#tutorial(?)

Thank you! I don't really have any detailed explanations for them, especially since it was sort of a spur of the moment thing (while procrastinating other stuff :') ).

Here are some screenshots of their face builds! I pretty much only used eyes, a mouth, and face paint. I don't have a stylus, so I just used my finger and the D pad. Some of the features I copied from Sirei to Nigou to make things easier. The only thing that turned out a little weird was Sireis eye shines. You can kinda see them when he closes his eyes (I was too lazy to fix them, but you could probably just scoot them up or down a bit).

Enjoy unleashing these freaks upon the world!,,, If you do end up making them or any variations of them, I'd love to see it! 👀

I work on Paint tool Sai with this setting for my linework~

I usually l do my linework in the shade of color I think would fit best for the overall ambiance of the piece and set that layer mode to "shade" so that any color under it would pop darker.

I set my base color and clean the edge at the best of my ability as well.

Then using a while layer I start shading with pastel color, the layer is usually set to "multiply". The whole piece looks much better with a separate highlight layer to help discern where the light come from, that layer is set to "overlay".

!?@?!?@!? I believe in u!! I mostly just base it off of how skeletons are supposed to look, but here's a tutorial for specifically how I draw him! So just use these as pointers tbh, I recommend just drawing him however you feel most comfortable and it gets better from there!

Using a read more thing bcus it's over 10 images

Ok I might not be the best at explaining stuff aaaaa if it’s unclear please feel free to ask for clarification. Mic will be my assistant today.

1 - Lineart. Pretty straightforward, although the thickness of it can really change the vibe of your drawing. Big fat lines like above tend to make it very cartoony

2 - I then generally put a flat layer of shading over the parts that are naturally darker, like the leather and the headphones.

3 - DECIDE OF A LIGHT SOURCE! That’s the most important part of shading, you need to know where the light comes from! When you have it, it’s just a matter of understanding volumes, patience and practice :3 Breaking down the volumes into simple shapes can help too!

(Something important to note, if you use crosshatching, is that your lines should follow the volumes of the stuff you shade. It usually looks a lot less flat and neater)

4 - Basically after that I add more shading layer by layer, slowly building up contrasts. Ngl it takes practice to know where to push the dark tones and where to slow down, but references can be of great help!

5 - I add little details like the shine on his glasses. Another important thing when shading is understanding the material of the stuff you draw. Then again, references are a godsend, but basically, the more reflective the material, the more sharp the contrasts get.

Not rude at all! It's neat to hear that someone thinks my art looks soft!!

(FYI - this was asked all the way back after I posted my Benom piece, and I believe that's what this ask is referring to... sorry for taking so long ;o; )

I'm nowhere near a professional, but if I had to guess I think it's a combination of simple brush and opacity settings. A brush I frequently use is the marker brush, and when used in combination with Medibang's Watercolor Edge settings, it makes for light strokes that can be piled on with top of each other.

I have a style that's more cell-shaded and one that's more watercolor, and here's the sort of guideline I go by when trying to achieve either look.

As for lineart, I actually don't take it too seriously ;w; If you zoom in to any of my art, you'll see that it's usually very itchy scratchy; I tend to try to finish that part quickly since I think colors are more fun (Though nowadays I'm trying to take line confidence more seriously, especially in animations). I typically draw things with red or yellow undertones, so I like to make my lineart red and set it to multiply - but on occasions when the character or setting has purple, blue, or green undertones, I make the lineart dark blue instead.

If needed, I'll lower the opacity of the lines a smidge, duplicate it, then blur the layer on top to make it look softer as well - though I usually do this so the eyes of the character look more 3-dimensional.