벙골린

i told myself i would quickly redo this post before doing anything else bc i don’t really have all these brushes anymore so i did hahaha. EXTREMELY HUGE MASTERPOST FEAT. ALL MY IMPORTANT BRUSHES!

ummmm, info on some of my brushes :

i use the ‘Blotchy Thick’ brush on most of my art! really good for lineart.

the ‘Ballpoint Pen’ is really handy for writing.

the ‘Pen’ brush is one of my fave brushes! idk it just has like. that really crisp looking edge to it. i tried to get it look really nice like a photoshop brush.

‘Pencil’ brush is what i use for editing dangan ronpa sprites!

'Smooth Jazz’ is really cool. it looks all wispy if you hold your stylus down and add pressure lightly.

'Sumi-E’ is really cool and handy when it comes to making those really old Japanese styled traditional art.

a lot of these textures should be in SAI already! heck, most of my brushes don’t even have textures.

idk even know how to explains necks here is my attempt after a suggestion

line of action, bunch of lines, considering poses helps a lot in making it easier??! but have fun, take these tips and make it better. Please look at references, there is no harm when you are learning. Full res. available on my Patreon 

ahh thank you so much! ♥ welcome to the digial art scene friend, i hope you enjoy your stay and ctrl + z

now onto your question! (if you don’t know what layer and layer modes are and how they generally work you should probably google that before you continue reading)

we all perceive colour differently (thx science) and i trust my intuition a lot when it comes to colour picking because of that, and also because i feel like you can make pretty much every colour combination work within the right context. context is key! but still, remember that all of this is about how i perceive colour, so you might not agree with everything i say.

here’s a quick rundown of terms you’ll see around a lot in reference to colours and shading: the hue, which is the ‘colour’ itself, the saturation aka the intensity, and the brightness [or value] which describes how dark or bright we perceive a colour to be.

rule of thumb: when you shade don’t just add black (or white) to your base colours, that will make your drawings boring and lifeless. use different hues and saturation!

now first things first: which skin colour does the character have?

you’ll mostly be navigating in the red to yellow spectrum for the skin tone. so when i pick the base colours i usually start with the skin and adjust the rest of the colours accordingly. if you’re not sure where to begin it might help if you first determine the values (brightness) of the base colours in grayscale.

and here are a few colour variations—i stuck to the approximate values but played around with a lot of different hues and levels of saturation.

now compare 3 and 5: you’ll notice that 3 is very bright and leans towards orange hues, whereas 5 has a pinkish tint.

on the left i gave 5 the hair colour of 3 and in my opinion the pink hue of the skin doesn’t go well with the orange undertone of the hair. you’ll have to experiment a lot to find out which combinations work for you.  

ctrl + u is your biggest friend (or image >> adjustments >> hue/saturation in photoshop, the shortcut works in sai and clip studio paint too). play with the sliders and see what happens. i do that a lot myself, because it’s easier to coordinate the colours like that afterwards instead of trying to manually pick perfectly matching ones right away.

for further adjustments i like to use an extra semi-transparent layer on top of everything with just a single colour to add atmospheric light. this unifies the colours and makes them more harmonious, if that’s what you’re looking for. this is about as far as i’d go if i didn’t want to shade the drawing.

if i do want to shade, especially with high contrasts and dramatic light, i darken the base by just adding an additional black layer, here set to 40% opacity. of course you could add a colour layer like the ones i mentioned previously too.

to create an impression of dramatic light you need a high contrast between light and dark areas (1). if i want additional visual intrest i often add secondary light which falls onto the main shadow areas. here i picked a faint greenish blue to balance out the yellow (2). and since light is at least partially reflected when it hits a surface you should add a faint glow that goes across the shadow/light border (3).

for this shading style i like to use the layer mode colour dodge with lowered opacity + fill settings. for some layer modes opacity and fill do the exact same thing (e.g. for multiply or screen). however for colour dodge there’s a big difference:

a lowered opacity merely alters the transparency of the entire layer. that looks pretty awful sometimes, because the bright orange affects the dark of the hair much more intensely than the already brighter skin. but when you lower the fill percentage you primarily lower the amount of light that falls onto darker colours. so the layer’s opacity setting treats every colour equally whereas the fill setting takes their values into consideration. it might be hard to understand if you don’t try it out yourself, so just play around to get a feel for how it works!

and to summarise, here’s a process gif:

checks all spellings for you

checks if you’re over-using adverbs

picks out over-complicated sentences

suggests replacements for over-complicated phrases

picks out the passive voice

tells you how readable your text is (Grades/College level/etc)

calculates reading time

Hi friends!

I’ve compiled a swatch collection of all 358 Copic Marker Colours for Adobe Photoshop CS6 (and above). You can download it for free here. All the swatches have the colour codes in their name for reference.

If 18 or 20 palettes wasn’t enough, I present to you: my 100 Palette Challenge! This is a collection of some of my favourite palettes from color-palettes and Adobe Kuler and I thought it would be really fun to have a huge variety of palettes to chose from

If you would like to participate in this challenge, I ask that you DO NOT repost this anywhere else, including deviantART; please REBLOG this instead! I have the challenge uploaded to deviantART as well, so please check it out there if you want to do it on deviantART!

First off, if you’re a commissioner, do not ever try to haggle with an artist. If you can’t afford their work, don’t buy it. When you go to Best Buy, do you try to haggle down the cost of a TV? When you go grocery shopping, do you try to haggle down the cost of that pound of ham you’re buying for the deli? No, you probably don’t. The same concept applies here. If you want to buy something from someone and they tell you that it costs a specific amount of money, don’t get mad at them because you can’t afford it. You’re paying for a fucking luxury service. Being able to buy custom art or being able to hire a private artist for a project you have in mind is a luxury and if you can’t afford it then you need to move the fuck on and not blame the artist for your not being able to afford their work. Like, I’d love to be able to have a closet fucking FULL of haute couture clothing custom tailored to my body, but I know full fucking well that Dolce & Gabbana is not going to do that for me for 50$, so I don’t have a closet full of haute couture clothing and I don’t blame Dolce & Gabbana for it.

Second off - when an artist does work for free or for friends, that’s their fucking prerogative. If someone does something out of the goodness of their heart for someone else that they like, or if they want to do it as a gesture of affection, or they want to show appreciation to their followers, they are doing that because they want to. You know what most artists don’t just randomly *~*~feel like drawing~*~*? Your commission. Because chances are your artist of choice has absolutely no desire whatsoever to draw what you want them to draw for free. So don’t you dare ever presume that because an artist likes to draw for themselves now and then (because hey guess what, we aren’t fucking machines! How about that.) that you are at all entitled to their effort and skill for free or for an extremely discounted price because you want it. Get real, you clod. 

The most irritating thing is to hear or read “Well, you did x thing for x person for free, so why not me?”

Chances are is because you have no personal connection to us. You’re a client. You are a customer. While your business is appreciated, we have no emotional attachment to you. You’re not our friend. We have zero obligation to you outside of a financial one, and when you treat us like you did us some major favour by offering us fucking peanuts for what is a hundred or thousand dollar job, you can honestly get bent because we have no time for that.

The above message in black (in the images) is nothing more than an insult coming from a whiny crybaby who doesn’t value all of the years of hard work, passion, dedication and struggle that an artist of any medium goes through to hone their craft and price it at a reasonable, liveable rate. 

Listen dude, I’m sorry that you can’t afford more than ten bucks for a commission - it sucks for me and you, but what sucks even more is when you try to guilt trip an artist into feeling bad that they aren’t going to accept your ten dollars for what is a job that would cost around, if I calculated correctly, a hundred dollars, which, IMHO, is still RIDICULOUSLY underpriced for OP’s skill level and professionalism.

Aegishjálmur

The Helm of Awe This journal has the protective Aegishjálmur symbol on its soft leather cover, with blind tooling along all the edges. Off white pages perfect for wet and dry media alike, sewn to the cover with cream white linen thread in the medieval longstitch technique. Leather cord wrapping.