seriously please do your sketch with any color and then immediately lower opacity– seriously this way you will NOTICE RIGHT AWAY if you do your lineart on the sketch layer

i also highly recommend using a different color for your sketch 

but seriously

lower the opacity



sketch layer


Free GrutBrush of the Week #08 - “Soggy Tail” Photoshop Brush

Get it here Until May 11th
This week’s free Photoshop brush tool is a cloudy-textured natural media brush which starts out as a soft shader at light stylus pressure but ends up very opaque at the highest pressure. This brush has the look of a watercolour and even bleeds a bit into the paper at its edges if you hold it almost steady in a spot, but behaves like and has the opacity of an oil pastel.

As always, you can download it for free until the end of this week (May 11th) when there will be yet another new free brush.

*Requires Photoshop cs5.5 or higher and a pressure sensitive graphics tablet. Free registration required to download.


the powerful have always preyed on the powerless. that’s how they became powerful in the first place. (perhaps. and perhaps we’ve grown so used to horror we assume there’s no other way.)


x-ray photography / Artist Xavier Lucchesi (facebook) - “The starting point of photography is the opacity of matter, and its capacity to reflect light. Xavier Lucchesi (…) decided, fifteen years ago, to work as an artist with the image as his medium of expression, but with no camera. To achieve his aim, he decided to work with other devices that make it possible to produce images, but images of another kind. By using X rays and the most efficient scanners, Xavier Lucchesi creates images through a gesture which is not habitually linked with the production of images – the gesture of going through matter. This does not mean making a hole in matter but really going through it. It is a well-known fact that X rays can go through everything, and when they hit an adequate surface placed behind the object, they seem to have carried away with them the shadow of the real. That is what they show us: ghosts. And, of course, with ghosts, they can reveal some secrets.”

kageyamx asked:

HI hm i rly like your art like a loT,, i saw your myrmidon iwa on twitter and i cried a little and now i found your art blog and im *heart eyes emoji* sO i was wondering if u could give some tips on painting? :o if u have time/want to ok by e

first of all, i do not use paint tool sai. honestly i trust photoshop much more for tasks like painting, whereas sai is?? i dont know, i dont use it at all and i’d rather use it for drawing comic pages or stuff because the brush edges are niced than on photoshop. but anyway, photoshop.

second, these are the brush settings i will be using ALL thourough the tutorial (you are allowed to use different brushes but i dont know how that works), i’d recommend that you try using different brushes that have that sort of opacity/flow control with pen pressure for painting, because painting with solid 100% opacity is… well not impossible but just don’t do it like that.

since i dont know how to give tips i just made a rough step by step tutorial and i hope it sort of helps!

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anonymous asked:

Hi You draw on photoshop right? I tried to draw on it but the pencil seems to not have sensitivity when I draw. Is it normal? Do I need a special brush or is it my tablet who don't work? (sorry I never draw on photoshop i don't know anything...) + I love your art you are a big inspiration to me!

I usually start with the basic brush.

Go to Window > Brush to open the brush settings!  I usually make the brush bigger so I can see the bumps better.

Here’s what you start with:

once you save, make sure to save the brushes again as an abr file, that way you can load them in other computers if they, too, have ps

also, you can experiment with the opacity and flow of your selected brush

as for brushes I use, imma sucker for textured brushes

i can give you some to check out (all PS):

Cale Atkinson’s brushes

Wendi Chen’s brushes

Kyle T Webster’s brushes

Naomi Romero’s brushes (also has em’ on her etsy for a paypal purchase option!!)

Grace’s brushes

Natalie Smith’s brushes


Domareen Fox’s brushes

Lilac Tida’s chalk brush


John Wilkins -  “The Discovery of a World in the Moone, or, a Discourse Tending to Prove, that ‘tis probable there may be another habitable World in that Planet”, 1638.

Some of Wilkins’s propositions have been proven true with time: That the Moone is a solid, compacted, opacous body; That the Moone hath not any light of her owne; That there are high Mountaines, deepe vallies, and spacious plaines in the body of the Moone. His explanation of the heliocentric solar system - an idea which he considers likely enough to be true - inspires his pithiest argument: Now if our earth were one of the Planets […] then why may not another of the Planets be an earth? In other respects, alas, his propositions are wide of the mark: That those spots and brighter parts […] in the Moone, doe shew the difference betwixt the Sea and Land in that other World; The spots represent the Sea, and the brighter parts the Land; That there is an Atmo-sphæra, or an orbe of grosse vaporous aire, immediately encompassing the body of the Moone. And, as his final proposition, Wilkins claims that ’tis probable there may be inhabitants in this other World, but of what kinde they are is uncertaine.

Half-Assed Drawing Process Tutorial Thing

I owe one of you guys a tutorial, and I keep forgetting to screenshot my progress, but my last piece of art had so many layers and I think I can kind of explain it through screenshots of the layers, so HERE WE GO (also this is drawn in Photoshop CS4):

1. Lineart

Obviously there was a lot of rough sketching before this, but I didn’t screenshot that so oh well. Sometimes I clean up my lineart, sometimes I don’t. In this drawing I left it rough cause I like the look. When I do lineart, I use a brush with the “Shape Dynamics” and “Other Dynamics” checked so both the size and opacity of the brush are affected by the tablet pen pressure, nothing fancy. I draw with a lot of short strokes, and I really don’t press “Undo” a lot. I keep it messy, and if I don’t like where a line is going I just shave off what I don’t like with the eraser

2. Shading in

I then make a “Multiply Layer” and add the shadows. I don’t always do it in black in white, sometimes I do sepia, or in blue, but for this drawing process I do the shading in some kind of monochrome palette.

After I roughly shade in the drawing, I actually merge the shadows layer with the lineart layer and then continue to touch up the shading while also sort of blending the lineart with the shadows for more of a realistic look. 

3. Colors

To add color, i create a “Color” layer and fill in the figures with the color I want. I wish I could show you all what the layer looks like by itself but I didn’t take a screenshot of it, but it’s pretty much just solid blocks of color for each character’s skin tones, hair, etc. 

I then created a “Multiply” layer and layed down some more color so the lightest areas weren’t a blaring white. (any white areas on your black and white layer will be white when you color in your “Color” layer)

4. Play with shadows

You probably can’t tell much of a difference with this step from the last one, but I like adding an overall shadow or gradient over the entire piece. I create a new “Multiply” layer, fill the layer with white (the effect won’t work on an empty layer), go to Filter>Render>Lighting Effects and use the “Spotlight” effect and direct the light whichever way I want it. I like doing this in a seperate layer because I like playing around with the color of the shadow to see what looks best (and doing the light effect directly on the drawing layer would wash out some parts of it if it is too bright)

5. Texture!

Last but not least, I create an “Overlay” layer and put some kind of texture over the piece. I like using Lexxy’s paper texture which she supplies at the end of her amazing tutorial here. You can play around with the opacity of that layer depending on how intense you want the texture effect to be.


So that’s it! I hope this helped show a little of how I work. And my drawing process is different with each drawing I do. Sometimes I just do a lineart and directly color underneath it with a Multiply layer instead of going through all of this. 

anonymous asked:

what brush settings did you use for your redraw? its soooo amazing btw <33

thank you!!! :D i used maki suchirolle‘s pencil brush for my lineart, but it’s meant for sketching (i just really like how natural it feels) so i duplicate the layer a couple times and mess with the opacity until it’s at a good density

(after duplication)

then i do base colors and rough in shading with the basic pen tool

then this is the brush i used for blending n stuff!

after that it’s just coloring lineart with the basic pen tool, maybe mess with the density setting for more gradual color transitions

(also i usually work a LOT bigger but i already had the lines resized from my face tutorial) hope this helps!!


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