Princerazzie's art blog ^^

Just to make a point, every time I finished a panel of this I would export it as a PNG on the perceptual setting and use it as a color reference for the next panel

IT'S BAD

PLEASE CHECK YOUR COLOR SETTINGS

ive been noticing the EXACT SAME PROBLEM whenever i would export an image from procreate and it drove me CRAZY that my art would desaturate all the time. anyway, if you're in a canvas, go to settings > canvas > canvas information > color profile

once youre in color profile, if your current color profile is display P3, CHANGE IT!!!!!! it is desaturating your colors. you're gonna want to change it to sRGB IEC6 1966-2.1 instead

if you're starting a new canvas, you can just go to color profile and change it that way. im SO grateful for this post for giving me the push i needed to experiment with procreate files and finally see what was changing my art to be so desaturated

like LOOK at this!!!!

In Krita go to Image>Properties>Softproofing>Rendering Intent.

There is also the Color Space Browser button in the same pop-up window if you want to check/change your color profile. The recommended sRBG IEC6 1966-2.1 is in RGB/Alpha model.

Types of artists (but it's all me)😔👌

I hope you like these! Let me know if you want me to do a part 2 or something similar to this idk

I’ll do my best to explain using my marshall lee piece!

@cookie-kagehina

Hello, thank you so much! I always see my work as kind of messy so it’s a surprise to hear you find it crisp!

I don’t know if my methods will be much use as I just kinda wing a lot of things, but here are some things and hopefully you find something useful. I use Clip Studio Pro Paint, which I think is what you mean?

First, I draw on a large canvas so from ‘far away’ things looks cleaner I think? I always start with a 11inchx17inch 300 dpi (3300x5100 pixels) although my recent piece was cropped to 2700x3900 px. Below is an idea of what you might see on mobile vs the original size. And boy you can see my messy paint-strokes especially on areas I don’t really care too much about (like Shiro’s hem+pants vs their fingernails) So this is probably the secret?

As for color and lineart, I kind of go the “oil paint” method? So I don’t really do much lineart. Sometimes I do, but my lineart = clean sketch

(1) After I get a decent sketch done (I usually do multiple clean-ups until it becomes coherent). (2)Then I create a lineart layer only for the face/eyes or things I’m likely to repaint repeatedly because I don’t want to draw it over and over again.On a new layer I usually paintbucket the whole thing white, or whatever overall color I’m using (this helps the paintbrush stay consistent?). (3) On the same layer I draw the lines…like another sketch (sorry it’s hard to see it). Then block colors in right on the same layer with a translucent brush so I can still see what I drew… (4)THEN PAINT. I color, shade, redraw lines and repeat. I also HEAVILY rely on the eye-drop tool to pick up appropriate shades and colors.By the end of it, I may or may not have got rid of the ‘lineart’ of the eyes/face. Depends on how much I had to change it.

This is generally my method…may not be the most efficient and I will often create new layers to redraw parts or try out different colors/clothes/positions in case I end up liking the original better since if you paint over it, it’s gone. If the file is getting to layer-heavy I will create different copies of the file/drawing.

Being older now and having an art job it’s…kind of essential. 

So: a quick primer for those of you who are like ‘ok but how do i actually go about doing this warmup thing.’ 

1) you may be tempted to do ‘a warmup drawing’ which is just a drawing that will take longer than it needed to and probably be frustrating and kind of bad because you didn’t warm up first. It’s tempting but always a trick your brain is playing on you! Do not trust! 

2) warmups will vary based on what feels good to you/what task you’re about to do/what motor skills you want to practice. That being said, some good standbys:

a) circles. Just a whole page of circles on whatever drawing surface you’re going to be using, whether that’s your tablet or your sketchbook or a drawing pad on an easel. For these circles you should make sure that you’re drawing from your shoulder and not your wrist. In fact, you want to be drawing from your shoulder rather than your wrist most of the time! forever! your wrist is delicate please preserve it! 

In order to ensure that you’re drawing from your shoulder, when you’re holding your pencil or whatever drawing tool you’re using, the only part of your hand that should be touching the drawing surface is part of the last two fingers–some people prefer the finger tips, but I tend to favor the first knuckles. Either way, the fingers should really be ghosting over the surface, providing guidance rather than support. 

I usually start with big circles and then go to smaller circles and lines of ellipses, and then try to fit circles and ellipses inside other shapes i’ve already drawn as a precision exercise, but i don’t do that unless i’m feeling loose

b) spirals! i don’t always do spirals, but if i’m stiff and the circles just aren’t cutting it, spirals are a good fall back. I start from the center and work outward, going both clockwise and counterclockwise until i feel comfortable with the whole range of motion. Some people really care about getting perfect spirals but for me it’s all about making sure i’m comfortable with how i’m moving so who really even cares about how the spirals look. Not me! 

c) lines! straight lines! in parallel! i do a mix of vertical, horizontal, and diagonal. These are often more from the elbow than the shoulder, especially if I’m working on a smaller surface. For this exercise, I recommend holding the drawing tool perpendicular with the surface

d) connect the dots. This is a precision and accuracy exercise and takes two forms. The first is to draw two dots and then draw a straight line between them. The second is to draw three dots and draw the curve that connects them. This sounds a lot simpler than it is in practice. Take time to ghost over the line you plan to draw before actually committing to your line. (I don’t always remember where I picked up my warm up exercises, but I’m pretty sure I got this one from Scott Robertson. His how to draw and how to render books are very technical but also accessible and worth checking out)

e) cubes, spheres, cones, and cylinders. These help get your brain into a more volumetric space. I draw multiples of each, rotating the forms around, and I’ll often take the time to do some rough shading on at least a few of them

f) spidermans! This one is really good if you’re going to be storyboarding or working on dynamic poses. Just fill a page full of spidermans doing all sorts of acrobatics. 

g) beans. I don’t do beans too much anymore, but I know a lot of people like it so I’m mentioning it here. Fill an area with different size bean shapes without lifting your pencil off the paper. 

h) short medium and long line repetition. draw a short, medium, and long line on your page, and then draw directly on top of them 8 to 12 times, doing your best to exactly trace what you’ve already drawing. Repeat with a wavy line. I’m bad at this one, which means I probably need to do it more. 

And there are lots more options too! Hit up youtube to see what other people recommend, put together your own go-to list, mix it up when you’re getting bored, etc. 

This is a long list, I know, but I usually don’t take more than 10 to 15 minutes to warm up, and I can warm up one handed while I’m drinking coffee, so, multitasking hurrah. 

Sometimes I’ll advance to a precision warmup and find that I haven’t loosened up enough yet; it’s totally ok to go back to an earlier exercise! Also, all of this has the added benefit of kind of ritualistically getting you into the drawing mode so even if I’m not feeling it before I start, by the time I’ve gotten to the end I’m usually Ready For Drawin’. Brain hacks. 

Or when people rec songs/shows/fics and you suddenly know everything you need to know about who they are as a person?