means that is now a reference layer!

Step2:

Go into your brush settings and click Anti-overflow! Click “Do not exceed reference layer” to make it work, tweak the other settings till you’re happy. These are the settings I used in the example below to get a cleaner coloring style

Step 3: 

Add another normal layer below you line art! Make sure it’s selected and color away! Here’s what it looks like with the settings above:

[librebananr]

Hi, I recently switched to csp from ps and it's been pretty tough D: would you maybe consider making a tutorial/process with the program(as well as your brush settings and the like)? I would really really appreciate it. Thank you so much!

Hi! I’ve done my best to give an overview of the basics but csp is FILLED with stuff and there’s still quite a bit I’ve never actually used before. I can talk about anything else I’ve said here in more detail and also answer a lot of other questions you might have so if there are things I haven’t covered, let me know and I can do a more specific tutorial! That also applies to anyone reading this! For obvious reasons, i’m putting the rest under a read more

Keep reading

[holy-quinity]

Digital Painting: tips for beginners

Heyo! I got asked if I could make a tutorial on digital painting so I’m gonna throw together some advice meant for people who are starting out and want to figure out exactly how this stuff all works. Because it’s hard! What I hope to accomplish here is to make painting more approachable for you.

Firstly, I have put together something like this before, so for archival purposes here it is: http://holy-quinity.tumblr.com/post/89594801811/i-dont-know-how-much-of-this-kind-of-thing-you

For those of you who don’t wanna bother reading that, here are the main points:

1. Learn your program and its tools, from brush properties to layer styles. And I mean learn them. Make a cheatsheet that shows you exactly what each button and scale does, both in isolation and in conjunction with other buttons and scales. Refer to this as much as possible until it is intuitive. The end goal is to know exactly what to do to your brush’s settings to achieve a given effect.

2. It’s perfectly okay to use your sketches, linearts, and other forms of line in your paintings. They can help guide the form and there’s no need to make something fully “lineless”! I never make things “lineless.”

3. Study other people’s art and try to think how they could have possibly achieved the effects they did. You can learn a lot just by observing and mentally recreating the process stroke by stroke—muscle memory is a powerful tool at your disposal. This becomes easier to do once you’ve started doing item 1 above.

OKAY!

So where the heck do you even begin?

What I’m gonna do is try to make digital painting as approachable as possible for someone who’s never really done it. The main idea here is that digital painting is just like real painting. So if you’ve ever done real painting, you already kinda know what’s coming.

I’m gonna assume you know the basics of digital art: you can sketch, line those sketches using layers and opacity changes, and fill the lines with color, maybe even opting to add some shading…and you’ll get something like this:

You know, cell-shaded, or maybe the shading’s blended, but you’ve still obviously a line drawing with color put down on layers beneath the lines.

The next intuitive step is to try going “lineless”…but when you remove the lines you get this:

idk about you but I’m laughing at how stupid this looks

When I was first teaching myself to paint digitally, I didn’t really know how to deal with this. Without lines, the form of the subject vanished or became a mess like the above. Even if I was meticulous and careful about placing down the color such that without the lines layer turned on, the shapes fit together, it didn’t look quite right. There’d be gaps, I wouldn’t know how to incorporate the subject into a background, the contrast wouldn’t be high enough, or it’d just in general look too much like a screenshot from Super Mario 64.

Painting requires a different process than the above. You’ll have to let go of some of your habits and conventions. Such as staying in the lines. Such as fully relying on the lines. Like, I love my lines, I love my sketches—but in painting, they are guides for form, and are not the form itself. So let me go through how I approach a given painting:

My painting process starts with a sketch (here a boring portrait for demonstrative purposes). I make the opacity of the sketch layer something like 30%, and then throw down my base colors on a new layer underneath. I’m not being meticulous about the sketch itself, because again it’s just meant to guide my placement of color. I’m also not meticulous about my placement of the color.

We’re essentially sketching with color. Because ultimately what we want is for the color to take on the form and shapes conveyed by the sketch.

There’s a lot going into this about how to use value, how to shade, how to use color, etc. that I’m kinda skipping over because it takes a lot of time to explain…but there are hundreds of tutorials out there on those topics so please, google around! I found some helpful tuts that way when I was starting out.

Something I find v useful is to keep selecting colors that already exist in your image for shading and hue adjustment. This is why I start with really blendy, low-opacity brushes when throwing down color on top of the background. I can then select colors within there that are a mix of the two.

For instance, I’ll select the color of the lines here:

…and use that to shade:

And maybe I’ll select one of the darker shades around his eye, but not the darkest, to make the shading a smoother gradient…and so on.

What I do in general at this point is go over the shapes and lines of the sketch. Such that I can turn off the sketch layer and see this:

I’m replacing the lines with shading and value. I’ll continue to do this as I keep adding color.

This is all super loose. I am not dedicated to any particular stroke. I just want the colors and shading and light source to be right. I’ll use overlay layers to boost contrast or add a hue.

Here are other examples where I used this process:

I am constantly changing brushes and brush settings as I paint. It really depends on what effect I want where. I am also constantly selecting new colors and applying or blending those in. I don’t believe in having some uniformly applied base color and then shading with only one or two…that’s what I’d do if I was cell-shading like the first drawing I showed you here, but painting should be about messing with color and opacity and blending to make millions of hues!

Good rule of thumb: Hard, opaque brushes for applying color. Soft, dilute brushes for blending colors. Sometimes hard, dilute brushes can make some cool blending effects! I personally prefer harder edges on my shading so that’s a brush I use often.

This is getting a bit long so I’m gonna split it up into multiple parts, but really what I want you to get from this is:

1. learn the tools at your disposal until they are intuitive

2. sketch and line are guides for form, not the form itself

3. rather, hue and value will produce the form

And of course, practice makes perfect!!! Every drawing you make, every painting you make, will bring you one step closer to the artist you want to be, and thus every drawing and every painting, no matter what, is a success.

[kittycouch]

No one asked but here’s a brief tutorial on digital underpainting and how it can add some extra flavor to your art!

(I got asked this a couple times so just to clarify: I used “overlay” in the second slide… but the rest of these examples are JUST painted on, no effects! Try playing with the opacity on your pencil/water/brush tool to allow the base color to show through!)

[makkon]

mixer brush cloud painting mini tutorial

not a replacement for actual painting!!!

Brush: https://drive.google.com/open?id=1iNOQmtBqiU1K3MnnUH4fmciUYGjv6Hcm