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.
Yeah! A little, at least. :) I highly recommend the monoprice tablets, you just may take a little more fiddling to get them to be compatible (watch out with SAI) but almost all the tech support you’d need is here online posted by other monoprice tablet users.
Frenden has some really fantastic reviews and I recommend reading through all of them if you’re undecided about a tablet. The general consensus is, you can get an AMAZING tablet for under $80 and it doesn’t have to be wacom. :)
!!!HEY!!! Someone asked for a hair tutorial, so I took some screencaps of the process while I worked on one of my commissions and wrote up my thoughts to go with it! If that’s something that interests you, click through the readmore!
Hello! I adore your last drawings with the pallettes challenge! May i ask a really quick process of how you do that kind of colorfull artwork?(if you want of course i don't want to be an annoying request) I love the way you mix the colors and it doesn't even have a lineart! It looks really smooth and awesome!
Thanks, and sure!
For my not-so-speedy speedpaints, I have a pretty simple process:
Roughly sketch out the subject, being careful not to spend any time on tiny details. Just get the composition, perspective, and shapes down.
Look at the palette and strategize which colors will be used for which jobs. Pick the base color, usually a light or midtone, to build on as a flat background. Decide if you’ll be using other colors as highlights, shadows, accent colors, etc.
In Clip Studio Paint, use layers and a nice blendy @frenden brush—I like the chalks and pastels a lot for this—to lay down patches of color according to the jobs you’ve assigned them. Set the sketch layer to multiply and paint under or over it as needed to translate it into color, starting with lightly defining the edges of shadows and building from there.
Take away the sketch layer to see what needs more definition. If an area looks muddy, go in with sharper shading. Use contouring and accents to bring out forms.
Once the colors are nice and defined, flatten your layers and blend them to your taste. This is totally optional, actually. If you like the look of chunky, unblended colors, leave them as is, but it can be nice to get a combination of sharp definition and soft, painterly transitions. It depends on what effect you’re going for.
As a final step, save and go do something else for at least 20 minutes so you can come back to your art and see if anything jumps out at you as needing to be fixed. (Don’t be too anal. It’s not supposed to be a finished piece, after all.) Once you’re satisfied, export a web copy and share it!
where do you get your screentones and textures for your art?
screentones r from kyle’s brushes, any other “textures” are either a noise filter applied to the art (like in my care bear draws) or the actual brush itself and the only brushes ive consistently used for lines (i dont have textured color bc i use default ps tool fr coloring sghjsgf) are frenden brushes or shiyoon kim’s