“Whenever you feel stand alone never shed a tear / If you always smile on face you’ll make it through the rain / I’ll never give in how high the mountains rise.” – Theme of King JJ ↳ happy birthday @viktuuryy
I’ve lived for a long, long time, and seen many humans, but I still don’t understand any of them, including you. I can comprehend your thoughts, but I can’t empathize. I can understand the reasons behind your tears, anger, and laughter, but I can’t make them my own. I bought you because it was advantageous for me. That’s all. (…)
There’s no need to be scared. Until you don’t need me anymore… I’ll stay by your… side…
Oh my stars your art is amazing!!! Do you think maybe you can make a shading tutorial sheet? owo
Hey there Anon! Sure thing! I’ll do my best to explain the process of how I usually do things in regards to coloring and shading. I’m not the greatest at Explaining, so I’ll do my best to keep things as crystal clear as possible!
Step 1: Lineart I’ll start with Lineart purely because this step is important to the coloring process in one regard, and that is making sure the entire line layer is closed without any holes. Even the smallest little gap will make the selection process hard later, and we don’t want that. So the cleaner lineart you have, the better. I’m going to go ahead and use my Monster Hunter Generations Huntress for this.
Step 2: Selection Either in Photoshop or SAI or whatever you use, click outside your character and any other negative space surrounding them. This means…basically anything that’s not your character. Then go to Selection > Inverse and invert the selection. You should have something similar to what I have below. This makes it so much easier to add colors without having to worry about all the little nooks and crannies that could mess the cleanliness of the drawing up real bad.
Step 3: Flat Base Create a new layer beneath your line layer with the selection still active. This will be our color layer. Remove the visibility of the line layer, and fill the remaining “Silhouette” with a dark base color. This makes those nasty corners look a bit cleaner, as sometimes if there is a lighter color your computer will want to make them stand out pixelated. Again, this is just for cleanliness beneath the line layer. Turn your line layer back on, as they will now act as barriers for the fill bucket tool. Make sure the entire silhouette is filled, and that no lines were accidentally selected! You want a see a completely filled and flat color if you turn the line layer off.
Step 4: Flat Colors At this point you can lock the transparency of your Color Layer, and go ham. Either with the pen or a fill bucket, figure out how you want to color your character and add in the flat colors. Notice I’m on the same layer as the Base that we made. This is so those lines still play nicely with one another. Clean up where necessary.
Step 5: Analogous Color Gradient Well, we don’t really want our character to be too flat, do we? This is where the color wheel becomes your best friend. Select similar colors with the Magic Wand (like I’ve done her skin tone here) and using the color wheel, choose an analogous (that means “close by” in color wheel terms) color to add a bit of depth to the color. For skin, I usually go with a red or a bronze, sometimes purple. Use the airbrush for this. Then, deselect and select another color to gradient, until all the colors have some degree of new color to them.
See? Now things look interesting! We added some blue to the greens, some purples to the reds, some blues to the grays and so on and so forth.
Step 6: Shading Okay, here’s where things get interesting. Time to shade. Make a new layer between the Line Layer and Color Layer, and make sure you make it a clipping group/clipping mask. This is so it won’t go anywhere that you don’t have color. Set it to multiply or linear burn (whichever you think looks best) and bump the opacity down to about 40-50%. Choose a color (or color-value gradient, if you have drastic value changes in your piece that make light and dark values not play well with the single color you picked, and swap between those) that you want the shadows to be; I like deep pinks and purples. AVOID BLACK. I first use the Pen tool to get down “hard” shadows - shadows cast by hard materials, close shadows, and inorganic materials. Once I’ve got those down, I head on over to the softer areas, such as the skin, hair and cloth and alternate between the watercolor and marker tools to give “softer” shadows. There’s no real law to this, you just have to know where shadows fall and how they behave and work with those three tools to get the look you want.
Step 7: “Highlights” - Rim Lighting Okay, these aren’t really “highlights” in the correct sense, but adding sort of “rim lighting” around forms really helps make a picture pop. To do this, make another layer above the shading layer, set it to “screen” and keep the opacity at 100%. Then, get really familiar with your CRTL key because you’re going to be color sourcing a lot. To add a rim light to a form, select the base color of that form, and use the marker to trace along the edges. For example, I picked up the nude from the skin, the silver from the dagger, the gold and maroon from the hair and the tawny brown from the skull to use on those specific objects. Any place you want clean works well, but the edges of forms works best for this technique. Additionally, if you’d like, you can create another layer above the Screen Layer and set it to Linear Dogde, and do my “glowing eyes” technique on anything you want to stand out, such as the metal of the belt, gold objects and of course, eyes.
Step 8: The Overlay Almost done! While your photo can now stand alone as “finished”, there’s one more thing that I enjoy doing, and that’s adding a simple color overlay to bring the whole picture together. This is done by flattening all the layers you have so far (you’ll want to “Merge Down” in order from bottom to top or “Flatten” to avoid the layers going crazy on each other) into one layer. Then, make a layer on top of that one, set it to a clipping mask, and set it to “overlay”. With the Airbrush, choose some colors (I prefer soft pinks, blues and violets) and go along the “edges” of your character with a BIIIIIG brush. This kind of resembles soft ambient lighting or shadows. I just think it makes the photo look nicer.
TA-DA! And Now we’re done!
And there we go! I hope that helped, and I also apologize cause this ask sat in my box for awhile and I never got around to it until now. :P I’d be happy to answer any questions y’all have, but this is the simple basics! Remember to practice practice PRACTICE! -Gael
All Balmerans give thanks for the kindness you and the paladins bestowed upon us, but, alas, we cannot take leave of our home. If our great Balmera’s life cycle is over because of us, then our desire is to stay with it until the end.
Gryffindor: Sucking on sugar cubes, giggling behind your hand, long car rides with friends, opening windows to let in fresh air, running barefoot through grass, burning your tongue on food that was too hot, the view from tall buildings, the sun warming your skin, doorbells, summer camp, fierce eyeliner and bold lipstick, deep v-necks accessorized with a flirty smile, rough hands and soft hearts, brightly colored cocktails, laughing too hard at a dumb joke, crumpling up paper and throwing it into a trashcan across the room, card games, letting your hair down, opening doors, and skinny dipping.
Ravenclaw: Waking up late on a rainy day, warm coffee on a cold morning, scrunched eyebrows, color-coding everything, bags under your eyes, passing notes to your friends, long fingernails, jumping in puddles, charm bracelets, comfortable silences, orchestras, velvet ribbons, french braids, dark eyelashes, chewing ice cubes, train rides, staring out the window, curling up with a pet, being alone in the forest, the smell of the earth after it rains, staying up late to watch the stars, rearranging your room, biting your tongue, painting your toes different shades, cold glasses, chokers, watching a play, musical compositions, roman numerals, doodling on your hand, and mirrors.
Hufflepuff: Skirts that flow behind you, eyes that sparkle in the light, tea, picking flowers for your mom, laughing so hard you can’t catch your breath, denim shorts and crop tops, forts made out of sheets, pixie cuts, scrunching up your nose, rosy cheeks, freckles across your nose, bohemian tapestries on walls, dancing around the room with friends, apartments with brick walls in the city, sleeping by huge windows, drinking alcohol on rooftops, shirts rolled to the elbows, cute buns, birds sitting on telephone wires, fogged up glass, strumming a guitar, smiling so much that your cheekbones ache, climbing tall trees, contagious laughter, Polaroid pictures, and mosaics with colored glass.
Slytherin: Raising one eyebrow, martinis, marble statues, soft fur blankets on leather couches, tapping your fingernails against a hard surface, perfectly winged eyeliner, sly smirks, champagne flutes, pencil skirts, footprints in fresh snow, tree houses, wandering around the city at night, quotes that describe you perfectly, black and white photography, french perfume, black silk, lingerie, combing wet hair, proving people wrong, shopping with your best friends, mint leaves, keeping a diary, silver rings, staying up all night, black coffee, hand mirrors, little black dresses, pine trees, vanilla scented candles, mascara, stone walls, leather jackets and red lipstick, wine corks, and photo albums.
“Either you commit to diversity, and it’s just a fact of how you do
business, how you live, or you’re not diverse,” Franck says. “You can’t
say ‘I know, we’ll be diverse, we’ll gift one black part.’ That sort of
tokenism is not diversity. To be truly diverse, you have to start at the
top. Our production company, one of the presidents is a black man. The
president of our TV division is a woman. Our writer’s room is pretty
close to fifty-fifty, men and women. It’s not like there were
checkboxes, the attitude was just, ‘Let’s hire an interesting array of
voices.’” That attitude extends to the script and the screen. “We’re not
trying to champion anyone in particular,” Abraham says. “We’re telling a
story, and in the course of the story, there are people who aren’t all
white guys. What’s important is what the Zuni woman is doing, not that
she’s a Zuni.” - How SyFy’s The Expanse cast its multiracial future.
You do not want your darkest darks to be too low on the value scale: you will be colorizing shadows, and likely glazing over them to darken them. To avoid a muddy mess, make sure that the darkest darks on your HSV/HSB (hue-saturation-value) color sliders are at MOST a 9. Photoshop has a Levels feature that lets you do that quickly.
2. Start with a colored base
Sometimes I use a gradient map (which can color lights/mid values/shadows at once), but the idea is the same – you want to color on top of a picture that has NO grey in it. Pick a neutral color that’s closest to your shadows – for example, here I wanted to have a warmer skintone, so I made the shadows cool.
3. Glaze CAREFULLY
Here is an example of what not to do – do not pile adjustments layers on top of one another in hopes that some of them will give you a good result. Lower your opacity and learn what layer modes do! Overlay will hit your lights, Multiply will hit your shadows, and Hard Light (my favourite) will show up exactly like a colored light source would.
Slow down. This is kind of like glazing an oil painting. Pull down your saturation and leave the Jersey Shore orange for the last steps of a painting.
4. Turn on hue jitter
Real skin is transluscent and highly reactive to the environment it is in. If you look at any realist painting, you will see glazes and glazes and glazes of color packed into a single square inch of canvas. You can imitate this by playing with your brush’s HUE JITTER setting, which will make the color you pick jump around the color wheel a little. This is especially helpful when glazing shadows.
5. Use neutrals to unify your painting
Greys are great. Greys are AMAZING when you want skin to pop, and this is why the majority of classical portraiture sports a neutral background. I just went over the whole piece and punched a bit of grey-green into the background and shadows to “kill” the oversaturated color. The painting immediately started to come together.
6. Remember that this is not a coloring book
The great thing about digital painting is that your CANVAS is your palette – and this method allows you to build one. It helps establish major structures so you can focus on color and light, but chances are you will end up repainting large parts of it anyway. Don’t be afraid to!
when the heavens had decided the rain down the shattered souls of the gods, there had been an unimaginable amount of beauty fallen across the earth; in a way that was indescribable.
like fairies in the wind, the pieces of the gods had taken off and forever merged themselves across the globe and into the girls who would one day grow up to be powerful, beautiful, and heavenly.
zeus dances in the heart of a crowd; music blasting through the fields and voices drowning out her emotions until it was all intangible. she’s carefree and having the time of her life, a thin layer of sweat coating her skin. but the air is humid and it’s attracting electricity— static crackling in wavelengths. and all of a sudden, zeus just breaks into hysterics because there are too many things racing through her mind, too many things she wants to forget; her regrets, her sorrows, and her guilt. she’s angry, she’s tired, and she’s unpredictable. her eyes dart in all different directions and there’s this booming thunder in her stomach; the air sputtering in sync with her pulse. and it’s heartbreaking for zeus’ friends to see her like this, because the facade of being wise and strong just falls beneath her, like the weight across her shoulder was too unbearable. but they pick her back, they rise and aid her so she can lead again, because she is fierce, imposing, and made to be a ruler.
poseidon rakes the world in need for more. the beauty she has within herself is not enough for her, and she searches and searches for something she will never have. constantly changing, her eyes flicker colors in exchange with the emotions she’s feeling, a temper so hard to calm like the raging storms of the sea. her mood swings differentiate into so many unexpected personalities yet each and every one of them are brilliant all the same— poseidon, like the god himself, is terrifying yet breathtaking. a girl who holds a piece of poseidon within her will eternally wish that she has more in her hands than she can bear. revenge always sits at the tip of their tongue; and her words so sharp they could part the ocean. playful winks and side smirks are all held dear to poseidon’s heart, but a sneer and a glare are her signatures. she hopes for a day when the world will crumble under her touch, because the waters is already hers.
hades has tired eyes and a tired soul, and she’s just ready for everything to be over with. the days she spends inside are what makes her happy, the time with her other friends in front of a screen, across the world. hades has a stubbornness incomparable to anyone else’s, and the emotions of others have absolutely no effect on her her— because she knows that she comes first. she has put herself through hell and back, and some days the dizziness of anger and frustration never goes away. but since she is suffering, everyone else around her too must suffer along with her. she is symbolic in a way that she should be feared, but there’s this impeccable beauty around her that causes you to stay close. hades is simply mesmerizing. the burning fire in her eyes and the brush of cold skin that makes you wonder if she really is part of your world. she sinks her claws into unsuspecting hearts, unmoved by their prayers or pleas for mercy. she holds them near, and never lets them go.
and this had only been the the big three—
not even half of the olympians. there were hundreds, thousands, of other gods and goddesses amongst the stars who had spilled their light upon the girls of earth. and now, because they had been touched by ethereal and heavenly powers, they would never be the same. who had rained stardust in your veins?
As I’m bidding farewell to my second to last patient, I hear two female voices yelling at each other in the waiting room.
Turns out, it’s my last patient, screaming racial slurs at another patient.
The nurse calls security, who help my attending and I pry the two women apart.
I get my patient into the clinic room. “Ma’am, that kind of behavior is not appropriate here. You will be respectful and behave yourself.”
My patient squints at me. “I don’t understand your English, are you from here?”
Mind you, I was born in the US, raised in the US, I get teased for using SAT words and enunciating like I’m performing theatre. You know why she asked me this question? Because I “don’t look like an American”. Her words, not mine.
Okay. We gonna do this racist shit?
I can play this game. Let’s go.
So as she begins to ramble, I begin to squint.
And cock my head.
And every one or two sentences, I interrupt her and say “can you say that…more slowly?” or “wait wait one more time. Enunciate, if you wouldn’t mind.” “Oh I’m so sorry I didn’t understand that.” She’s just here for her med refills. I already filled them out before she came in. I draw out this torture for the entire twenty minutes. By the end of the visit, I’m smiling serenely and her face is the color of a tomato.
My medical assistant sits outside my clinic door and hears this all go down. When I’m done with the patient, he picks up where I left off.
“Ma’am, I’m going to need you to speak clearly, I’m having a hard time understanding your English,” he says, as he provides her discharge paperwork and final instructions. I’m choking down my laughter in my clinic room.
Don’t fucking push your racist shit onto my patients, my staff, or me.
So yeah this is what I did during my long breaks at work. The good boi @sproingtrep (he’s easier to draw than my own boy and also I love drawing him).
Also….. This was drawn on my phone (with a stylus not my finger, that was horrible). Sorry it looks off from my other draws, since it’s a different program.
no phun intended: loneliness, unrequited love, self discovery, light pink, going to therapy for the first time, fidgety hands, staying in your room for too long, crying in the shower, panic attacks before church, playing piano until your fingers ache, the feeling deep in your heart that something is not right, feeling constantly uncomfortable, not being enough, staying up until the sunrise, avoiding mirrors, bandaged arms, pulling on your hair, avoiding friends, craving attention, sobbing in your basement at 2am, scribbled poetry in the margins of homework, uncertainty towards the future
self titled: fog, the silence of cold winter nights, an out of tune piano, snow on the beach, aches in your bones, the bareness of the trees in winter, that ache in your chest late at night, scribbling nonsense in your journal, zoning out in class, crying so hard you can’t breath, pale colors, driving to school half asleep in the dark, the numbness of your feet after being in the cold for too long, head aches, emptiness, picking at your skin, biting your nails, boots crunching on snow
regional at best: brownish orange, blue, red, laying in an open field, oversized shirts, road trips, playgrounds at sunset, the early days of summer, sitting outside at night even when it gets too cold, holding it all in, visiting your old elementary school, the first fireflies of the summer, cracking knuckles, road trips, grass, stargazing, riding bikes, cuts on your hands, that feeling that’s not quite happiness or sadness, photo albums, uncertainty, real laughter, crying in your car, the beginning of something, pushing friends away, wandering in the woods, bruised knees
vessel: cold air filling your lungs, crying yourself to sleep, the aches of your wrists in the morning, regret, headlights in the distance, driving alone down a long road in the dead of night, painful nostalgia, the first snowfall, a well needed hug, midnight walks, not sleeping for days, trying to get better on your own, laying in bed for hours at a time, finally admitting you need help
blurryface: trembling hands, anxiety in your throat, repetitive thoughts, wanting to cry but not being able to, playing piano in the dark, going back to therapy, falling in love, distant lights outside your window, hope, a bloody nose, the last days of summer, bruises you don’t remember, coming home, fighting with your friends, gasping for breath, long talks by a pool at midnight, laughing until you cry, determination
Hi, guys! I recently received an ask from @sunny-bunnies about my handwriting and headers! I thought my headers were more interesting (I’ll probably do a handwriting tag eventually haha), and I have a lot that I use so this post would get way long if I did both :)
Anyway, I’m going to go through all of the headers that I use regularly! they’re pictured above with and without shadows as a tl;dr.
monoline: this style is pretty popular right now and is also my current favorite! basically, it’s cursive, but uneven- whenever a letter ends in a downstroke, I extend it a little below where it would usually be and also vary the line on which the letters “sit.” The most important tip for this style is to keep stroke width and letter size the same, so that the unevenness looks intentional and not sloppy.
lowercase: I like to use this one as a subheading! it looks much better in the shadow version but basically you write in lowercase print as neatly as you can and hope for the best.
uppercase: This one can be used virtually anywhere! It’s pretty much writing in all caps; I prefer to stretch it vertically! (If you do this, make sure your letters are vertically centered in the same place! ex. the middle line on the E can go high, low, or in the middle, but it should also match where the bump of a P ends.)
faux calligraphy: (forgive me running out of space on this one oops) sort of like monoline (you can do the cursive evenly, like above, or unevenly), but after you write, go back in and thicken the downstrokes. This is much easier than regular calligraphy if you a. don’t feel confident with your calligraphy or b. don’t own brush pens!
serif 1: this one’s cute and kinda typewriter-ish! just print your letters and add serifs (little mini dashes) to the ends of lines. boom! you’re done. I like to look up a typewriter font to have a reference for the serif length and placement, but tbh it looks pretty good even if you wing it.
serif 2: serif 1 but adding to vertical strokes (note that these are not the same as the downstrokes used in faux calligraphy!) I based this style off of times new roman if you need a reference. A warning about serifs: shadows are a pain to do so if you choose to do a shadow + serif, make sure your header is 10 or fewer letters (you’ll thank me later.)
two-tone: take your faux calligraphy (this works better if you have thicker strokes), draw an imaginary line down the middle, and use a darker color to color over the top or bottom (I favor the bottom but it’s a matter of personal preference!) Layering colors (as opposed to just making each half the letter one color) has 2 benefits: 1. no guesswork in trying to match up halves, and 2. the colors look more cohesive! You can also try to blend the colors together to make a gradient (lay down more of the darker color and blend it upward with the lighter one!)
big & small: uppercase, but instead of adding shadows, add mini cursive letters to the centers of the colored letters. Make sure to connect it all together!
highlighted caps: A classic and perfect if you’re in a rush or doing subheaders. just write in all caps and highlight over it. voilá!
color shadow: I would definitely recommend doing this in a larger space than the one I left myself (check out this post to see it done less sloppily) but the idea is to do faux calligraphy with the black pen and the shadow with your colored pen or highlighter! (here I would generally recommend a gel pen or felt, fine-tipped marker but obviously I didn’t follow either of my own tips so make of that what you will)
a note on shadows: So I’ve mentioned shadows a couple times. Unless you want to make your life hard, do the shadows after the main body of the letter. There are just 3 basic rules I follow here! 1. pick 2 adjacent directions to do the shadows in (above, I picked down and right but you can also pick down and left or, if you’re feeling creative, up and left or right.) 2. For every line, one side should be in shadow. this isn’t a hard-and-fast rule but it’s pretty good to follow in general. 3. Choose a primary and secondary direction! For example, I picked down and right, correct? But if I have a capital A (see “uppercase”) I need to pick between a down/left shadow and an up/right shadow. Since I picked right as my primary direction, I choose the up/right side! This is basically an extension of rule 2 but it took me a while to figure out so I thought it should be included.
Sorry! this post went a lot longer than I had intended, but hopefully it was informative! P.S. if you like my posts, maybe you’d also like my new studygram!