Magical glowy hair is the best.
This was a basic lighting reference for myself but decided to post it anyway in case it helps anyone!
Its really important to chose a light source in your illustrations, it actually makes things much easier when you add your lights and shadows.
i’d like to know where any of the “gabriel reyes is the boss from hell” stuff spawns from because have you listened to his actual voicelines? yeah he sounds kinda rough but like 1/3 of his lines are dead guy puns and one is him purring “haven’t i… killed you somewhere before?” like its the worlds best pickup line. gabriel seems like the kinda boss that lets you stop by a pizza place on the way back as long as you get extra breadsticks. he seems like the kinda boss that’ll let you skirt around the deadline bc he knows you’re exhausted and nobody ever turns anything in on time around this place anyways. made the blackwatch uniforms armor and whatever the hell else you wanna wear, he doesn’t give a damn.
JACK is the one with the “you didn’t make the cut” and the “thats SIR to you” lines like ???? how yall always getting this backwards
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
Hi! New around here... May I ask what do you like about Madancy? Mads sure seems to fancy Mr. Dancy, Hugh.. not so much )=
My dear sweet baby fannibal, I need to stop you right there.
Since you say you’re new, I’ll help you out.
“Well, it came about because one of the things that was very important was that Will Graham and Hannibal Lecter have a likeability, not only on screen but with each other. The fact that Hugh Dancy and Mads Mikkelsen are very good friends in real life cinched the deal, in my mind. That was important because I knew it was going to translate to screen. We wanted the audience to like these two men liking each other.” — Bryan Fuller on how he ended up casting Mads Mikkelsen (x)
“Hugh Dancy was the first actor cast and that made the project all that more appetizing for Mads Mikkelsen, who knew Hugh and worked with him in the past and rightfully adored him.— Bryan Fuller (x)”
“Me and Hugh (Dancy) were two of the knights (in King Arthur). So we were sitting for half a year on horseback and we became friends way back then. It’s just been a gift. We’re doing a show like this where you’re working so close together. It’s nice to be comfortable with each other, and that was just a gift that it turned out to be me and Hugh”— Mads Mikkelsen
“Mads is a remarkable combination of things. He’s more than capable of fighting for what he wants. He’s amazing.”— Hugh Dancy
“Well obviously what I’m going to miss is just sitting down in a chair and having chit-chats with Hugh Dancy.” — Mads Mikkelsen on Hannibal S3 (x)
“It’s great. The very first time we sat down, talked about the show, Mads came up at the conversation. I worked with Mads nine years ago now on ‘King Arthur’. Completely different. Could not be more different. But during that period I got to know him and really like him. As a man as an actor. And had followed his career ever since then. I knew it was going to be great. That relationship is so complicated and interesting. It has to be believable. That’s one of the highlights of the show for me.” — Hugh Dancy
“So, spending that much time with a fellow actor, as I knew I would do with Hugh, it was just a fantastic gift that we knew each other. We are not only in the room, but to a degree, we have to be emotionally naked in certain situations.” — Mads Mikkelsen spoke about friendship with Hugh and cast (x)
He’s worked with the actor Hugh Dancy previously and agrees that such a genuine friendship lends something special to their on screen relationship. “It was a great gift for both of us, that we were able to spend some much time together on the show. We were kind of in a boat of insecurity from the beginning, but it was nice to have a friend there, if you go down or you stay up. To be able to be comfortable with someone in a room, day in, day out of filming, 12 hours a day, was an extreme gift for both of us. We found a way of working together really fast. Hopefully I’ll get to spend time with him during the third season as well, but if not I’ll just have to go drink some beers with him!” — Mads Mikkelsen (x)
“I would say an actor like Mads, but there aren’t any, there’s just Mads.” — Hugh Dancy during the SAG Foundation interview (x).
“Collaboration with Mads, who I love, who’s a wonderful actor and incredible partner in that respect “ — Hugh Dancy on what the show means to him
Hugh has become one of my very, very, very good friends. We knew each other from before, but it’s been so intense to spend three seasons together. I was there when he had his first little baby. It’s been a fantastic journey. We were just very, very lucky that we ended up with each other. Imagine if we had ended up with someone we didn’t like.” — Mads Mikkelsen (post)
Mads Mikkelsen and Hugh Dancy are friends. I’m not sure where you got the impression that they aren’t or that one dislikes the other.
Mads likes Hugh.
Hugh likes Mads.
And their amazing chemistry and friendship (and various aesthetic reasons) is why I ship the fleet of ships that belong to Hugh and Mads and their characters.
So, after all of this, if you’re interested in some more Mads and Hugh liking each other and goofing around together goodies, check out my tag ‘danish crumpet’.