pah! my skin palettes are no where near perfect. I wish. D:
I’m not sure if this would be of help, but here’s sort of a quick step-by-step guide of sorts. also my main brushes I use + their settings. I literally just block colors and shapes in with my “paint” brush, blend them around some, and color drop. that’s it…haha.
(via lunardiety)
Oh no it’s a COLOURING WALKTHROUGH
The last time I did one of these I felt it was inadequate because all I did was flip through the layers of a completed piece. So this time I took screenshots as I drew!
Other notes:
- This is only my method for fast colouring; if I had, say, metallic objects, or fur to colour I would likely paint it with none of the shadows layer masking business, which seems to work best on objects that aren’t particularly shiny.
- If you look at the timestamps, apparently I took about an hour an a half to colour this.
- Smoothing out the shadows was done with a hard round brush with flow and opacity controls turned on. (it’s a default brush.)
- Your flat colours are the most important part of this process - the layer adjustments trick will save you from having to pick a second round of colours for shadows manually, but if your flats aren’t up to scratch the whole piece will suffer. Make sure your colour scheme works here before moving to shading.
Finished product can be found here. I hope this is helpful!
(via chaoticwaltz)
I am 2 years late but I finally watched BBC Sherlock!!
Hey Birdbrain!<3
$10 commissions are open
lineart, color + shading, flat color backgroundfamiliar fandoms: Adventure Time, DC, Marvel, NO.6, Sherlock, Supernatural, Dr. Who, The Lorax, Kingdom Hearts, Final Fantasy
just drop me a note(unreliable process due to tumblr eating them), or email me at srsly.riot@gmail.com!
signal boosting is appreciated and might get you a prize ;)
read: I’d really like to make some cash right now and I’ll show my appreciation if you give me a hand. One winner will be chosen and receive a free, custom piece* drawn by yours truly.
Reblogs count, likes do not.
Offer ending: December 19, 2013*limit of 2 characters in custom drawing
I made myself some Sai brushes for soft coloring, I thought I could share them :3
(via toxcatl)
![wishroom:
Bartek Gawel, CDPR’s art director, shares some insight on the importance of head construction for successful character design.
The secret to a good character concept is its head. Not to brag about the eyes as the mirrors of the soul or the number of emotions a human face can express let’s just get on with it. Because it’s all in the head – believe me.
Any to-be concept artist will have to learn sooner or later how to draw a good face. I decided to take my time and start this little tutorial and share the knowledge, that was gathered by artists and human body experts (scientists to be precise) throughout the ages.
In this episode I’ll write a little bit about the first principal which defines the look and character of the head you are designing. Today I will write about the facial angle.
The most important element you will need while constructing the head is the middle of the ear. This is represented by the red dot on the illustration above.
A line crossing this point and perpendicular to the horizon helps us find the beginning of the neck i.e. the place where the neck meets the chest (point A). Traditional sculptors use a special pendulum to find the correct line. It’s good if you have an aprentice of any kind to hold it for you, while you’re busy with your work.
The models character is determined by the so called facial angle. This concept was used for the first time in the 18th Century by Petrus Camper, a Dutch anthropologist, scientist and sculptor. He introduced a constant head position based upon a line drawn from the middle of the ear (red dot) to the septum (the red line). The second line needed to create the face angle is drawn from the forehead surface with the jaw (yellow line). This angle can have different rays and be even right.
Determining the facial angle allows you to have a base for further head construction and influences the look of the model on an early stage, before you start outlining other elements (e.g. a nose).
[blog post]](http://24.media.tumblr.com/tumblr_m9nzp5nVJM1ro78vpo1_500.jpg)
Bartek Gawel, CDPR’s art director, shares some insight on the importance of head construction for successful character design.
The secret to a good character concept is its head. Not to brag about the eyes as the mirrors of the soul or the number of emotions a human face can express let’s just get on with it. Because it’s all in the head – believe me.
Any to-be concept artist will have to learn sooner or later how to draw a good face. I decided to take my time and start this little tutorial and share the knowledge, that was gathered by artists and human body experts (scientists to be precise) throughout the ages.
In this episode I’ll write a little bit about the first principal which defines the look and character of the head you are designing. Today I will write about the facial angle.
The most important element you will need while constructing the head is the middle of the ear. This is represented by the red dot on the illustration above.
A line crossing this point and perpendicular to the horizon helps us find the beginning of the neck i.e. the place where the neck meets the chest (point A). Traditional sculptors use a special pendulum to find the correct line. It’s good if you have an aprentice of any kind to hold it for you, while you’re busy with your work.
The models character is determined by the so called facial angle. This concept was used for the first time in the 18th Century by Petrus Camper, a Dutch anthropologist, scientist and sculptor. He introduced a constant head position based upon a line drawn from the middle of the ear (red dot) to the septum (the red line). The second line needed to create the face angle is drawn from the forehead surface with the jaw (yellow line). This angle can have different rays and be even right.
Determining the facial angle allows you to have a base for further head construction and influences the look of the model on an early stage, before you start outlining other elements (e.g. a nose).
(via toxcatl)
