it looked a lot better on photoshop

failing-to-fly  asked:

Hi vetyr 💓 my question is where did you get your source of knowledge when doing studies regarding; colors, shape, value and lightning etc? Can you recommend some books or specific tutorials? 😶

Hey! I’m actually not that knowledgeable in lighting, but I got a lot of my experience in colors and shape by looking at the art of people I admire and by experimenting with them on my own in Photoshop (it’s not as fun to do it traditionally, namely because erasing/undoing in Photoshop is SO easy).  As for value, much of that was brute forcing through pencil sketches for 3 years or so- that part wasn’t always fabulous, but I enjoyed it more and more as I got better. Unfortunately, I can’t recall reading any books or referencing many tutorials, except for a single pinup tutorial by babelab that helped me a surprising amount with faces.  If I were to recommend any books, I suppose they’d be artbooks by your favorite artist(s) to keep you inspired.

I’ve got my swim trunks, and my flippie-floppies

for @legividivici, hope you like it!! <3 (ao3)


The last place Clarke expected to run into anyone she knows is the literal middle of the ocean, but the cruise ship has barely left port before she spots a familiar head of tousled curls ahead of her in the crowd.

She loses sight of him before she can get a good look, so she chalks it up to her imagination. It’s entirely possible that Bellamy is on the same cruise she is– they did, after all, both just graduate, and therefore have the same budget and scheduling constraints– but she tells herself it probably isn’t him. And that even if it is him, it’s not like they’re going to run into each other.

So of course the next day she’s on one of the decks by the pool when a shadow falls over her and his voice says, “Is this chair taken?”

Clarke pushes her sunglasses up on top of her head and wrinkles her nose at him.

“I don’t know, I my tiara really ought to have a chair of its own.”

Bellamy smirks and sits on the edge of the chair, not moving her stuff– not yet– but settling in to bicker with her. As is their custom.

She and Bellamy were RAs in the same dorm two years ago, and they had differing ideas at first about how hands-on they needed to be with their freshmen. Despite the way they picked at each other, by the end of the year they’d become reluctant allies, his calling her ‘Princess’ taking on less of a sneer and more of a teasing edge, her comebacks laced with a smile. They had each other’s backs.

But she didn’t re-up her RA contract for her senior year, and he did, and they’re not the type of friends to outright admit they miss each other, so she hasn’t seen nearly as much of him in the past couple of semesters as she would like.

“You here with Wells?”

“And Raven,” she nods. “I was saving those seats for them, but I’m pretty sure they ditched me to have tiny cabin sex.”

“O and Lincoln ditched me pretty fast too. I think they’ve all forfeited their right to a saved seat,” he grins, passing her bag back to her. The way he lounges back in the chair, skin already browning, wind ruffling his hair, he looks like something straight out of an ad. Or Clarke’s fantasies. Either one, really.

Just because she used to think he was a Class-A dick (which he is, but not in the way she thought. In the fun way.) doesn’t mean she’s never noticed how great his hands are, or how he’s got perfect hair for pulling, or how there’s probably more than one way to wipe a smirk off his face.

“Sure, make yourself at home,” she grumbles. He grins at her and pulls his shirt off, which is– honestly just so unfair.

“Don’t mind if I do.”

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i was asked to do a tutorial on how i make my icons by anonymous, so here’s my super easy way of doing it. there’s no major editing or backgrounds simply because i’m super lazy and i prefer the look of clean, bright icons. i’ve only ever used this method on cartoons (voltron. i’ve only ever made voltron icons lol), so i can’t say for sure whether this method would work well with real people. just keep that in mind!

for some examples of what you can make, here’s my icons page.

please like/reblog if you try it out, and feel free to ask me any questions.

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redvioletz  asked:

Hi there! I just wanted to say I am a super huge fan of your comics and art-style (I actually originally thought they were canon voltron comics cause your style is on point lol), and was wondering if you would mind me asking what software do you use to make them. If not I understand, but thank you anyways :3

Hi, thank you so much! I do reference the voltron characters a lot since it’s difficult to keep them consistent, though I didn’t think they’d look that close to the canon style lol. As for which software I use making comics…. I actually draw most of them on paper. Here’s a pic of my inked vld pages:

After scanning, I edit them in Photoshop, sometimes re-drawing parts and rearranging stuff (to fit the dialog better). I shade in PS, but when I use screentone I apply it in ClipStudio (MangaStudio). Sometimes I draw 100% digital comics, and then I only use CS.

3

Finished!

This was a banner for @colorblindcollab, which is a recently established online art community that nurtures the hardworking, creative mindset. It actively collaborates with its members to bring forth great advice and even better artwork. This piece was done to showcase the theme of may: nature. This month, members are encouraged to create (or collaborate!) on nature themed art, in whatever form it may take. I contribute and help manage the community, and though it is new we have a lot of great stuff planned for this year! Look up “Colorblind Collective” on Facebook if you’re interested in taking part!

A Beginner’s Guide to Prepping for Print

The Studioblr Collective | September 23rd, 2016

One of the most intimidating aspects of graphic design I was introduced to in school was preparing and sending my work to print. Before university I was used to just printing things as is on my tiny home printer or the closest photo studio, but in just the first month alone we were introduced to the so much new info on how to make sure our designs actually look like how we want them to.

Your graphics, typography, layouts etc may be amazing but they will all be rather ruined if the printed product comes out looking nothing like you want and there’s sadly no undo option for a bad print job.

CMYK not RGB:  A lot of the colours one creates in RGB are not achievable using standard four-colour process printing. In Photoshop you can easily switch to this mode via the Image>mode>CMYK color menu command to give you a more accurate representation of how your colours will print; but, it is always best to create your document from the start in CMYK colour mode to ensure you have a better idea of how your colours are going to print.

Resolution: Make sure all graphics in your print layout are sufficient quality for printing. 300 DPI is the preferred minimum resolution for print graphics. When working with low resolution images that cannot be avoided, lowering the scale of the image improves the quality slightly.

Print Layout: Used extensively in programs like InDesign:

  1. Trim Line: The finished size of the piece.
  2. Live Area: The area that is considered safe to keep any important information within ( if a graphics trim size in 8.25” x 10.25”, the live area might be 7.27” x 9.75”, this takes into consideration binding if the page is placed on the left or right of a spread, since you don’t want the graphic to be cut-off)
  3. Bleed Area: While the minimum bleed areas for a printed piece is 0.125” (⅛ of an inch), you may sometimes be required to use more than that. The bleed allows for elements at the edge of the live area to be extended out so as to ensure there is no space between where the graphic ends and where the paper is cut.
  4. Crop Marks: Indicates where to cut the paper.

File Formats: While most printers will accept multiple formats like TIFF and PDF, save all your files as PDF when handing them over to compress file sizes.

Rich Black vs 100K Black: When printing in colour, there are two different shades of black you can use:

  • Black – 100 K: Can be used for body copy and barcodes (looks a bit washed out in large blocks of print)
  • Rich Black – 40 C 40 M 40 Y 100 K: Should be used when using blocks of black

Ensure all instances of the colour black that is used, are accurate especially when printing large areas of the colour; whether using rich black or grey scale black, ensure objects are correct. For Adobe products, change the preferences to always display and always output blacks accurately.  (This is hard to see on your monitor as RGB screens show colours more vibrantly, test prints are always important for things like this.)

Photoshop:

  • In general, Photoshop usually only requires you to ensure the document is the proper resolution and the color profile is correct.
  • For high resolution prints, 600 PPI is ideal while 300-350 PPI should be the minimum.
  • If using filters or items which require RGB mode, then work in RGB and convert to CMYK as the final step before outputting the image. This step is dependent upon proper color settings.

InDesign:

  • Ensure your preferences are set to display and output blacks correctly.
  • Ensure you have proper bleeds for your document.
  • Try not to do any major adjustments to placed raster images (images that are not vector), they should be 100% and should not be rotated within InDesign. A minor adjustment may not cause issues, however large rotations and scaling of placed raster images can affect the output of those images.
  • Preflight! Preflight is the industry-standard term for quality checking your document before exporting and handing it off to your printer. InDesign’s Preflight panel helps by warning the user of problems that can prevent a book or document from printing or outputting as desired. Make sure to run this before exporting a files to check for missing fonts or files, RGB issues, over set text, low-resolution images and other various conditions. You can find Preflight in Window > Output > Preflight.

Illustrator

  • Create File in CMYK colour mode.
  • Ensure you have proper bleeds for your document.
  • Add Guides to show trim area or crop marks.
  • Rasterize all type.



Written by @herttz

Designed by @herttz

HOW TO CUT OUT CHARACTERS: 3 WAYS (for gifs)

@natsu-lucy-love8  

So, I have many ways of cutting out characters, and I pick which way to use depending on the scene. In this tutorial I will show you 3 ways to cut out characters for gifs. Let’s get started!

  • Program: Photoshop CS6 Portable
  • Difficulty: Easy (it’s just time consuming) 
  • Previous Knowledge: Basic knowledge on how to make gifs (any PS resource blog will have tutorials on how to make them)

put under a read more because it got quite long

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anonymous asked:

Hello, i want to start making aesthetics, but I have no idea where to start... like for example where do you find the images? a how do you make them smaller without them getting blurry and then how do you put them together.. and how do you change the backgrounds to different colors.. like i'm so lost.. can you give me some tips? i would be grateful :)*

how to make aesthetics like this

okay, so idk if i’m the best person to answer this, but i’ll be doing my best to put up an easy-to-understand tutorial for you. we’ll be going step-by-step :) all the stuff is under the cut since it was rather long

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euvoi  asked:

i've already checked your faq and such, so pardon me for asking. May I know what your digital brush settings are? I like the lines you used for the "Adrien in a bowl" sketch. thanks :)

i’ve been asked this before, but i can’t find the post now, sooo… basically it’s mainly just a flat round that’s been squashed and tilted a bit???

in brush tip shape:

in shape dynamics:

[i don’t remember what the checked ‘smoothing’ does… i think that’s new from photoshop cc but i made this brush back when i was using photoshop cs3 sooo…]

i have one angled left and one right, but i usually use the one i have selected cos i am right handed lol. [i do swap to the other angle sometimes tho…if you are left handed, the other one is prolly gonna be your primary one.]

this is what i have mine set as for inks/sketches:

so yea i basically never use 100%/100% xD;;;; and the difference is pretty subtle but i find my lines look a lot better and they come out more correct when i have the squished brush instead of the flat round ;;;; hope this helps ;0;/

anonymous asked:

Hi! I'm new (like I just started following you) to this blog and your comic blog and I noticed you seem to draw traditionally then scan it to make it digital. I was wondering how you do that (I draw traditionally and was a bit curious on if I can do digital via some app but I don't know the first thing when it comes to doing anything digital or programs or stuff. Oh gosh, I'm rambling. Sorry about my stupid rambles)

Hello! Thanks for the follow ❤️

The bulk of my work is traditional, which I scan in and edit/cleanup before posting. Whether it’s a painting, sketch, ink, whatever. If you feel ready to invest in a scanner (which is a next step you might be thinking about!) I really recommend doing a lot of research on people’s (especially artist’s) scanner reviews to pick the best choice for your price range. Most household printers also have a built in scanner and they’re usually not bad. Growing up, I used the scanner built into my parent’s epson printer and while it wasn’t five star quality, I never had a problem with it. I even got my own and used it in college.

Currently I use a Canon Pixma scanner. It maxes out at scanning 600 dpi (bummer, i prefer 800) BUT it’s very thin, lightweight, and CRYSTAL clear. I mean it will scan even a painting’s paper texture with beautiful quality. Absolutely excellent for the price. I chose it after reading other artist’s reviews. 

Generally, just a side note, scanners will max out at a scan size of about 9″x12″. You’ll be hard pressed to find a scanner that can scan larger than that and if you do, it will cost a fortune. 

But you’re also going to want to edit your scans digitally. Raw scans look gross, no matter how elite your scanner. 

I talk a little more about editing scans here! Also, I recently showed and discussed how I edit scans of my webcomic @cooncomic in my latest Patreon-exclusve video

Picking a digital program to edit (and/or create with) is a whole different horse! It might take some exploring on your part to find what you like best. If you’re just wanting to clean up your scans, a cheap or possibly free program should do it. I still use Pixelmator, a cheap app on my mac, to do a lot of basic scan editing just because it’s such a quick, lightweight software. But it doesn’t do so well with heavier files, so I also use Clip Studio Paint for edits and draw-overs. CSP is also the program I do all my digital illustrations and animations in and it makes digital comics a BREEZE to set up with panels, margins, bleeds. It’s an absolutely excellent program, a better bargain than photoshop too, though PS remains an industry standard. After my hard drive crashed, I didn’t bother getting PS again and I haven’t missed it at all. Sai and Corel Painter may also be worth looking into. Though I don’t have personal experience with those two, I hear good things about them. 

We’re lucky to live in an age of internet reviews being at our fingertips. Do lots of googling to find out which tools will be the best fit for you artistically and financially. YouTube reviews are also helpful! And definitely ask other artists their opinions. Good luck!

answering asks!

SOME GOOD QUESTIONS UNDER THE CUT!!! idk how many ppl read these but u def should if wanna kno more abt my goofy ocs >:^)

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