quick tutorial on how I shade with solid black (a lot of people ask, hope this helps)
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@starsartsandrefs
quick tutorial on how I shade with solid black (a lot of people ask, hope this helps)
prints | patreon Ā
210 FREE MAGE REFERENCES FOR ARTISTS
(Hmm, this model looks like a certain necromancer, but I can't quite place my finger on it š¤)
7 different poses at multiple angles! Reference sheets included
Download the pack on my Patreon
have made some pose blanks with thin/fat variations! ive noticed that those handy artist renditions of poses typically dont have a lot of bodytype variation and i thought these might be helpful :)
i have a set of 10 of these available to my patrons and kofi members, id really appreciate any support!
Too many artists are held back by outdated and bad color theory rules, or even rules that are fine but have built in limitations that you should know and I want to set everyone free.
Tertiary Red and Secondary Blue could be in your color theory understanding and make paint mixing way easier but they played you
Also hot takes:
Learning color theory through oil painting is more difficult than learning it through gouache & watercolor, primarily because it takes way more time to find mass tone and mix everything and also it's much less obvious to easily and quickly discern if a paint pigment is highly staining or transparent.
Oil painters like to seem like they have the richest and most storied traditions in color theory to past down but also inevitably they are the most likely to retain an extremely limited chroma palette based on classical palettes for the sake of classicism and not always make that fact very apparent to a beginner aside from saying it's an "old masters palette" watercolor/gouache painters are bad at using paints that are not light-fast and clinging to them despite having better alternatives, but generally still understand chroma gamuts and pigment importance better or at least talk about them more.
When you're mixing paints, the earth colors (browns) don't need to handled and thought of as brown. Ask yourself if the brown is yellow, orange, red, or leaning towards a black (which would be treated as a violet or blue, depending on whether black is warmer or cooler).
Yes there are cool reds and warm blues
Any reference color wheel that places red on the very top hurts my feelings, stop doing this just because you learned "roygbiv". Yellow is at the top and the Indigo-Blue range is on the bottom because this also means the color with the lightest possible value is opposite the color with the darkest possible value, so you have the colors arranged with a value scale from top to bottom BUILT IN.
this is related to why ivory black is actually very dark blue.
@rizahawkeyesmuscles
This makes me think makeup artists have good color theory, having to understand undertones of skin, warm v neutral v cool toned red lipstick....
Yes!!! I mean first of all, makeup artists are artists.
and they are ALSO ultimately just blending pigments to produce certain colors and effects, so yeah professionally do study the basics of color theory and then necessarily have to adapt it to their medium. And they tend to generally add like, what you talked about with recognizing cool/warm/olive/neutral undertones and such as a big consideration to their canvas.
And that IS why people will say "this is a cooler red lipstick" (although even cooler than that would be magenta or fuschia!).
I think the only thing I've noticed wrt to honestly mostly beauty influencers and not actual professional MUAs is that too many people buy an eyeshadow palette of cool tones in the palette and then put it on and complain it pulls "too warm for their cool skin." And it "isn't actually a true cool tone palette."
I just want to grab all these people by the face and say:
"Shhhhhh. Color temperature is relative. Although you have cool skin undertones, you ALSO have blood under your skin which will inherently make your base skin-canvas slightly warm no matter your foundation shade. So when you put any kind of pigment that isn't fully opaque onto your skin, the transparency WILL be warmed by your skin because you're alive and have blood still. The eyeshadow palette IS a cool palette. You're just not a vampire, which is why that cool taupe shade suddenly looks different from the mass tone in the palette."
These influencers would understand this better if they did some watercolor painting on pre-tintedpaper and then compared it to painting on pure white.
But a MUA probably already figured this out yeah.
In case anyone is curious here are my top color recommendations
Handprint.com is hands down the most comprehensive scientific explanation of how different color wheels or palette choices work. It's big and dense and exceptionally thorough. I skim frequently and find myself always learning more. https://handprint.com/HP/WCL/water.html everything is done using watercolors as a reference point but a LOT of this translates to other mediums. For the record his CIECAM color wheel is what I consider to be the best (not 3 dimensional) color wheel for artists. Period.
He uses pigment numbers for some of the most common watercolors rather than specific paint brands or color names to place the pigments. It's also a case study in why yellow being at the top is the best because it also means you have a value scale from top to bottom (since black paints are just dark violets or blues, ultimately.)
When you look at this, you can start realizing more and more why the earth colors can be used as if they were like, straight red, or yellow, or orange. Like if you wanted to make a limited palette, you could use "burnt sienna" as your dark yellow (which will make the whole palette lean orange!) Or it could be your orange or you could use burnt sienna as your red. (Look at gamut masking links below)
Seriously it's good to try and swatch your medium (even really quickly!) Within a CIECAM Artist's color wheel. Below are two of my attempts:
From loose memory and then mapping pigments roughly.
He also discusses the difference between visual complements and mixing complements!
Anyways absolutely try to read bits and pieces. The whole site is amazing. Handprint is amazing.
Also:
https://gurneyjourney.blogspot.com and James Gurney's book: Color and Light: a guide for the realist painter. James Gurney is the dinotopia guy. That book is also amazing for painting fantasy with lots of fantastical examples. Here are two short videos on gamut mapping and gamut masking. Accompanying blog posts.
No surprises here! His book also charts pigments:
Actually these are my four favorite books hands down:
Color and Light: a Guide for the realist painter - James Gurney
Color for Painters: a guide to traditions & practice - Al Gury
The oil painters color handbook - Todd m casey
Artist's master series: Color & light - 3d total publishing. This one emphasizes digital!
The first two have been out for awhile now and you can more easily find them cheaper/used online than the latter two which are relatively newer and hefty hardbacks.
Also, from personal experience: al gury is a sweetheart angel who is a huge crazy cat man. I adore him, he's so kind and helpful. I think it's a little late to join the current session (although they did only start Jan 28, so you can always ask! Class videos are recorded), BUT he frequently offers a class on color that is fully online through PAFA continuing education, as well as other classes. I haven't taken it yet, but I HAVE taken other classes online with Al and he's really great.
Oh also online gamut masking tools:
In krita: https://docs.krita.org/en/user_manual/gamut_masks.html
https://claudiamatosa.com/resources/gamut-masking simple tool
https://mypaintingclub.com/blog/post/39-The-Gamut-Mask-Tool another tool with more complexity
The tl;Dr of a gamut mask is to show you the full range of possible colors you can mix within a given palette (choices of colors/pigments).
You are like, an absolute master of costume layering and I must know what is your secret? Do you just compile a bunch of references and go to town? Or is there a general order you like to go in for all your costume designs? Are you thinking silhouette first or is there lots of adjusting until itās just right? I must know!!! I love your designs!!!!!
AHH thank you so much you're so sweet!!! šā¤ļø I promise I don't do anything super complicated or thought out, but I can try to explain:
I usually use Pinterest for references, and I have a huge board of clothes I comb through and save to whenever I see something cool. while I'm drawing, I look off to the side to scroll a bit and add whatever I think could work while I draw!
General order I usually go sketch -> lines (sometimes) -> color -> fabrics and textures -> rendering -> then jewelry with final details. Mostly, I just think about it as "big stuff first, little stuff last" so that adds more opportunity for layering and adding on other details.
Often when I'm doing jewelry I wait until everything is done and then I sketch over on top with the opacity turned down so I can see what I'm doing. I then line it and color it as usual and merge everything together!
I have a tutorial up on my old blog about how I do costumes with textures and patterns and you can see how I approach it by sketching out outfits and doing the clothes regularly, and then drawing on top with a pigmented color to define things like belts and accessories !
Tumblr is a place to express yourself, discover yourself, and bond over the stuff you love. It's where your interests connect you with your
There is ALOT of going back and forth, turning the opacity down, drawing on top, coloring it, then merging everything, and repeating until I get everything I like. I hope this made a little sense but genuinely the way I go about it is "this looks cool. let's add it"š
@factual-fantasy
i'd like to add that the shadow color isnt necessarily dictated entirely by the primary light source, but the bounce light! so for the example of a sunny environment, the reason the shadows are blue are because of the light from the blue sky reflects across the environment; but, if the character were to be under tree cover, the bounce light would be coming from the leaves and thus the shadow would look greener.
Yee yee!!! You got it right on the nose!
Bounce light is something I didn't cover but I adore it!
Gotta work on my bounce light šŖ
My good friends this is called using a
Gamut Mask
(image via )
James Gurney is an absolute master and gives really good clarity on colour techniques. Yes, it is traditional paint focused, but the principles are the same. Yes it is informed by the environmental colour but as a painting technique it is achieved this way!
I would also suggest that in digital processing, rather than apply a regular colour layer at a mid opacity, try out the different types of layers, Eg. Screen or Multiply. This can give you at least a starting point to help direct your colour palette.
Layer Blend Modes are so so so important to working in digital art. There's a ton of math that goes into figuring out how the layers should blend together, which is why some of the modes you can pick are literally called Multiply, Add, Divide, and Difference (that's subtraction). The graphics software takes the color values of your base and blend layers and runs a calculation to get your resulting layer appearance. The ones that don't have specifically mathematical sounding names are still doing calculations, but they're more complicated (think linear Algebra and higher). Some of them, like dodge and burn, are named for actual photo editing techniques.
While it's not super important to know about the mathematical side of blend modes, I think it's worth knowing at least enough about how each of the categories of blend modes works and why they do what they do; if for no other reason than having a starting point when you start experimenting with them in your work.
An overview of the basic blend modes and how they work from Genevieve's Design Studio: Accessible with minimal color knowledge; practical and illustration focused. https://youtu.be/kMc87hQrJd0?si=TWCB365pKSfWS8p0. (16 minutes) This creator also has a ton of free resources you can download, including a Blend Modes cheatsheet, but fair warning: you have to create an account to get them!
Want to learn even more about the math-y stuff? It has great film visuals! A video from FilmmakerIQ: You need some basic knowledge of RGB color models, understanding of values/luma, and at least a tenuous understanding of Algebraic formulas. (26 minutes) https://youtu.be/F7_kaTP7_W4?si=x0urqXZ8f51nQVKl
A guide to designing wheelchair using characters!
I hope this helps anyone who's trying to design their oc using a wheelchair, it's not a complete guide but I tried my best! deffo do more research if you're writing them as a character
@a-captions-blog
[Art description: Several panels titled, āA Guide to Visually Designing Wheelchair Using Characters / (From a Wheelchair User)ā The title panel shows five boxes with red X marks drawn over them and one with a green checkmark. The five X boxes show a person in various inaccurate wheelchair positions, including lying on the floor, sitting with their head sticking out horizontally, and floating upside down above the chair. The subsequent panels have the watermark CowsABunges and are as follows:
1. Standard Chairs: Standard chairs are easy to obtain, cheaper chairs which come in standard sizes, so usually donāt perfectly fit the user. Consider how your character might customise their wheelchair. These chairs are usually dark colours, so think about easy personalisations such as stickers, and spoke skins. [Line drawing of a standard chair with blue text labelling it as a ātransit chairā and saying, āsomeone else would push this.ā Separate text emphasises the high handles of the chair.] [Coloured drawing showing a dark-skinned person sitting in the chair, with text that says, āSelf Propel: This chair can be moved independently, but is often bulky and therefore hard to move.ā] [Coloured drawing of one edge of the chair, which has a sticker that says, āCripple punkā as well as a strawberry sticker and a heart sticker, with descriptive text that says, āWheelchairs can match your OCās vibe!ā]
2. Some people need more support in a standard chair. Some users need extras on their chairs to support them, such as head rests, and belts. Some users may use ātilt in spaceā chairs. This is all dependent on factors such as core strength, and seating needs, so consider how your character is effected by their condition when deciding the right chair for them. [Drawing of a light-skinned person in a standard chair with a thick cushion and a head rest, which has been labelled in purple.] Foot propelling: Some users use their feet or toes to help propel themselves, and accomadate this by removing the footplate on their chairs. [Line drawing showing a person from the waist down in their chair. Text has been drawn to label the belt tightened across their thighs and to show that the foot plates have been removed.]
3. Active chairs: Active lightweight wheelchairs are bespoke chairs made to allow the user to propel themselves with as much independence as possible. Due to being totally customised to the user, they are expensive and less accessible than standard chairs. [Coloured drawing of a light-skinned person making a peace sign while sitting in a purple active chair. The chair has a noticeably lower back, sides, and handles than the standard chair.] Gloves: Wheelchair gloves are like marmite: some people love them, some hate them. [Three drawings of hands showing different types of gloves. One covers the thumb and leaves the other four fingers exposed, one covers the entire hand, and the last leaves all the fingertips exposed.] Wheels: There are also different types of wheels for chairs, with different price points and different qualities that people may need or want. [Drawing of two different types of wheels. One has a white rim and three wavy spokes, and the other has a black rim and many straight spokes.]
4. Standard Electric: Standard electric chairs are power chairs that come in preset sizes, so they might not be a perfect fit, but can be less expensive than active chairs, and easier for the user to be independent than a standard manual chair. There are many different variations of standard electric chairs, to fit different needs. [Coloured drawing showing a medium-skinned person in a pale orange headscarf in profile as they sit in a standard electric chair.] Chairs can come in different colours, with different levels of portability, and postural support. Like with all chairs, users can be fulltime, or ambulatory (part time). [Line drawing of a standard electric chair, which has a cushioned seat and back mounted on a base with three sets of wheels and a large flat foot plate.]
5. Bespoke Powerchairs: Similar to self propel wheelchairs, electric/power chairs can be made to the exact measurements to the user, with elements added to aid posture and stability of needed. These chairs tend to be expensive. [Line drawing of a bespoke powerchair. The back and seat have been customised, and the base is slightly smaller with a different foot plate.] Joysticks: Joysticks used to control the chair, can be customised to the style and needs of the user. [Two drawings showing a wide joystick with āwingsā on the edges and another that is a round knob on a stick.] [Coloured drawing of a light-skinned person sitting in a bespoke powerchair, shown from the front. Text highlights the arm rests and custom colour, a dark blue.]
6. Ambulatory users: Out of the 1.2 million wheelchair users in the UK, a third are ambulatory users, meaning they are able to walk to some degree/under certain circumstances. Itās totally possible for your character to be a part time wheelchair user, and vary which mobility aids are used. [Three coloured drawings of a medium-skinned person whose right leg is amputated above the knee. They use a red active chair, a pair of crutches, and a prosthetic.]
7. Summary: This isnāt a totally comprehensive guide and there are definitely facts Iāve forgotten. This can be a start for those totally clueless on designing wheelchair users. Research is the best way forward if you have bits you have no idea about. Wheelchair users āexperiences are the best research! [Line art of an active chair.] However: donāt just go asking wheelchair users and disabled people about your characters or invasive questions for your research. They arenāt here just to give you information. There are loads of already existing information from wheelchair users online. [Line art of a person in sunglasses finger-gunning at the camera.] \End descriptions]
[Plain text: A guide to designing wheelchair using characters! \End PT]
could you please do a tutorial on how you do your risograph style drawings? they look so cool šš
Hello, friends!
I reworked the ol' "Schweizer Guide to Spotting Tangents" lecture from my comics-teaching days, figured I'd share it here. If you want a free, printable PDF for yourself or to share (especially if you're an educator), you can find it at the bottom of this same lesson on my website.
-Chris
[ID in alt]
Tutorial on drawing characters/OCs who have some sort of facial paralysis. It doesn't cover all possible variants because I was using mirror as my main reference lawl
Keep in mind that this is an introductory drawing tutorial and has some generalizations in it, so not every āX is Zā statement will be true for Actual People š
Consider supporting me on ko-fi if you find this to be helpful.
Pssst... something new is coming...
...this weekend!
Free, non-AI animal art references.
Iām really chuffed at how much yāall are excited for this.
The full catalogue wonāt all be online yet when it launches in a few days, but it contains over 10,000 photos of at least 350 species and subspecies.
Owlbear
i hate that every time i look for color studies and tips to improve my art and make it more dynamic and interesting all that comes up are rudimentary explanations of the color wheel that explain it to me like im in 1st grade and just now discovering my primary colors
āred and green are opposites š„°ā cool now how do i paint a tree with pinks and blues without it looking like a childās finger painting or incongruous blobs of rainbow vomit
ok i canāt explain it very well but im looking for tips and techniques for rendering art like
with specifically the highlights and colors being hues that compliment each other, donāt distract from the scene, and make it more interesting/visually appealing
is it too much to ask
gonna drop some sources I have saved on Pinterest! I don't know if these all link back to the original sources so apologies for that
cohesive but still contrasting
This kind of talks about color and composition
This is a bit about landscape specifically
Values & composition
Contrast in composition
Balance in colors & values
This one's more for palette building but I think it's useful and can be applied to the other ones
Cohesion within compositions/lighting
"Chromatic fringe" - I also see people using this with shading, they bring in a transition color that is a different hue than the base color or shadow, it makes it so that less vibrancy is lost and it doesn't get muddy!
This one specifically has a lot of process behind the style of painting you're looking for!
Also one of my favorite artists who makes bright and colorful art like this is Not Sorry Art on TikTok & YouTube, her website is here and it's<3 my fav. She has some videos where you can see her process
With the oranges painting you put as an example, I noticed they painted the lighter values more toward yellow - they also exaggerated the hues of the undertones of the photo, so I'm guessing they either did it in their head or bumped the saturation up to get a closer look! I really love these paintings you shared and I definitely share your desire to paint/draw like that :)
thanks this is super helpful! /gen
Contrast in composition and cohesion with composition and lighting are things I struggle so much with thank you so, SO much for this!
Yeah okay ill reblog that!!
Hi! Iām really sick of whitewashing and the various excuses that artists come up with, so I wrote a guide! How To Not Whitewash, at least with regards to skin tone. Please make use of it, and encourage other artists to do so as well. Hereās a link to this guide on a Google Doc - this document has image descriptions. Feel free to contact me if the link stops working, or if you have questions (in good faith).
Overview of some topics when it comes to drawing characters who are burn survivors.
DISCLAIMER. Please keep in mind that this is an introductory overview for drawing some burn scars and has a lot of generalizations in it, so not every āX is Zā statement will be true for Actual People. I'm calling this introductory because I hope to get people to actually do their own research before drawing disabled & visibly different characters rather than just making stuff up. Think of it as a starting point and take it with a grain of salt (especially if you have a very different art style from mine).
Talking about research and learning... don't make your burn survivor characters evil. Burn survivors are normal people and don't deserve to be constantly portrayed in such a way.
edit: apparently tum "queerest place on the internet" blr hates disabled people so much that this post got automatically filtered. cool!
really helpful technique ^ once you know how to divide by halves and thirds it makes drawing evenly spaced things in perspective waaay easier:
tutorial for drawing characters with Down syndrome!
DISCLAIMER... please keep in mind that this is an introductory drawing tutorial and has some generalizations in it, so not every āX is Zā statement will be true for Actual People. it's more of an overview of features that are common in people with Down syndrome, not meaning to imply that every person with DS has all of them šš thanks
if you draw any characters using this feel free to tag me!!