sorry to bother you i really love your style and can you explain how you color it *-* if you dont want i will understant :)
Hi dear! Don’t worry, it’s not a problem at all :) Probably someday I’ll do a tutorial, or better, a video. Anyway, I use the photoshop brushes like a sponge! Like when you paint inside a stencil: I make the mask of the part I want to color (every part of the drawing has a different mask: face, shirt, hair, arms, etc), and then I color in it like using a sponge, with a really low opacity, overlaying various colors. For the details I use a brush that looks like a pencil, and for the shadows I use gradients + the first basic photoshop brush I pick XD
Here is my second simple tutorial to help with nicer gradients in Sai. This will make your gradient look nicer and takes less time to do than manually painting/blending it over your entire canvas! (*￣
This is my first composite photograph, and this post should give you little insight into my creative thinking and process. Here two completely different images taken in different years are blended together to create a new story.
First in Photoshop simply starting a new project with same dimensions as original two RAW full frame images. Very quickly I layered the Lightning photograph (which was taken at midnight in the summer of 2014) on top and lined the bottom of the strike with the horizon in the new landscape.
Then using a brush set to clear with a feathered radius, flow 50% and opacity 40% brushed out the foreground of the lightning photograph. Gradually (with patience) reducing the flow to produce a seamless blend of both skies.
This left me with the 3rd image which I then saved as a .tif and moved into Lightroom CC. To finish creating one sky, I desaturated the entire sky including the tree which I would later contrast to produce a striking silhouette.
To dramatise the image further I darkened and increased the contrast of both the highest cloud and introduced shadow into the foreground. All using brushes of feather 60%, flow 88% and density 88%.
Final touches to the scene involved adding a feathered vignette with a small midpoint. Removing distracting grass elements and a bench from the foreground and finally using a clarity brush to go over the edges of the major components of the image and give it a final dramatic edge.
I hope you find this informative, and look to do more of these quick editing inspiration posts with more dramatic skies and interesting landscapes.
I’ve seen a lot of really cool recolored FR items floating around, so I thought I’d pass along this trick since I think a lot of people use hue/saturation sliders to achieve this and there’s a better and less frustrating way!
This is also how I recolor painted adoptables and even sometimes my normal art. I often render my art straight to greyscale, then use selectively-applied gradient maps to color. You can also use a low opacity gradient map (maybe set to soft light or color mode) over a piece of artwork to unify the colors gently or help suggest lighting! Since discovering gradient maps I’ve used them in nearly every piece of digital art I’ve made in some way or another. They can even be used to fine-tune brightness and contrast!
DISCLAIMERS: This tutorial only applies to Photoshop–specifically CS5, although the steps should be similar to any other recent PS release. I have no idea if this is possible in other editing programs, sorry! T_T Also it’s possible someone’s already made this tutorial and if so, mea culpa, I couldn’t find it T_T I hope this is new information for some people, at least.
SO HERE IS HOW IT WORKS:
First, you need to create a new adjustment layer. This is better than just making a gradient map for the image (which is also an option) because you can selectively apply it. Here’s where you find the option.
A note: this works better on high-contrast items. You might want to bump the contrast of the item icon before working, but if you don’t mind fiddling a lot you don’t have to. Really dark items may need to be lightened some, and really light items may need to be darkened. The item I chose is a nice middle ground with good strong values throughout, so I didn’t do any prep work.
Make sure this box is checked if you’re working on multiple icons or if you have a white background. I check it anyway, just to be safe.
It applies your last used gradient, so you’ll probably get something bizarre like this. No worries! Find your adjustment box (same one you use for hue/saturation adjustment layers). It might be docked with another menu (like your brushes, as mine is), and you might need to turn it on this way. Then click on the gradient bar to pull up this:
Get acquainted with this dialog box, you will come to love it.
Basically, the far left dropper-box indicates what color the gradient map is making out of black. The far right indicates what color the gradient map is making out of white. Everything in between is all your shades of grey (or non-grey, since the item is in color), applied on an even scale.
It’s important to note that the scale goes from *black to white*, not from darkest to lightest in your image. It also applies to the *ENTIRE* image including any adjustment layers already applied! If you apply a really pale gradient map to an image and then layer another over it, you’ll need to push everything over to the right hand side of the scale, etc. This makes more sense the more you work with maps.
And here’s an example of how it looks in use! Because there’s no pure white here, the very furthest right hand color isn’t showing up in the image. But you can fix it!
You can move all your sliders! You can also move the dots between shades to adjust and fine-tune. Click anywhere on the scale to add more sliders. You can double click a slider or click the color box below in the Stops dialog to change it.
NOTE: Unfortunately because Adobe hates its users you can’t use an eyedropper in this dialog. If you want an exact color you need to write down the hex or RGB value. :(
This is largely an intuitive process: some understanding of color theory helps (highest saturation in the middle/top values; hue shifting, etc.;) and fiddling around will help the most! Some really cool iridescent effects can be achieved with judicious use of dramatic midtone hue shifting. As a general tip for FR items, you probably want the darkest shade to be pretty close to black, especially for the background, if you care about preserving the border/etc. If you don’t, go nuts.
But we don’t want to apply the whole image, that’s boring. Click directly on the layer mask in the layer dialog and use black to color out the background. If you have more than one element (petals, leaves, background, or whatever), you will need to do this for each element. If you only have two (item and background), you can apply color to the background this way:
Make your gradient map for the BG, and then Ctrl+click ON THE MASK ITSELF and drag it to the BG map layer. PS will prompt you to replace. Click yes, then use ctrl+I (or the menu) to invert that layer. Instant BG mask!
You can also see that it’s possible to create cool ombre effects and have total control over them by applying gradients to your masks, or even paint on stripes/whatever! You can also try changing the blend mode of your gradient maps for other cool effects (especially useful for “glazing” greyscale artwork).
Also, once you’ve set your masks up once, you can just adjust the gradients again. Although you should probably set them up more carefully than my messy ones I used in the examples below, lol.
AND THAT IS ALL! If you have questions please feel free to reblog with them or send me asks, I use gradient maps daily and am happy to help!
Hey guys, heres some basic After Effects tips to get your workflow going a bit faster:
- Get used to basic shortcuts!!! (full AE shortcuts list here)
Here are the ones I use the most:
S = scale
R = rotation
P = position
T = opacity (I remember it as opaciTY)
U = reveals all keyframes in every layer if none is selected
If one layer is selected, U will reveal all keyframes in that layer
B = cuts work area (from the left) to the playhead
N = cuts work area (from the right) to the playhead
CMD/CTRL + A = selects all layers
CMD/CTRL + D = duplicate layer exactly (carries over all its effects, keyframes, etc. — makes a complete copy)
CMD/CTRL+Shift+C = precompose selected layers
OPT/ALT + left bracket = trims layer (from the left) to playhead location
OPT/ALT + right bracket = trims layer (from the right) to playhead location
- You can view multiple Transform property shortcuts at once: with one Transform property open (such as S, R, T, P, A), hold Shift and press another Transform shortcut button to include it (shown below)
- Holding down Option/Alt and dragging multiple keyframes to offset them all at once rather than moving them one by one
- Hold Shift to select multiple layers (holding Shift also allows for snapping); CMD/CTRL + A also selects multiple layers without needing to move the mouse
- CMD/CTRL + Click to select individual layers together
- You can copy and paste keyframes and their properties (CTRL/CMD + C = copy, CMD/CTRL + V = paste); you can copy + paste effects and layers, too
- Assign Parent-child tracks. Basically, the child layer follows whatever the parent layer does aka you don’t have to spend time keyframing the child layer when it can automatically follow what the parent is doing. Below is how you can assign a parent to a child (either from the menu or the pick whip/swirly thing):
You can also select multiple layers and assign them to one parent at once (pick whip and menu option both shown below):
- Press Caps Lock when rendering as it will stop the window from previewing each frame aka less pressure on your computer and faster rendering
- Also, clear your Cache (Preferences > Media & Disk Cache) every now and then to get rid of unnecessary files and free up disk space
“Iridescent Lines” I managed to catch some cloud iridescence at the beginning of this timelapse, which made some interesting colours in the clouds. This is 659 photos merged into one image using the lighten layer-blending mode in photoshop, automated with this script, advancedstacker.com I also faded in the first and last 19 photos using 5% increments of the layer opacity.
There are a lot of products in my kit that I couldn’t live without, and MAC paint pots definitely fall into my ‘MUST HAVE’ category! These particular 4 are my favourite: * Constructivist - Metallic Brown with Red Pearl * Quite Natural - Dirty Chocolate Brown * Indianwood - Metallic Antique Bronze * Groundwork - Mid-Tone Neutral Taupe
Soft Ochre & Painterly are probably 2 of the mostly commonly used and recommended ones as they are great bases for eyeshadow. But my preferred way to use the 4 colours above is on the lid alone, or teamed with one another for some added dimension. They are super simple to use as they just glide on the lid due to their creamy consistency, blend with ease, and then set in place without creasing. They also have a strong colour pay-off so they don’t require any eyeshadow over the top to build-up the opacity. As you can see from the swatches, they are very intense with just one swipe from the pot. I love to use these colours for Bridal & Prom makeovers. They are on the neutral side so you can be certain your makeup will go with any outfit!
They are available in approximate 23 varied shades, and come in a metallic, pearl and matte finish.
This animated GIF is 20 frames long and takes 2 seconds to repeat itself, but if you pick any point and follow its motion continuously it will take 2000 seconds (about 30 minutes) for the point to return to the same location it was in when you started watching it! How long can you follow a single point?
Probably should have nabbed more screens while working on the au ra one in the earlier parts, but hopefully you can see the basic workflow.
I use the same method for things with line art and use a hard brush + 100% opacity to make it look like there’s line art.
One thing I try to work on, especially with simpler chibi pieces, is to shade with hue shifted colors. So using her coat as an example, just because it’s green doesn’t mean I’ll use a darker green to shade it. I ended up using a dark teal (or whatever that color is) but it reads as dark green in the finished art. Not really sure what advice to give picking the colors as I’m still a color noob myself, but play around and see how it works ^^