The Knight Who Says Nian @this-is-such-a-witty-name - Tumblr Blog

Rejection sensitive dysphoria is wild. Someone will be like "hey just so you know the thing you did was a little bit loud/uncomfortable/insensitive but it's ok I know you didn't mean it" and my brain will instantly translate "you should be shot"

ajani

The fun other side of this too is when you are afraid of making other people feel that way so you just let shit go 90% of the time even when it's reasonable and valid to make a comment/critique/etc

toxictiktoks

👁👁

baphonnicula

good animation, terrible everything else

thecollectibles

For Inktober 2019, the artist Felix abel Klaer is using a personal theme of Kings and Queens to create richly decorated drawings of legendary characters from film and literature.

Follow us at Instagram for more Inktober features. ♥

thecollectibles

Art by Betty Jiang

chicinlicin

oh hey new guide thinggg~ some basics on how to practice! there’s SO much I could add to this, so it’s just the basics :O

short (kind of): there’s more to practice than doing something repeatedly, it’s also learning new things, problem solving, and honest critique. Each of those is its own skill…also be nice to yourself!

jannaphia

i am SO sorry that i'm asking you so many questions! i've seen a lot of methods for coloring over black and white, but i was wondering what method you use? i'm a bit colorblind so i do my work initially in b/w and color it in when i'm done, because it's easier for me to work with the values that way. I'm still experimenting with methods of adding color.

Hey anon, no worries! Seriously, I like answering these kind of questions, so pls throw them at me any time.

Personally I start out in color, simply because some hues are value-bound. That means you either have to be clear about the colors you want to lay on top of your b/w painting before you start painting, or match the colors to your b/w painting - so you might not get the result you had in mind. (Or you can play around with layer modes for hours until you get there somewhat.)

Reds are especially finicky when it comes to it and not everything that looks good in b/w will read well in color.Case in point:

The set designers of the Addams Family had the opposite problem - the house was supposed to look dark and morbid but they also had to make the set read and not have it drown in shadows. If you were to put the b/w image into photoshop and tried to color it with reds and dark browns you would probably not get far, because again -

Colors are Value-Bound

Here’s a chroma value chart by James Gurney that shows what chroma corresponds to which value:

As you can see, bright oranges/yellows/greens are on top of the scale and blues and purples on the bottom.

That’s the thing most people don’t realise when they lay colors over a b/w image. It’s fine when you’re exploring and are not stressed about which color goes where, but once you have an established character for example, or just want that piece of cloth to be that shade of red, you might get into trouble if you didn’t keep the value/chroma relation in mind.

Layer Mode - Color: The chroma reacts to the underlying value.

Layer Mode - Overlay: The chroma and value react to the underlying value - which means you might get value shifts in your overall composition which can unbalance the whole thing 👌

If you already know which one of the eight shades of red you want/need, you have to make sure to pick the right value for the right layer mode before you do anything. It’s all very technical and requires a lot of planning and foresight so I usually don’t directly color over my b/w sketches/paintings.

I do often start out with a value sketch so I know if the composition reads well, then put it into a different file and paint the actual painting from scratch in color. (Here’s a step-by-step thingy.)Generally, I begin very desaturated and build up the colors as I go along. (Here’s a how-I-pick-my-colors.)

SO, I can’t really give you any secret tips on how to effectively use layer modes because I too, am an idiot when it comes to that haha

If you’re struggling with color, read James Gurney’s ‘Color and Light’ (I know I already said it a thousand time BUT I WILL SAY IT A THOUSAND MORE) and study artists that use a very limited palette (18th-19th century is always good). You don’t have to jump straight into landscape painting and shit, that can be super overwhelming if you’re already having a hard time.

In most cases, starting out in b/w will give you a bit of a ‘washed-out’ look no matter what you do, but if that’s what you like then roll with it! (len-yan f e does wonderful stuff ♥ )

Basically it’s just another method that will give a specific look to your painting, and if that’s what you want then yay. But I honestly wouldn’t use it as a crutch. If colors are your worst enemy, try to understand them first!

Thanks for coming to my TED Talk. ♥

holepsi

A small update on the brushes I use. It’s been a year since I posted my last set and I don’t use the majority of those brushes anymore, so here’s some new one, since some people been asking. // [download here]

art-is-art-is-art

Young Decadent, Ramon Casas

marzipanandminutiae

what a fucking mood

jannaphia

This app is the best thing since mozzarella cheese

vampyrelle

Tiny ✔ Gay ✔ Full of Rage ✔ ✔ ✔

#i'm in love #dragon age origins #tabris

prokopetz

Team “not actually oblivious to flirting, just terrified of appearing presumptuous” represent.

kromiprice-deactivated20190819

a comfort zone sketch of my lovely Ruth

#dunmer #elder scrolls online #elder scrolls #eso

bluoxyde

In case if people were wondering about my self-lit texturing workflow in Substance Painter, here’s a walkthrough for the skin tones. Check the final result if you missed it!

1 I start with a darker warmer skintone than what I am actually aiming for.

2 I add a base of lighter half-tones to place roughly the lit zones of the face.

3 I add redder tones mostly into shadowed areas.

At this point I’d probably block in the eyes and the line of the lips as well, layers 6 to 9. At least the contour of the shapes, to have something to work with.

4 That’s where the real light comes in and the volume of the face starts to pop.

5 A touch of colder darker color right under the brows I kept as a separate layer to be able to tweak it.

6 That’s where I draw the eyes and lashes, the lip line and nostrils. Also there is some of this brown color it in the shadow under the eyebrows and under the eye, on the lower lid.

7 & 8 are the two tones of green I used mainly to draw the lashes, but also a dash of that on the lips, on cheeck bones and under the cheeck bones to bring down the level of red and generally tone down the warmth of the colors.

9 There’s another layer of browns under the eyebrows, that I wanted to be of a slightly different tint. It’s more of a tweak layer added much later on in the process, but plaved in the middle of this stack.

10 Now we’re finally getting into the reds and the blushing (layers 10, 11, 12 & 14) I start with adding some soft natural redness into the otherwise more yellow skin tones.

11 This is a pinker, darker and colder color I used to contour the face and fake more of its volume, kinda like makeup.

12 Some actual nice deep red for the cheeks, nose, ears - and on the neck where the oclusion from the chin would be. Also, a lot of it goes into the inside of the eyes.

13 Now this is the first layer of secondary light coming from the bottom, it helps bring the volume of the shapes out and also sooth bit that burning red color I’ve added so eagerly in layer 12.

14 I still want some darker reds for the cavities (lips, nostril, under the brows again) adding volume where it might still be lacking.

15 The brightest highlights are on top of all this stack, they look very subtle on my main screen, so that I can barely see them, but they felt much more contrasted on my other screens. I would usually add a colder highlights pass, but I decided to stop here for this face.

Add some cast shadows from the other elements of the composition, like I did for the hairstyle, and all done!