linear lighting


Once again, I’m no expert- there are things about these layers I probably haven’t covered, so please try them out for yourself!

Layers 1-7 help your contrast. They are usually a pair of the former two groups I went over in my last post.

1. OVERLAY:  Helps your contrast by boosting your lights and darks, while the more mid tone pixels aren’t affected as much. It does this based on the layers beneath it.  “Screens” the lights, “multiplies” the darks. 
2. SOFT LIGHT:  Similar to overlay, but a “softer” effect. You can think of soft light as more transparent.
3. HARD LIGHT: You can look at hard light as an intense version of overlay, with much brighter colors and a much less transparent look.
4. VIVID LIGHT:  This is the heavy metal version of overlay- think of it similar to color dodge and color burn.  Very intense colors, good for finding interesting lighting and color combos.
5. LINEAR LIGHT:  Crazy amounts of contrast and color is added here, even more than vivid light.  so heavy metal 
6. PIN LIGHT:  This one is interesting because besides it also being an intense contrast layer, it can add random noise to the active layer.  Apparently this is a combo of the lighten blend mode on the light pixels and darken on the dark pixels, but the noise effect is what makes it really interesting imo.
7. HARD MIX:  You will turn this mode on and be like “no” but it is actually adjusting its fill will reveal another overlay-ish type layer.  It throws the colors on the active layer towards a more primary color such as blue, or magenta. 
8. DIFFERENCE: This will invert your colors, taking into account the layers below. If colors are very close, they will be black.
9. EXCLUSION: This also inverts your colors, taking into account the layers below. If colors are very close, they are grey. Exclusion and difference are layers that would be good for graphic pieces, I haven’t really gotten used to incorporating them in my painting workflow.
10. SUBTRACT: Similar to the above layers, but more intense. You will notice that the darker you make your active layer with Difference, exclusion, and subtract, the lighter and more transparent looking the result will be.
11. DIVIDE:  Divide, however, usually results in crazy highlights that are pretty opaque unless the layer is fairly light, and then it will begin to go transparent. 
12. HUE:  Makes the lower layer take on the hue of the active layer.
13. SATURATION:  The lower layers take on the saturation of the active layer.
14. COLOR:  The lower layers take on the color of the active layer.
15. LUMINOSITY:  The lower layers take on the luminosity, or brightness, of the active layer.

Once again, I’m no expert, but I hope this helps. Thanks guys!


When I was painting this screengrab, I painted the local colors of the face, the light hitting the face, and the shadows of the face on different layers. It’s cool when you turn on and off the layers…. I didn’t learn how to do this until my visdev coworkers showed me when I started working….

asstarnaut  asked:

YO I just found your blog and instantly fell in love with your style. Any tips for nailing that balance between realistic and stylized?

<3 Awwwww. Thank you!! :) And… Yep.

It’s all about that. Balance. More focused, and rendered areas that contrast the sketchy parts. I also think that “style” is overrated. It’s something that stresses younger artists out because they haven’t found it yet, but it’s honestly something that happens naturally over time. It’s basically a consistant, visual shortcut. 

(I work in Photoshop btw)

Step 1 Sketch & linework – keep the sketch on a separate layer so you can trash it afterwords. Work as quick and fast as you can, and keep it LOOSE. I swear to God this is at least half of where the effort is spent.

Step 2 I set the linework to multiply & lay in the flat color and 2 sets of shadows with a hard-ish brush, then use a suuuuper soft one to add in the blushing – most opaque where the blush is most obvious, but really, it goes practically every where. Then I set the blush layer to linear light (or overlay, or soft light, whichever looks best) and knock it waaaay back. Do not fear hard-edged shadows, cast shadows should be pretty sharp, where form-shadows are much softer.

Keep reading

Disclaimer; This tutorial is under the assumption you know how to/have the following:
- Use S4S
- Export textures with S4S
- Have the DDS plugin installed
- And have some kind of photo editing software

If you are starting out recoloring with no clue how to start, please message me! I’m more than happy to help you in any way! But, this tutorial was made for people with the knowledge of recoloring who’d like to try a different technique.

The rest of the info/tutorial is under the cut!

Keep reading

Duality is not an illusion, it is a way to learn, the Universe expressing itself, yet still perceiving all things, in two ways of seeing things. Yet, when we retract back to our Truth, really all do not exist, but yet, exist at the same time. Time, is non-existent, gender is merely an outlook, and good and evil, merely a reflective. All go together, in truth, but in learning, they are separated for the cycles of development of the Universe. When you no longer abide by those laws, as true spiritual essence doesn’t, then you can say you have reached true Universal enlightenment..- Alura

talesofgeekdom  asked:

Here's something I got to know: What is the best game you've played on Steam this year?

I’m gong to have to make this one a two-parter:

The best I’ve played this year including demos and early-access titles (so skip down to the next one if you’re not into early access stuff - look for the bold text) would have to be CrossCode. Even in its obviously unfinished state, it’s pretty phenomenal; if you’re old-school, picture The Legend of Zelda: A Link to the Past meets Terranigma.

In a nutshell, it’s a top-down, 2D action RPG. You play as a young woman named Lea, who’s participating in an experimental MMO as part of her rehabilitative therapy following an as-yet-undescribed accident. Gameplay takes place entirely within that notional MMO, in which players project hard-light avatars into a “playground” region situated on the habitable moon of a gas giant in a distant star system, and explore the ruins of an extinct alien civilisation. This exploration alternates between parkour-like traversal challenges in the overworld, and puzzle-filled dungeons revolving principally around block-pushing with light 2D physics elements; e.g., bouncing stuff off of other stuff.

(Interestingly, everything I just described is quite literal: the game’s intro/tutorial chapter makes it clear that you and your fellow players really are projecting hard-light avatars onto the surface of an actual extrasolar moon, and the alien ruins you’re exploring are likewise quite real. Lea seems to live in some sort of gonzo space opera setting, though you never get to see it on account of interacting with her exclusively via the game-within-a-game.)

Like I said, it’s an early access game, but there’s a fair amount of meat to it. The current version gets you the first 3-4 hours of the story, a good chunk of the overworld, and the first three major dungeons (with a fourth slated to be added later this month). Also your first recruitable party member, Emilie, who is a. utterly adorable, and b. probably crushing on the protagonist pretty hard. You know, if you’re into that sort of thing.

As for the best I’ve played this year excluding demos and early-access titles, I’d have to give that honour to The Amber Throne. It’s another RPG, albeit a much more traditional one: we’re talking dungeons, minimaps, turn-based combat, the works. Here, you play as a woman named Arra as she chases after a mystical artifact, the titular Amber Throne. The game is linear (with some light side-questing), progressing through a series of dungeon-like areas interspersed with town exploration and elaborately hand-painted cutscenes.

The gameplay is basically all in the combat system: bog-standard turn-based RPG, with the quirk that all resource management happens in the turn-to-turn micro. There are no numbers to keep track of except for hit points, with various special attacks implemented in terms of opportunity costs like extra recovery time or reduced damage in exchange for added effects. It’s not hard to bust the system wide open and totally trivialise battles if that’s your thing, but it does some unconventional stuff within a very conventional framework.

In terms of writing and audiovisual presentation, it’s clearly an attempt at producing spiritual successor to the PSone Breath of Fire games, a goal at which it largely succeeds. The setting feels grim and run-down without being dark or grotesque; if I had to pick a word for its tone, it’d be “elegaic”. One conceit of the writing that really struck me is how it handles the characterisation of the main character, Arra; though she’s a prototypically stoic silent protagonist during play (in fact, she’s explicitly mute), she speaks during the frequent flashbacks, and keeps a written journal of current events that gives you a strong sense of her internal voice.

A caveat, mind: unlike the previous entry, this one is obviously a one-person indie project. Don’t expect AAA production values here; I encountered UI glitches, frequent dialogue typos, and numerous balance issues. Also, the game’s expressionistic visual style, while beautifully rendered, frequently makes it difficult to tell where you can and can’t walk on the maps. Still, if you can get past that, it’s well worth your time.

anonymous asked:

Can you go into more detail on how to do lineless drawings?

Of course, my friendly anonymous pal. I’ll try my best to explain for you! HERE WE GO!!

~*~*~*~*~*~*~*Rock-Bomber’s Lineless Drawing Tutorial *~*~*~*~*~*~*~

For drawing digitally, I’ve been using Paint Tool Sai for the most part. It has great line quality and is perfect for those who want to focus on things like digital paintings and such. You can customize a brush to your liking and there’s a lot of tools you can use to think about color pallets. So with that said, I will be using Sai for 98% of this tutorial and Photoshop CSwhateveryouhave for the last 2%

When it comes to lineless drawings, I prefer to use a smooth, round brush that can change opacity with the pressure of my tablet’s pen. Here’s the settings for my handy dandy round brush that I use for almost everything (as well as my eraser I often use):

So for this tutorial, I’ll be drawing Toxicroak.To start, it’s a good idea to pick your color scheme. Think about the colors of your subject as well as possible shades. Be creative though! You don’t have to strictly use colors from a white light setting. Think about time of day or weird light sources, or just use some colors you like. 

For Toxicroak, I’ll be using this color pallet:

 So, let’s get started!

I usually start with a rough skeleton sketch, then a slightly more detailed sketch. It doesn’t need to have perfectly curved lines or extreme detail or anything. This is my way of starting lineless, but you can sketch how ever you want to. When I finish my rough sketch, I clean off any major stray edges with my soft eraser.

After I’m done with my sketch entirely, I lock the layer with the “Preserve Opacity” option and recolor the sketch to the darkest color, usually.

Once you’re done with that, select the area outside of your sketch with the magic wand tool and use Select>Increment a few times. This will make for less clean up along the edges of your drawing later. 

After that, use Select>Invert for a complete selection of your sketch, then make a new layer beneath it.

On your new layer, fill in the selected area with your main base color, deselect, and fix any white spots within the lines. Then, lock the layer.

The next thing to consider, if you haven’t already, is where your light source is going to be! Pick where you want your light source and either remember it or maybe mark it on a separate layer with a dot or something. I’m going to put the light source behind Toxicroak. Once you’ve decided, pick a shade of your base color and do some rough shading on your color layer based on your light source.

Color in any other areas with their respective colors

Then do more rough shading through out your drawing! It doesn’t need to be perfect right now, so don’t overwork yourself!

After that, go to your sketch layer and color the edges according to the nearest color or necessary shade or shine! Again, you don’t need to be perfect or get anything. 

Next step is important to how I do lineless drawings: Merge your sketch layer with your color layer. Yes, really. From this point on I work on one layer (the only exception is for the background). It might sound intimidating to some people to merge all their layers and work with just one. But the best way to think of a lineless drawing is as a painting on canvas or paper. You add on to it and fix mistakes with color. More importantly, soft, blending brushes like the one I use blend best when they’re used on top of more color.

Now, create a background layer and fill it with a really bright obnoxious color that you aren’t using in your drawing. The point of this is to see any stray colors or lines that you don’t want and go around the edges of your drawing cleaning them up. This is a good time to be meticulous, get the edges of your drawing to be just how you want them.

For erasing tight corners, I just erase right through the other side and then re color it. It’s a lot less tedious.

Once you’re done cleaning up the outside, it’s time to do the exact same thing to the inside. This is when you should be as meticulous as you want as well. Polish everything off! Make sure you lock your layer though. You wouldn’t want to mess up the nice edges you just made!

~*~*~*~*COLORING TIP*~*~*~*~

I use the color picker (hold ALT and click on a color in the canvas) to pick up shades already present in the drawing and brush lightly with them to create smoother shading. Take a look:

If creating shades between too colors like this is too tricky for you at the moment, then consider this method:

Paint Tool Sai has a 2 color blender:

 Click the Color Mixer button to open up those color bars underneath the Color Wheel. (The colors down at the bottom in the Scratchpad are color schemes I’ve found or made over time and put down for reference.)

 Put the 2 colors you want into the mixer, one on each side, and tada! A perfect blend of the colors you want to use.


Coloring in tight areas on the inside of the drawing can be a bit tricky, but here’s how I do it:

Color in the area with a base color

The do the shading. Go outside of the boundaries, that way you can get color in all corners. You won’t wind up with a nice dark shading and a random light triangle of base color in the corner or something.

Then use a smaller sized brush to fix up the overlapping. 

So, once you’re done spiffing up the coloring on the inside of your drawing, it’s time to think about the background. I tend to draw the background last because I usually don’t have any ideas until after I draw the main subject and have a color scheme and all. But of course, you can draw your background whenever you want to. The key to a good background is making sure everything fits together with it or vice-versa, in this case. I’m just going to do a simple background for this picture, though. I picked red for my my earlier mentioned obnoxious color to see any scraps and flaws in the drawing, but I actually like how it looks with Toxicroak, so I’ll be keeping it as the main color for the background. You don’t have to do this of course, pick something you like!

Since I’m going for something simple, I’m just going to roughly brush some strokes onto the background. Make sure you’re on the right layer! Also, as a tip, it might be a good idea to keep your character layer visible so you can constantly see how the background works with them. You don’t need to paint the WHOLE layer as a background, just the areas that aren’t covered by the main subject.

And with some more random, sweeping brush strokes: VIOLA~

I tend to do this style of background quite often when I’m digital painting, it’s easy and looks pretty neat.

But as you may have noticed, the lighted areas on Toxicroak don’t seem to fit in with the background. If that’s the case and your character doesn’t fit in with your background but you REALLY like how the background looks, DON’T WORRY. No need to work up another background that fits, just change the color of the lighted areas on your subject. It may take a bit longer, but going back to fix things is an important component of lineless drawings~

Now that I’m content with Toxicroak’s lighting and the background, this is the point where I’ll jump to Photoshop for some final touches. One of the first things I do is make a duplicate layer of the character. On the TOP layer, I file through the layer filter options that Photoshop has and see if there’s anything that looks nice on the drawing. Sometimes, there’s nothing that will look nice to you, so don’t worry about it. This is definitely a step that isn’t very important, it’s just a nice option to consider.

In this case, I really liked how “Linear Light” looked at 50% opacity.

The last step is also optional, but it adds a nice perspective effect to your drawings and that is the Blur Filter. I’ve been using it a lot recently and I really like it! What I do is select the closest and furthest body features (or ground features like grass or something if you have a foreground) with the lasso tool.

With the perspective that I want, the hand closest to the viewer is going to get blurred more than the hand furthest away.

There are 2 filter options you can use now: 1) Filter>Blur>Blur More or 2) Filter>Blur>Gaussian Blur

1) With Blur More, use it once and then use the shortcut CTRL + F to use it multiple times. I like this method because I can see stage by stage how much blurring I’m getting. Plus it’s easier for reference when blurring two areas at different strengths.

2) With Gaussian Blur, you only have to use it once, just use the scale to decide the degree of blurriness you’ll have.

So for Toxicroak, I used Blur More. On his farthest arm, I used it 4 times, while on his close arm, I used it 14 times.

At this point, I’m finished! I’ll take it back to Sai, sign it and TA-DA

This is my usual process for lineless drawings! I hope it wasn’t too confusing and that this helps all you peeps out there trying to learn lineless drawings.

Good luck and happy drawing!


Happy (late) Halloween!

The Nohr female royals(along with the male royals, kinda-ish) in Halloween costumes! I arranged their original outfit so that it will be in the Halloween style. (hopefully)
I drew my MU, Sheria, instead of the default Kamui. Couldn’t let go of the pink hair.


I included my work process. I’d like to write some tips as well, in case it would help anyone.

Sketch&Linework: Think about the overall shape and proportions of the picture you want the outcome to be. The profound the image in my head is, the easier the rest of the work flow. If I can’t reach that point yet, I keep drawing sketches until I found “THE sketch”…or until I start to get tired and just decide to go with what I have.

Base Color: Decide what color each part of the picture will be, and put all the base color down. (I prefer neutral-light tones, so that I can go either darker for the shadows or brighter for the light) This is an important process to not only determine the overall color scheme of your work, but also to help your work environment. (Don’t be afraid to use a ton of layers during this step. It varies artist to artist, but I’m one of the painfully meticulous ones to use thousands of layers in her works.) I use the clipping layer function all the time, which makes filling all the picture plane with colors essential.(IF YOU DON’T KNOW THE CLIPPING LAYER FUNCTION, YOU SHOULD TOTALLY LEARN IT! Almost every drawing tool supports it. It’s EXTREMELY helpful in many ways.) It is helpful to use the Magic Wand tool and fill in with Paint Bucket if your lines are neat and clear, but if you have small descriptive lines within the color planes, make sure to go over those since Magic Wand could leave some gaps around those lines. If this process isn’t as neat as I desire to be, I find myself later having to keep going back to filling in colors so that the ugly white dots won’t be everywhere. Once done, I select the negative spaces(Magic Wand once again), hitting Select Inverse then filling it with white–this will be tremendously helpful if you wish to add background later, as it covers any un-filled areas you missed before, preventing the background to show through in random places.

Coloring: I believe this is the part where what you know about painting really comes into play. *nervous chuckle* Keep track of the direction of your light source. Make sure the colors you’re putting down as shadows and lights don’t create conflicts with the base colors in terms of both hue and saturation. Look to the navigator window(the tiny little thing that shows you the overall thumbnail of the picture), or simply zoom out and squint, to determine which area you want darker and which area lighter to balance out the overall picture. Like I said, this is where your skill really comes into the spotlight. If this falls apart, it WILL show through no matter how many neat tricks you know to cover it up, which is why I always encourage anyone to learn the basic painting skills.(How to keep track of light source, distance, etc) (I’m not asking anyone to be a master painter. Just don’t neglect it is all.)

Adding Light: This is the part where my drawing really lights up. *pun unintended* Emphasize your light source, make them eyes sparkly, work some magic with different layer functions. I use Overlay, Linear Dodge(Add) and Linear Light often in Photoshop. If you use SAI, there’s a neat layer function called Luminosity. Totally check this out if you like sparkly-ness.(Don’t overdose it, though, cause it can get really messy) I like to add lights around my characters too so that their entrance to the picture plane will be nice and subtle.

Photoshop: So, I work mainly in Clip Studio(Manga Studio) and use Photoshop just for this process. Bring your file to Photoshop and do whatever fits you. I usually add a texture or two for fun and to add to the atmosphere, then a few from the Layer Style department. Remember, don’t feel like you’re cheating or something, because in digital painting, enhancing the quality of the end product with your knowledge about the programs is just another crucial part in the whole process. If anyone tells you otherwise, you can tell them to go suck a lemon. *a phrase my friend uses all the time*

Background: The timing to insert the background varies, but this time I added it the last. I usually use the sources which I paid for, or is free to use, or I got the permission of the artist. I prefer to use only those because…well, I lose track of which are free to use and which are not, so I just download only the free ones or use the ones I bought, out of respect for the artists’ rules and for the sake of my own convenience.

I make a lot of WIP files but I never use them… so I thought I’ll write my own work process to make it actually make sense.
Hope this helped!

crazyfangirlina  asked:

I could use some art help Tori and your art is amazing so I'm coming to you >.< so my art consists of black lining and coloring with a bit of shading. I wanted to know two things! What technique do you use to color your lines for example: the art of you as vav or the fallen king icons. And the next question is: how do you do art such as the Lich Queen art with a close up of your face. You make it seem like there are no lines there! I'm just wondering so my art isn't the same monotonous art

Hey there! 
While there’s absolutely nothing wrong with big, bold beautiful black lines, sometimes adding a bit of color can both A) make the picture pop and B) Prep your pic for an overpainting - aka, the answer to your second questions! It’s all about layer prep. The best method? Line Layer > Shading Layer (clipped to the) > Color Layer. 

A really, really easy way to color your lines is after you finish drawing your lines, is to just lock the line layer’s transparency (the weird checkerboard button on SAI, or the tic-tac-toe button on PS) at ‘Normal’ and just choose a darker color of the subject to color it. (I.e, dark brown for brown hair, darker rose for pink skin, etc). Or, some people prefer to have brighter lines than the color inside, which gives a really cool rimlight effect. It’s just about experimentation. This is the easiest way, and also the method I used for my Fallen Kings Icons, but I do another method that adds a bit of richness to the colors.

Here’s my favorite way to do it: take a lookie here at how I structure my layers in SAI. You’ll notice that my “Layer 1″ is my line layer set to Lumi and Shade (Linear Light on PS) - this allows the color beneath (on the ‘background’ layer or color layer I put between the two) to bleed through naturally.  

As you can see, Maki’s skin, hair, ear and eye colors are all rich and natural forms of the flat colors I painted beneath them. All you have to do is use the pen tool and fill bucket to clean up the areas beneath the lines (and yes, they DO have to go underneath those lines!). Then, if you want later, you can add flare to the lines by again, locking the opacity of the layer and playing around with the color of the lines while the layer is still set on Lumi and Shade. 

NOW! About creating “lineless” drawings like my Lich Queen photo. Believe it or not, there are plenty and plenty of lines in that one! In fact, if you look closely, you can see where my blending has left quite a visible outline around certain edges, like the teeth. This comes from using a blend of both very opaque lines AND semi-opaque blobs of color ON my Line Layer! When you make a new layer and color lines beneath it, set the line layer to multiply. In this sense my line layer has become both my lines and method of shading.

(See? Look at all them gross lines lol)

After you get the flat colors down beneath the line layer, then it just becomes a matter of color correction and blending the two together. A very easy method I use is to kind of repaint the line color as I go to closely match the color beneath it. For example, the teeth. On one side, I painted the line layer bright to look like the glow of light hitting the surface, and on the other side, I painted over it with a darker color to give the illusion of the cast shadow. Sometimes, I make a new layer between the two just for blending, and then RENDER RENDER RENDER (think painting), rinse, repeat. Multiple layers are made, blended, merged down, repeated until I am satisfied and I can finally merge both the color and line layer, where I’ll blend just a weeeee bit more (but overrendering is a thing, so be careful!) 

So, after everything is cleaned up said and done, you get something like this! 
((There are some people who paint immediately over their line layer, which is another easy way as well, but I like the cleanliness of using my line layer rather than just a reference))

ANYWHO. I hope that helps!