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Three Goblin Art

Kiana Khansmith
Show & Tell
"I'm Dorothy Gale from Kansas"

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blake kathryn
noise dept.
KIROKAZE

Jules of Nature
d e v o n
Alisa U Zemlji Chuda

⣠Chile in a Photography âŁ
wallacepolsom
Xuebing Du
Not today Justin
AnasAbdin
let's talk about Bridgerton tea, my ask is open

shark vs the universe
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@yukixhif
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Sorry... Got enchanted with that graceful flapping... :"3
Stumbled across your art recently, and I totally admire your work! As a complete noob to the digital art scene, I'd just like to ask whether you have any tips on colour picking (like for skin tones, under varied/dramatic lighting and such!). I have a ton of other things I want to ask, but I'll limit myself to one question and then try to google the rest, haha/ Thanks for sharing your art with us! ^^
ahh thank you so much! ⼠welcome to the digial art scene friend, i hope you enjoy your stay and ctrl + z
now onto your question! (if you donât 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.
hereâs a quick rundown of terms youâll see around a lot in reference to colours and shading: the hue, which is the âcolourâ 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 donât 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?
youâll 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 youâre 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 variationsâi stuck to the approximate values but played around with a lot of different hues and levels of saturation.
now compare 3 and 5: youâll 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 doesnât go well with the orange undertone of the hair. youâll have to experiment a lot to find out which combinations work for you. Â
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 itâs 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 thatâs what youâre looking for. this is about as far as iâd go if i didnât 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 thereâs 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 layerâs opacity setting treats every colour equally whereas the fill setting takes their values into consideration. it might be hard to understand if you donât try it out yourself, so just play around to get a feel for how it works!
and to summarise, hereâs a process gif:
colour is an extremely big topic and iâve only barely scratched the surface but i hope that still helped you out a little! the fastest way to learn is always to try things yourself, so grab a sketch and experiment. đ
Me: happily ships almost canon pairings
Mangaka-sama: whips up rival characters complete with rival ships
Me: my heart! My heart! (Drifts off to some other ship to ease heartache)
Mangaka-sama: confirms previous ship as canon
Rest of the fandom: Yay!!!
Me: WTF!!!!??? asdfghjkl!!!!??? *^^^*#
The final versions of the deka can badge tokuten for the Starting Days! DVD and Bluray from Kyoani Shop!!
source
Omg! Rin is such a cutiepie! <3

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I came
yes
RUDE! Tag your porn dammit
Random doodles.... 1 (Destressing at its finest btw...)
i am very convinced that sakura likes the wrong person. i mean. look at this
thatâs a blonde mikoshiba. thatâs mikorin. mikochiyo is real. if you donât see it pls go. bye.
Every morning when I wake up, I ask myself, "For what reason am I doing this for?............."
Usagi no Namida (Trying out a new coloring style)

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hisokk me
uuu thank u anon!! i hope this can explain it :^o
i use overlay all the time to make colours more vibrant and to make areas warmer or cooler. good for colourful ambient light (like glowy magic stuff).
multiply is really good for establishing a light source very quickly!! play around with the hue to get shadows with cool colours. for more detailed work you can use two or three tones on a multiply layer for more dimension.
screen is something i only recently started using regularly! itâs really great if you have a very bright light source. you can also use screen and paint on the edges of a backlit character to make the lighting more intense. a good thing to know about screen layers is that the darker the colour you use, the less it lightens; using black on a screen layer leaves no effect on the colours underneath (the opposite is true for multiply layers!).
and you can also use these layers for an entire painting instead of just on a character! i donât have a visual example on hand, but stuff like making the area around a warm light source warmer, making a light source brighter and more vibrant, or using gradients set on multiply or screen are just some of the ways you can apply these to a full painting :)
DEFINING WHAT IS âUSâ
The first time she ever laid her eyes on him, Gou knew right away that he is a player.
No one talks about this enough
Fingers crossed. I hope I finish this fic about KisuGou.. >_<

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Thor Sketchdump III by phobs.
When someone ships almost all of the pairings you ship...