how do you textures

Trying to explain sensory issues to people who don’t have sensory issues is hilariously frustrating. How do you explain how a texture sticks to your fingers and spreads up your arms? How do you explain how a sound wiggles in the back of your head like a worm? How do you explain how a flavour is heavy on your teeth? So many people just don’t have a comparison for what that might feel like.

csongkijung  asked:

hi- I was wondering if u had any process gifs of your background art? like how do you go about adding the textures? is it at the final stage that you do it? I'm also interested in working as a bg artist after I graduate and you're a really big source of inspiration!

hello! i dont have any process gifs but i put together a little tut for you, i feel like im overdue for a proper one :8) i want to make a more in depth tutorial on background painting (maybe a video?!!?!) but for right now i’ll just address your questions on texture if that’s okay!

here is an ultra basic bg we’re gonna spruce up. keep in mind i’m not going to talk about lighting and composition really so, try to put that out of your mind for now. anyway, there is no texture or edge difference in this yet. everything is smooth and samey (but there is a little bit of atmospheric perspective in the color). the most important thing at this stage is that every unique shape or plane is on its own layer. this is because all texture and lighting will be clipped to the corresponding layer.

sorry this is kind of ugly but this is how i arrange my layers LOL. everything is arranged on planes. i think of it like cut paper stacked on top of each other.

make a clipping mask for the texture you’ll put on each shape. i talk a bit about clipping masks and how to use them here. normally i’d have a clipping mask for texture, shadow, and light, so it can get a little crazy when you have a lot of layers but it’s invaluable for experimenting and getting things just right.

ALRIGHT SO LETS TALK ABOUT ACTUAL TEXTURE. i think about texture as having two functions: 1. to draw the viewer’s eye to where you want it to be, and 2. to describe the material/feel of objects. for our very first texture, we’re going to put some snow on the front tree. im using a variety of brushes, please check my FAQ for a full list. since i want the viewer to focus mostly on the front tree, i’m going to put the most texture on it. to answer your question about when i add texture, i usually just kind of follow my intuition and use it when i feel it’s needed. i will almost definitely go back and add/take away throughout the process of the image. a lot of things change and it’s cool to change your mind throughout. i don’t really follow solid “steps” for every piece, they’re always different for me!

now i am just continuing to add texture here and there. the middle ground trees get a bit of snow, but it’s subdued enough to not be the focal point. as well, i added some texture to the snow because i wanted the front plane to be the one you look at the most. everything behind the middle ground trees is wholly untouched. now we have a nice contrast between smooth/textured going on! and contrast/opposites is the key to guiding a viewer’s eye.

after all that i decided at last minute that the front plane could use some texture to differentiate it. but looking at it now, i’d probably go back and rethink it. that’s life.

finally! i added some color corrections and some gradients to push back the mountains and trees. i also added some falling snow and an overall paper texture to simulate a snowy feel without having to paint it all. the paper texture is behind the front plane, again to push everything behind it back. i would be very careful about putting a texture over everything, it can really flatten everything or make it look fake/gimmicky. clip it to shapes or erase where necessary.

lastly, a short word about more contrast. here, i am trying to push the contrast between soft and sharp. the only difference between this image and the last step is that i blurred and sharpened some planes. there are multiple ways to think about this, but for me, the photographic approach is easiest to understand and it’s just how i like my art to look. basically, i try to always make my focal point sharp and in focus, and blur other elements.

this felt a bit all over the place….sorry!! but, i hope it helped. i would like to do more in-depth tutorials in the future so please hang with me til then. thanks for the ask!!

bluee-cactus  asked:

How do you do that kind of paper like texture when you color? It looks so amazing <333

Thank youuu!

Well first off I use this graphite pencil when coloring for lineless art

Then for the paper-like texture I flatten the image and apply fur (Idk if all sai programs came with these textures!) and adjust the scaling. 

Now it’s lookin like a paper craft

ilsagace  asked:

Hi, I really like the character you are working on. I wanted to ask you how do you achieve that cool pixelated effect on the textures?

Hi @ilsagace thanks for asking! Sorry for the super late response, I’m still catching up to messages.
I’m not sure whether you are referring to the crisp shapes on the textures or the fake lighting shader so I’ll do my best to briefly go over both, but please do ask for more clarification if you need it.

Because my textures are all flat shapes and were either drawn out straight with the lasso tool or filled in over and over while trying to figure out the palette they ended up with pretty sharp lines. The actual full resolution before scaling down looks like this:

Then when bringing the diffuse into Unity the import settings are switched to “point” in the filter mode, which turns off any automatic smoothing Unity will try to do for you. In addition you can switch off mipmaps if you need something to still register as crisp from a distance (and there aren’t too many objects in too large a scene).

If making textures more pixelated is your thing, point filter mode will continue to solve that for you. Excuse the messy results, but I scaled down the diffuse map here at a couple of sizes as an example (using both nearest neighbour and bilinear resampling).

The results below are to show the difference the point filter mode makes and look pretty dirty, but if you were going to make pixel textures by hand I think with purposeful texturing and some carefully aligned UVs on a model it would make for a nicely clean and attractive result.

If its the lighting shader you wanted to know about, it’s like a ramp shader at its base, taking the information on how to overlay a texture over the main diffuse.

I’m still pretty new to shaders and don’t want to risk giving incorrect information but there’s a lot of information on using ramps out there and Unity provides an example script here.

The layers of shadows, or the “cel shading look” is achieved by making ramps that are themselves made up of sharp blocks of colour:

Last thing I can think to note is to remember to take light attenuation into account if you are using a scene with multiple lights and need the distance of the light from the material to have an impact. In my scene I’ve currently only got a single directional light so don’t feel I need to bother with it just yet.

Sensory Asks!

 1. What does your sensory haven look like and what does it include?

2. How do you like your blankets (many, none, texture, etc.)?

3. Do you prefer tight clothing, loose clothing, or a combination of the two?

4. What is your least favorite scent?

5. What kinds of music give you the most sensory input?

6. Best impromptu or unconventional fidget or stim toy?

7. When you find yourself stimming or fidgeting subconsciously, what are you doing?

8. How do you handle bad sensory days?

9. What is the best way to block out sounds?

10. What is an item of clothing that you think is both sensory friendly and stylish?

11. Do you like “gross” textures (slime, mud, etc.)? 

12. Is nature sensory heaven or a sensory nightmare for you?

13. If you could invent a stim toy, what would it be?

14. What are your favorite stim or fidget toys?

15. What is the best way to calm your senses?

16. Which of your senses gets overloaded the easiest?

17. What sensory item(s) can you not live without? 

18. If you could only have one sensory item, what would it be?

19. Do you prefer proprioceptive or vestibular input?

20. What would be in your dream sensory room or space? 

look what you done!

dedicated to @woanu because she’s a “motherfuckin” meme of a child that i love + as thanks for listening to me moan about this for 2-3 days♡

anonymous asked:

Hey Ami, so I'm not sure if you were already asked this, but how do you incorporate the watercolour texture into your drawings? I know you said that you got them from cgarofani, but how do you go about manipulating the textures into what you're colouring?

You take the texture you want and copy paste it into the file you’re working on! Position the layer with the texture over what you want (for me, I put it over hair. Make sure the texture layer is right on top of the layer with color), resize/rotate until you like where it is and select “Clipping Group” so it only covers hair. I use Paint Tool SAI but I’m sure photoshop and etc. have similar ways to clip the layer over another. I desaturate the texture till it’s gray (black/white), and set a layer mode for the texture layer. In SAI, I use “Shade” or “Lumi and Shade” (I have to darken colored layer though if I use Lumi/Shade), but for subtle effects you can use Overlay or anything really. Just try all the layers LOL
And then I change opacity!!

screeeeeeeeeeeeeeeeeeee  asked:

Sorry if this is too much to ask but, how do you do your texturing? I'm new to modeling and if you could point me in a good direction it would really help! UV mapping feels really overwhelming and I could use some tips

I don’t know what software you use, but I mainly work on Maya and Photoshop.
I know Photoshop texturing is a bit primitive given that there are now much more efficient texturing softwares (such as Mari),
but I still haven’t bothered learning them so…

Anyways, here’s an example of unfolded UVs & textures if that can point you in the right direction (from that model):

(this is what the textures look like when I’m working on Photoshop)

I know UVs can be a pain in the ass, but it is a necessary evil.
The key for easy texturing is good, well thought-out UVs. If you spend some time thinking about your UVs and how you’re going to paint your texture beforehand,
it can spare you a lot of time and trouble.

Maya actually offers some pretty useful options.
Planar Mapping (1), Cylindrical Projection (2) and Automatic Projection (3) work relatively well for manufactured objects.

For organic objects, howevers, I do it manually.

Always try to put your seams somewhere where they won’t be seen (like under the clothes, or in some place you know won’t be visible on the final render).
I know that can be difficult sometimes, but that’s the best method to keep your models clean.

Hope that helps !

anonymous asked:

how did you go about doing the texture and shading of phantump's bark in your latest post?

 Oh! Well, I’ll try my hardest to recreate what I did.

1. Start off with a drawing! Color and line art included.

2. Make another layer, above the coloring of the part you want to shade, (I did the coloring for the wood and the ghost parts on different layers.) and make sure it’s clipping, so it stays in line with the color. Also make sure it’s on normal. (At least how I do it. If you want to experiment with other blending tactics, go ahead!

3. Using a watercolor brush, make sure your Load Color is on 100, and Ease of Mixing Colors is somewhere in the middle, or to your preference.
I usually put the Opacity on around 50, to make blending easier. Using a color that is darker than your base color, roughly color where you want darker shading.

4. Blend in the colors a little more, using lighter and darker tones to create a smooth blend between the colors.

Be sure to take the lighting into consideration, as where the light is closer will have lighter colors and where there is less light will have darker.

5. After you’ve blended the colors together, you can make another layer above the secondary color layer, and add highlights or shadows to your hearts desire, and putting more emphasis on the light vs dark.

6. Finish up the shading to wherever else you want it, albeit, badly in my situation, but hey you only asked for the bark,(Don’t forget things, like I did with her leaf) and viola! you’re done~!

Reminder that you don’t have to use exactly the same presets as me, or even if you have a different program. I use FireAlpaca and you may not, but this is just what I do/did for my coloring!

I really hope this helped you! It was a lot of fun to do!

Here’s the finished drawing!

My friend and I found a portrait of a somewhat deformed ancestor of Trump in little Salazars castle.

alliandoalice  asked:

how do you get the grainy texture on your gems drawing? thank u !

Okay so I’ll take you down step-by-step over this yh, all of this was done on Photoshop CC :) Basically you start with the lineart

Then I whip out the Megapack brush set by @kyletwebster (if you want to buy it which I highly recommend, the link is here)

The brush that does the grainy magic is this one:

Then you create a new layer below the lineart and sweep it in the centre of the drawing. Make sure you don’t lift your pen while doing this, otherwise the grain effect will overlap and you’ll lose the white specks

Erase the background and you have your base colour:

Lock this layer. Then, create a new layer on top of the base: 

Right-click that layer and create clipping mask:

This will make colouring SO much easier for you. Whatever you draw on the clipping mask will stay within the base colour layer. You don’t need to worry about erasing the edges now! Here’s an example:

Okay then, you keep building up colours on separate clipping masks and plan out the flat colours first before you dive into shading.

Once you are happy with how everything looks you can add as many details as you want :D

The shading and highlights were done on separate masks too. If you want to shade, change the layer mode to Multiply. If you want to highlight, use Colour Dodge. You can even play with the layer modes and see what comes up, experimentation is key! Hope this helps <3 ;*