coloring tutorial


Inking Armor in LEGEND OF WONDER WOMAN (DC Comics)


WATCH the trailer for this comics series:

Written & Illustrated by my wife @renaedeliz
Inked/Colored/Lettered by @raydillon

Legend of Wonder Woman on Twitter & Facebook

Get the brushes I use here:



@pixielocks WATCH HER VIDEOS HERE !!!



View the fullsize tutorial on DA | The most handy hair structure tutorials are this video by Proko and thisblog post.These are useful for thinking about the direction hair locks flow with different styles: 1 2 3 4 5 | Painting Realistic Hair | Shading with gradients: 1 2 | Tutorials by me including: Gimp Brush Dynamics, Coloring Eyes and Coloring Method.

All example characters are fromThe Silver Eye webcomic!


Different Advantages come with each technique.

If you separate the grey from colours, you can toggle either one separately. If you wanted to change the shape of the watercolour, you only need to affect the grey layer and then edit the colour later. The different values of colour are already chosen for you by the different greys beneath, so there’s no guess work involved. One disadvantage is that the colours won’t always come out the way you expect unless you toggle the layer properties.

Advantages that come with colouring all on one layer is that the colours may come out brighter because you’ll be picking them yourselves. You can achieve the same effect with one layer and without having to toggle any layer properties. The disadvantages include needing to pick colours by eye to get the different values, and that may be more time consuming than if you were to only select greys. Changing colours will require separate layers in order to preserve the values that has already been established.

I hope this has been helpful and informative to you! Happy arting, Keep making the world beautiful :D!

thoughts on skintones

people ask me a lot about drawing poc, more specifically “how” to do it. my kneejerk reaction is to get frustrated by it, because the answer is “just like you’d draw anything else.” it’s like the main excuse artists and writers use to not include poc in their art and in their worlds – they “don’t know how,” implying that we somehow operate by a separate set of rules, that while white characters don’t require a special set of considerations to be varied and textured and interesting, non-white characters are just an elusive series of step-by-step instructions that most creators just can’t be assed to learn or to include

i still feel that way


i guess i can understand that most instructive media focuses specifically on white aesthetics, proportions, skintones, and features, so there really is a need for more instructive material that is more inclusive

i can dig it

that said, there is a lot that i don’t know and am not good at and i don’t really feel comfortable trying to instruct other artists, but i’m fine with taking you through my thought processes a little

SO here’s some stuff about skintones. it’s not perfect, and there will never be a better teacher than the world around you for showing you what things look like and how to express them

first off, if you’ve ever seen me stream you know i don’t usually block in my shading with hard lines like this. i like to paint and sample colors as i go, but i’m trying to communicate my ideas about color a little better

but i’ve always used the same basic process for coloring skintones, any skintones, forever and always:

this is going to change up a little bit with directional lighting, colored lighting, environmental lighting, shit like that, but this is your basic procedure. the biggest mistake i think artists make is using skintone+black for shadows and skintone + white for highlights, and that results in pretty dull looking skintones

in the former image, i only varied the value of the main skin color, but in the latter i also varied the hue and saturation. doing so gives you more of an opportunity to add warmth and depth to your colors, as well as bring in environmental colors if you need to

you want to sample around the palette, use reds and purples and oranges, don’t just stay within the range of your base tone!

this applies for all colors, not just skin, but especially skin! you want skin to look alive, not plastic and dull

these same rules apply for most skintones

though it’s always going to be incredibly helpful to just look at references of the skintone you’re trying to draw, for little details like (for example), very dark skin, because there is a more extreme light/dark variation, will often look much more reflective than very light skin under the same lighting conditions

like so

because of this, you’ll want to work on using light more than shadow to describe form on dark skin

External image

again, this is true of all colors, but especially skin, because you don’t want skin to look flat and lifeless!

the same rules can apply to fantasy skin tones. start with a base tone, then use warm, saturated colors to add light and shadow. sampling around the palette becomes really important for fantasy skintones if you are trying to make them look realistic/believable

this is especially true if, for whatever reason, you wanted to make a character with grey skin that looks alive and believable



The Color Course: Understanding Color

Instructor: Tim Von Rueden (vonn)

Expert Input: Mel Herring (PurpleKecleon) or more recently GlitchedPuppet

This first half of the color course focuses on understanding color from the terms associated with color, how lights project color, choosing color schemes, and much more. We go into different discussions like why Red and Cyan are considered true complimentary colors instead of red and green.

We begin first breaking down what is Color? Why is there confusion when figuring out what is considered Red? As we continue throughout this course we will constantly refer back to the three terms that better explain what color is.

From there we dive into working digitally and the differences that brings when working with color projected with light rather than pigments. Once you begin understanding working in RGB (Red, Green, Blue) then it becomes easier understanding how colors mix in this digital format.

Working with color, we need to understand the color wheels associated with art and the difference between the traditional and modern color wheels. We will then show you how to choose these colors accurately from within Photoshop.

Then we take the time to look at the terms associated with color such as tint, tone, shade, monochromatic, greyscale, analogous, complimentary, and warm/cool. There are a lot of color terms but they are quite simple once you know the meaning of each.

The last section in our understanding color course looks at creating basic color schemes and we have a guest appearance from one of our favorite color artists, Mel Herring giving her insights on working with color as well!

anonymous asked:

You're new lineless style of how you draw is so cool! Could you give some pointers to us kids trying to figure it out c: ? I really love it!!!

thank you so much, I’m glad you like it! ;v; I decided to make a lil tutorial to show how I do things!

first you need to do a very rough sketch of what you want to draw

after that, make a new layer and fill in all the base colors (start from the background towards the foreground!)

then add some details, getting finer as you go along

add some shadows…

add detail to the hair (this is always the most enjoyable part so save it for last!) by adding shadows, then highlights, then the darkest strands

and voila, a lineless piece!!!! I usually add greyish-red/brown overlay layers on top to make em look prettier!

now that you know how to do it, try it yourself and maybe experiment, maybe do something differently and create your own style! hope this helped! >vo)b


So Abbiegoth asked me if I could make a tutorial of how I color and do lighting on gems/jewels.  Here we go.

biggest key to understanding gems is that

  • Gems are not flat, they are 3d shapes, so treat them as such
  • Gems are translucent, not transparent.  light goes in one side and out the other, but it illuminates the object WHILE passing in and passing back out, and the in-ray creates a smaller point of light than the outside because light scatters inside the gem.
  • subtlety with any sort of outer glow is key.  gems are deep, not glowsticks, subtlety can help make jewels and gems deep and have lots of personality, so make sure you have your dark depths and subtle lights.  dont abuse glows, use them as the cherry on top.

Hope this helps a little, and thanks for the question