sometimes i make pretty things with photoshop


Hello, I don’t know where to start but, just thank you I guess??? I never thought I’d get to 100+, I’ve only had this blog for a couple of months or so now? Not my first time having an RP blog but the first time I made one & actually used it for more then a week, & honestly couldn’t have wished for anymore of a welcoming experiences. I’m glad my muse for Noct as well as my love lasted this long to even see me getting this many follows!! He is my tired son & is so fun & easy to write & I am happy that so many of you enjoy my portrayal. I didn’t think I would be noticed that much to be honest ‘cause of how many other Noctis’ there are. They are all just as amazing & great to be honest!!

Onto the people!! Of course gonna but under a read more ‘cause I have a few things I wanna say & might ramble on. But here we go~!!

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The other day my friend asked if a picture of my cat was photoshopped and I was like “no why?” and she said it was because it looked like he was glowing and I said “oh no the picture was taken sometime during golden hour” and she pauses


“golden hour. you know, when the light is really pretty and glowy”

and she goes on about never having heard about it before & how it would make a great short story while I’m trying to comprehend someone being in their mid-twenties and not knowing either what golden hour is or (when told it’s a thing) recognising it’s those times of day when the lighting is a certain way. Like half the environment descriptions in my writing are about what kind of sunlight there is at the time so the idea of someone living that long and not noticing that before sunset the light gets really golden is incomprehensible to me. The length of shadows/quality of the light is more or less the first thing I notice when I look outside

This might be strange, but one time I had a vision of my childhood self. It was like a flashback. And it made me smile because I loved the person I saw. I was just an interesting child who loved music and dancing and being hyper and crazy and running for no reason or singing at the top of my lungs. And thinking about it now feels good because I’m still that person. Sometimes I would think I wanted to be someone else because I didn’t think I looked as good as other people or modeled as well or whatever. But that’s such a stupid thing because I am me. And there is no one else like me. And I understand the essence of myself more than any other thing that exists. And that alone should make me have a love for myself like no other.

I’ve been doing character design for my daily sketch thing and they’ve been particularly terrible so I haven’t shared any drawings for a few days. Anyway, today’s was pretty bad too so I decided to just make fun of myself instead. Sadly nothing inspires me quite like self-loathing.  I have proportion problems mostly which you kinda see in this picture too. More practice should help smooth things over. Just need to be more patient with myself.

In the meantime you get to see what my old comic style looks like (pre-photoshop editing obviously). I used to write/draw a webcomic for a forum community in my very late teens and early 20′s. It was a lot of fun, sometimes I think about doing another one just as an exercise but I’m not really sure what it’d be about. History? Politics (yeah no fuck that)? My fickle self trying to get through writing my first novel? There are a lot of possibilities but they haven’t really inspired anything consumable as of yet.    

Hello! Skip here to talk about cosplay photos. As one of the photographers for @cfour-group, I take and edit a LOT of photos after our conventions and photoshoots. I’m not a professional photographer, but I have taken some photography and digital art classes where I learned my techniques.

I have Photoshop Elements 10, but a lot of the tools are the same in the newer versions of Photoshop. There are many ways to process photos, but this is just how I go about it. Let’s get started!

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starfieldcanvas  asked:

So! I've been having fun trying out your tutorial, but I do have some questions! (1) Your brush settings show shape dynamics, but the example strokes don't? (2) What's that second brush? (3) I wanted to ask how long it generally takes to get from "saturated colors" to "looks blended," as a small round brush at 10% opacity seems to be taking an inordinately long time to look like I'm even doing anything. (4) Under what circumstances do you STOP using low opacity? Any and all rambling appreciated!

You’re in luck; I found the arrow that the -ing brushpile ate and I still have more hard cider.

I usually do the ponies in sai, and usually they’re more relevant, but hey.  hard cider.  it’s 10% alcohol: you get what you get.

ONE - I, why is that even checked?  Why do we even have that lever, Kronk?  No, I don’t use shape dynamics on that brush; the idea here is that you constantly change your brush size and fit it to the area you’re painting.  Use [ and ] - or Mac equivalent - to run your brush size up and down.  Use the biggest brush you can stand at all times and just plan on cleaning up the edges later.  Big brushes, big big big, save the small brushes for details. If you DON’T use a brush with a lot of shape dynamics then you’re always going to have overlapping brush strokes - Good!  This is both blending and texture.

This is a SAI one, but you see what I mean by blocking with big big big brushes - LATER is when you worry about making the edges tidy, trust me when I tell  you how much more natural they look if you let them be sloppy to start and clean up later:

BIIIIIG brushstrokes, BIg Big BIIIIG:

Also, anything but a white background.  ANYTHING but.  Sometimes I sketch on white, but once you start to color, change the background to Anything But White, this one thing alone makes it so much easier to get the colors singing together.  Even if later you paint white all around the figure, fine, but if you’re Not Sure about color?  Make the background a medium shade of grey or brown or green or what-the-heck-ever you like.

TWO - Second brush is err just a generic scruffy brush?   I don’t use it much anymore.  Generally, if I am in Photoshop I am ripping up reference images to get a composition or I am just sketching, and these days I try to gesture and block rather than SKETCH sketch.  I use a hard funky square brush that doesn’t ‘turn,’ forcing me to block rather than sketch.  The results look like this:

Like, okay, the brush obviously TURNS, but it’s kind of a chisel.  You have to think in big shapes.  I am terrible at thinking in big shapes, funky photoshop brushes are how I rattle myself loose.

THREE - Oh man, that little opacity is like washing a semi with a toothbrush.  I only go that low for washing a tone over existing paint. Try something like an opacity of 85-90 and a flow of 35-45, with ‘Other Dynamics’ (in the brush settings) turned on an both the Opacity and Flow jitters set to Pen Pressure, 0%.  I’m assuming you’re using a pen tablet / something with pressure sensitivity, here.  The idea is to get a level where you can touch lightly to skim color on and really hog down to lay it on thickly.

As for how long it takes, hrrrrmmmmmmit depends?  The honest-ta-gad ‘right’ answer is ‘As fast as feels comfortable to you.’  Play with opacity / flow / brush pressure settings until you get to a point where you feel like you can comfortably lay down blocks of color - e.g., you’re not just dusting color on and it’s frustratingly slow and neither is your brush so solid that you’re just plowing over the work you just did. Do err on the side of more solid rather than less if you’re after a ‘painterly’ approach.  If you have photorealism in mind, don’t hesitate to practice with low opacities, because building up delicate transparencies is how you get that look. One way, anyhow.

I did find, aha!, I did find where I’d saved out some progress steps of a recent painting.  Again, this is SAI, but all the same you can see how my thought process works.

This is the saturated layer of blocked-in color, I’ve also thrown a blue-green texture on top because I’m trying to make decisions about color mood.  This is ALL rough brushstrokes, no details, I completely skipped the step of breaking up the shapes with black and white so this is pure color:

So then, colors thus roughly smacked on, I stay with the same opacity (hence why I keep the colorful stuff on a base layer - if I need to I can always desaturate it, lower the opacity of the entire layer, etc) and go to a new layer and start adding details.  There’s still a texture on here, but I am working with a different color-mood idea.  Look at Kate’s hand and you can see the details developing - trying to use as few strokes as possible, this keeps the shapes from getting too twiddly-looking, or anyway that’s the idea:

Next stage is the one where you can see just how much shit I break long before I fix things, but anyway, you see how the color is piling up over the saturated under-layer, details are filling in, but the idea is still to keep them AS BIG AS POSSIBLE.  Save the small stuff for the end

I’ve got this zoomed-in view saved out as 4, and now you can see the detail level which is pretty much my goal - more detailed than this and I am just making myself (more) crazy and probably feeling like I’ve ruined the painting:

Finally, this one is saved out as 5, but what it is, really, is the finished painting minus the special effects:

in Photoshop I use a couple of Overlay layers to add lighting effects, sometimes I sharpen, I ALWAYS color adjust, very often I even hit the Levels palette and adjust things.  If you get the color value right as you paint, awesome, if not!, by god you’re painting in PHOTOSHOP and we know what Photoshop is FOR, and color balance is IT.

The other thought here is that if you look carefully back through the steps, you’ll see that the amount of detail I am adding is not actually all THAT huge.  It’s really not!  With the stages laid out side-by-side like this you can plainly see that I am adding as little as I can get away with. I save the ‘busy detail’ for spots that should be busy, like messy hair and freckles and such, but in general I try to keep the details simple.



Forward: The post to just the finished artwork of Mortem3r can be found HERE.

For those who might be curious, this is an mild tutorial on how I deal with my scans of my illustrations. I use a Canon LiDE 110 scanner that was around $30 and recommended on I use a custom set up of Color Photo, no auto-adjustment, and 600 dpi ALWAYS. The scanner does pretty well, but it really makes things yellow and washes out reds a lot.

Images 1: This is what the raw scan looks like. Sometimes I’ll work on tinted paper, but Suzy most certainly was not so you can see how dramatic and frustrating scanning traditional work is! Luckily I own Photoshop.

Image 2: Image<Adjustments<Color Balance
After pulling the image into Photoshop CS5, first thing I do is is crop and reduce the image size by around 40-60%. Color Balance is great to reign in that yellow tint. What’s pictured is the main adjustments in midtones, and althought I will sometimes adjust the highlights and shadows.

Image 3: Image<Adjustments<Curves 
Curves is used to adjust the value balance (white, grey, and black) and the saturation (how greyed out or righteously overblown a color is) of an image. The easiest way to learn what manipulation the curves does is to move it to an extreme. Making it super wavy blows out a color or can make is really grey. Curves is tempermental so for my work usually gets a very slight adjustment. Basically this made the skin tone more true to what the illustration looks like when you’re holding it in your hand.

Image 4: Image<Adjustments<Levels
Levels is basically a simplified Curves. While you can skip Curves and use Levels, Curves really is a better tool for balancing color. Nowadays I use Levels just to get the background to be more white.

Image 5: Stamp tool! 
My artwork is always very dirty with speckles and smudges on it so I use the clone tool to find a spot and clean it up. This is definitely the most time consuming part, but it’s worth it for a nice even background without affecting the color of the artwork.

Image 6: Finished artwork and watermark
I always put a watermark on my work that’s very simple. In this case it’s just “Artwork by” and put in a spot where it can’t be cropped out but won’t be distracting. I use Gotham as my typeface of choice and put the color usually to a grey, but it really depends on the image. I also make sure that they watermark’s layer transparency is set to around 15-30% so it’ll show up but not dominate the image. If it’s a dark image, the watermark will be white. If it’s a light image, black will do. Since Suzy is both black and white, I used a grey color. 

So that’s pretty much it! I hope this helps you fellow artists out there. Please feel free to shoot me a message if you have questions, and don’t forget! The worth of art is completely subjective so don’t worry about making “good” art or “bad” art. Making art is the important thing! As my friend @thegorgonist told me, “Done is Beautiful”. Once an artwork is done, the imperfections don’t matter. You made a thing, and that is beautiful!

Good luck!

PS: Yes, I was watching Game Grumps, and Dan and Arin, if for some reason you see this, people in Portland say “Cheers” all the fucking time. I can’t tell you how many guys would say that to me after I handed them their latte. 

your favorite suho stan back at it with yet another FF,, honestly,, i thought nobody did this anymore but I’ve seen many around so I was like,, why not,
I was gonna make another edit instead of recycling last and last last year one but honestly,, who has the time, and I havent used photoshop in like 10 years so idk if i could even make something pretty,
But thank you all for making my days a bit funnier and pissing me off sometimes, those who praise Bayern or CLAIM suho is not the best thing about Exo,,but i still aprecciate every single one of you! sp. the ones who I’ve been following since,, 2014? that i made this blog, thanks for sticking with me i love u deearly,,,

Also this is not in alphabet order because thats too much organization for me..

First of all i wanna thank you, for not unfollowing me evenn though i went from 100% football to 10% you’re the real MVPs!

@debushit@hoezil@smolsantiago @yannickcarrasgoal ❄ @aandorcassian ❄ @el-sub@klopposkop@alexissxnchez@xhaakas@moreira-marinho@alexoxchamberlain@baefinha@bbyspiice@sleighbellerins@nur-reus@oezily@santicazorla ❄ @mesutoezll ❄ @brainburner@neyvenger@flavenne@nurischahin@emobipolarbear@jonapapi@fivesuns@fauxscorpio@ginterwonderland@michaelphelpsy ❄ @gvayaba@happyfeetiniesta@adrianahatesyou@desciglios@djhoodrich@puppyboy ❄ @sheknowsbyjcole@filipeluis@gabrielreyesemoji@batdaddy@grec1a@buttcrackdurm@gunnersatheart@fcbarcelohna@malumas@princehsa@karatekling@amantedelcalcio@shakirugh@missrolls ❄ @brozukas ❄ @carlosvela2 ❄ @koenigreus ❄ @reusful@aubamevang@hijogris@sara-bastian@cescfabregas@smol-pilots@holgerthegrinch@woodyinho@fifaworldwar@jenniekimn@messi-thebest@mrs-bartra@bellerined@fernandohtorres@judybarca ❄ @vamosblaugrana@secretariats  @sergiobusquets5@holaleomessi@blaugr4na@liverpoolrules@cruyffsbeckenbauer@fcbootylona@barca-penguins


@smolsuho@exheaux@suhosleftbuttcheek@emojchic@sadpepechoi@oilyho@galaxychen@jongdayes@sunshinebaekkie@mcxican@wolfbyexosavedkpop@1jonginsgf ❄ @3baekhyun@4seungri@minseokslilmochi ❄ @seungri-yay ❄ @seungribubus ❄ @seungrifeels ❄ @minseoksbaby ❄ @baekxingmi ❄ @cassette-taep ❄ @theartistsformerlyknownasbeast@gothicsuga@stopjunmyeon@baeksaerii@browneyedcutieee@onikamaraj@your-xiuminess ❄ @onlysuhos ❄ @dilaygent ❄ @xiundeer ❄ @reservoiridols@changsubsgirl@mniseokk@theseoks@frostedlipstick@halfmocn@lawlliets@zhangyixings@kimjunnoodle ❄ @bcombayah ❄ @mood130@clubeskimo@elluts@fomantis@rosetaehyun@yixingkissedsehun@harlysquad@jacksonsnovia@arxcia@tellmewhatislove@taesyong@cyoungsjae@bunmyeon@minsaltine@no5album@exite@parkjonqbin@a6@nayeonsgirl@btswonartistoftheyear@aviatorjacket@winterheatmp3@paridise@monstaxsavedkpop@loveofjiminslife@betterworse@jjongsgorl@daesungstrash@kaisgirlfriend@kimseokjin@curlyheaux@iloveyixingsomuch@bhoneypot@sechkies@jinwoosgf@callmemonster@jhope1@minhostan@shyu@suhoslatinagf@sourtamarind@pcysmamacita@flawfreesuho@baekhyunshoney  ❄ @silkyken@cherrysuho@ludork@quesoseco@goths7@1hamtaro@ohhunie@textmewhenyougethomesafe@palomyeol@sidneyspoitiers@hotpinks@taestysuga@xiufeek@1jimin@ackreeits@darklordkyungsoo@ygyixing@minqhau@junmew@totaoyeol@fathersonandholysuho@awwsehun@bigbang-hateblog@yixingsaur@su-lay@k4rd@emobaek@ch-e-nyeol@kyvngsoo@wooyefan@suhomatsu@yutah@peachysuho@kingkyungsoo@bambamswife@waejin@namgenius@baeksugabuns ❄ @cat-booty@baekirei@baekhyunsama@kimjonginspinkhair@poopsonthemoon

i love u all mutuals or not

anonymous asked:

Hey there! I actually have an art question; when you're starting a piece of work, & you obviously start with a sketch - do you sketch on paper then scan into photoshop, or do the sketch directly in photoshop? If so, how do you draw steady lines? 😊✏

Hey! Okay so mostly nowadays all my color work will be drawn in Photoshop. Sometimes I’ll draw the gestures or thumbnails on paper first and scan them in, like with my Newsies piece, but I haven’t done digital inking on top of finished pencil sketches in a while. If I make a nice sketch, I like to color it in as it is, like this Danny.

However, when I start sketching digitally, I absolutely do not start with nice steady lines. I start with a messy thumbnail most of the time when I’m trying to plan out what it’s going to look like. Then I’ll blow it up closer to the size the final piece needs to be, lower the opacity, and do a more refined sketch on top of it (but still not perfect.) I’ll also move things around (in this case I changed the arm positions for both of them. Then I go and do my final lines on top of that, which can take me a VERY long time. It’s the slowest part of my process (it takes longer than coloring for me, and I’m working on learning how to be faster). But steady lines for anyone take time and patience and a lot of ctrl-Z. Using Sai really helps me with making my lines smoother than I can get them in Photoshop, and I talk about that in this post. I sometimes still make changes in this phase, especially with size or scale because it’s pretty easy to shift things around when it’s all clean (especially if you make sure your characters are on different layers.)

Click here to see the bigger version of the pic below. You can see how messy it is before it becomes finalized.

Hopefully it helps to see that I still have a mess on my hands before it becomes finalized. Check my process tag if you want to see more step by step gifs to see how I develop my illustrations.


hi! i’m amika, here’s how i did one of the pages for straylight, coming out in Island #3. This is my very first comic - I feel super lucky to have been given a place in Island where I can just do whatever I like the most, cause Straylight is mostly made up as I go along and just whatever I think would be the most fun and interesting thing to draw at the time. I actually finished this issue way back, so it’s kind of cool to have to look at my old stuff and not hate it while I’m working on the next chapter in the present. Brandon said he wanted me to have a chance to tell my stories before the comics industry had destroyed my spirit.

1. i do all my pencils and stuff on 11x17 bristol board (this one took up the whole page to be scaled down 50% but more recently i’ve been doing it at print size), and then ink over and scan / clean it up in photoshop.

2-3. my colours are pretty much just flats with textures applied, beyond the shadow/sunlight i added in the top centre panel, i like to keep shading to a minimum. i think with my style being pretty geometric and sometimes disproportioned, it helps not to get too concerned about how small shadows would fall unless i’ve got some particular emphasis i’d like to work out.

4-5. my texturing is mostly dot patterns and photoshop noise - lately i’ve begun scanning and using gross damaged old paper and watercolour textures and stuff. you can also kinda see i’m messing around with the values of the things right up until the very last minute so the general light/dark shapes don’t make me unhappy to look at.

6. i work pretty dark on screen, so i remove a lot of the black ink on the version that’s going to print by putting it in cymk mode and using curves and levels to make sure the printer isn’t going to murk things up by using black ink to darken where it doesn’t have to. i also nudge out the cyan/magenta channels - i do this a lot because it seems to soften a lot of the ink edges that lose their smoothness when they’re translated to square pixels!

Colouring tutorial

So, I was asked to show how I colour my gifs and thought I’d put together a little tutorial.

I will be going from this:

to this:

I’m using Photoshop CS6 Extended and will be using the timeline animation to make my gif. But if you use the frame animation that works just as well. Just make sure you’re standing on the first frame when you add the layers.

I put the full tutorial under a read more because it got a bit lengthy. I hope you like it! (p.s. this colouring works on a lot of different shows and movies)

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I should have said something that night, but I didn’t. I guess I was… surprised. I’ve been thinking about it ever since. About what you said. It’s like you were asking me to decide something right then, and I couldn’t do that. I mean, you don’t know anything about me, really. And I don’t know anything about you. Except I know you’re good at what you do. Really, gifted. I know that sometimes that makes things lonely. I know what that’s like. To be alone. To be lonely.



Lately it seems my life has been moving pretty fast. Throughout the whirlwind of chaos that is my life, it’s sometimes tough to make time to do the things I love. Fortunately, I’ve (finally) squeezed in some time for a good old fashioned impromptu photoshoot to bring you lovely people of the internet some of the outfits I wore whilst romping around Ireland.

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PGBC Cubes with storyboard artist Phil Jacobson!

Phil jacobson - @storyboredartist - is one of our talented storyboard artists. Learn about him and his workspace below!

1. What makes a comfortable workspace for you?

I love my dual monitor setup. It lets me watch Netflix while I work, which is great because now I can be super distracted all the time. I also have a space heater that is always on because I’m constantly cold.  

2. What tools/software do you use the most?

I almost exclusively use Storyboard Pro. Sometimes Photoshop. In a few cases my team director and I will rough [sketch] out some panels on paper too, like our ancestors apparently used to do in the dark times.

3. What’s your favorite thing in your cube?

I have a pretty awesome dead plant over in the corner. He’s been dead for about a year and a half now. I should probably throw it away, but the shape the plant makes in the cube really adds to the ambiance. Also, I have a giant inflatable deer head. Absolutely a pro essential.

4. What do you like most about your job?

There’s a free cereal bar up in the kitchen that’s pretty rad. Jokes aside, I work with a lot of great people. (Except Matt. Matt if you’re reading this, go away. This is MY page. GO.)

5. How did you start in animation?

A series of accidents turned into a career, honestly. I went to college for comics, did some work on a few series, and then randomly applied to Nick. About a month later I was really excited to get a phone call. It was a loan shark asking me to pay back my student loans. Then I got hired at Nick.

6. What advice would you give to someone who wants to be a storyboard artist?

The number one rule is to always have fun with whatever you’re doing. I think anxiety can really show through in drawings - you can tell when someone is overthinking or nervous. Draw what you love. Draw it often. Make dumb jokes. They are the spice of life. And the spice must flow…

7. Are you more like Pig, Goat, Banana or Cricket?

I want to say Cricket. I pretend like I’m Pig, but behind the scenes I’m pretty neurotic and anxious. I’m also a pretty big planner, and I like having everything organized. He even gets my hat and hair during one episode (Underpants-palooza), but that’s another story…

To keep up with Phil follow him on social media:

Twitter: @offbrandlink -