My dear mellysenpai said that she wants a tote bag made from this drawing but the resolution of the screencap was too bad so I decided to redraw it on a bigger canvas. (with more details uvu)
It’s really big (127x127 cm) so there are tote bags/laptop skins/big sized print/clock/… available on my shop. Also S6 is doing a discount for people who buy stuff via this link: http://society6.com/blanania?promo=4NN2QP9TYJNZ I guess.
Thank you so much?? You are the sweetest bean?? I love you, have a nice day? if you are not shy, could you please come off anon so I can talk to you and mail you a little gift? You have no idea how much I needed that tbh.
Little piece of digital inking advice I’ve learned from years of doing this sort of thing for projects with strict style guides;
Okay, so, anyone who has experience with digital inking knows the temptation to zoom in and out constantly to tinker with all of your details at different levels. The problem is, this freedom to enhance all you like can get you lost in the rabbit hole of tweaking details at 300% that look aesthetically awful at regular web viewing and print size. It’s an easy way to lose track of the big picture.
When I was on Ugly Americans, one of our most tightly enforced rules on the show was a set zoom level. You had one brush size and one zoom level, and everything on screen had to have the same lineweight. As Aaron Augenblick told us “you can’t zoom in on paper.” This is a piece of advice I’ve carried with me to this day, because I realized even if you aren’t going for a stylistically intentional uniform lineweight, it really helps keep your art decluttered and create easy atmospheric perspective in your line work.
When I was doing the short Nicky Two-vests pitch comic it was really my first time working on a big, print-size 11x17 comic page. The first couple pages I did I couldn’t resist the temptation to go in and utilize the ridiculous resolution to add little finnicky details all over the place. The result was awful and basically had to be redone. That was when I decided to try out this technique, choosing a fixed brush size and fixed zoom level for different depth of field and sticking to that. It helps keep the important focus of the image big and bold, the background subdued
For my personal use, I ink with the Frenden Hairpin Sable in Manga Studio 5EX which readjusts to be the same size on screen as you zoom, but the same technique works in photoshop if you adjust the brush to approximately the same size on screen as you go.
I don’t expect many people to buy this, but I’ve set this at base price
EDIT: Sorry I was mistaken. The lowest base price for tshirts has a default $2.20 artist profit ; A ; I can’t change it to any lower.
We have updated our logo (which used to be a blue star) since we’ve long realized that a blue star has nothing to do with paint or berries! And having a logo that relates to the name of your website, just, well… made sense. So here it is, the Paint Berri!
Logos may seem easy to make, but they usually involve a lot more work than anticipated. It was a challenge to design a logo that would work well at really tiny sizes (favicon) and big sizes (printed stickers and swag). Plus, our attempts at merging a paintbrush and berry often resembled a chili pepper, ghost, or a blob. Here’s a snapshot of the design process, starting from the top:
Eventually, we decided to settle on a paintbrush-berry-hybrid which is whimsical, clear, and bold.
You’ll see these style changes on the site soon :) As always, we hope you are having a good time drawing and hanging out on PB, and drop us a line at email@example.com if you have feedback or questions.