split palette

anonymous asked:

Oh almighty napkin arm with googly eyes, I humble peregrin dare come forth with a request... could you make some character design breakdowns for some more realistic characters? Like your power ranger fanart? I tried to break them down on my own, but I'm not sure I did it that well... it's incredibly useful and interesting... Keep being awesome, and thanks for how you already helped me anyway!

Thanks for the patience, had to mull this one over. The more complex a design gets, the more difficult it is to break down. Basic character design tips may not be enough…so let’s delve into:

Character Design Tips Part 2!

Before we start, it’ll help to read my last character design post, where I laid out four concepts: shapes, silhouettes, colors, and inspiration. In this post, I aim to build on and rephrase these in a way that hopefully makes it easier to apply them. I’ll be drawing examples from my Power Rangers (2017) fanart to illustrate my points.


  • (Ideally, you should already be comfortable with drawing people. If not, look into figure drawing, gesture drawing, etc.)
  • (Whereas my previous tips were more tried and true, the tips here are more my own thoughts, so they may be half-formed.)
  • (Again, these are not rules. They’re just tips to add to your toolbox; the more tools you have, the more versatile you’ll become.)

Without further ado, let’s start!

Based off what we know about shapes, silhouettes, colors and inspiration, I want to cover: lines and angles, external and internal silhouettes, values, and references.

1. Shapes => Lines and Angles

Last time, I laid out three basic shapes:round, box, and triangle.

Problem: limiting yourself to these 3 shapes can be useful and fun for simpler designs, but they may be too simple or look out of place on more complex designs.

Solution: let’s go to the next level! Instead of shapes, shift your thinking to lines and angles!

Lines can be curved, straight, or diagonal.
Angles can range from obtuse to acute angles.
Follow your intuition: what feeling do you get from each line or angle?
If I follow my own intuition, I see that:

  • curved lines = natural, soft
  • straight lines = balanced, grounded
  • diagonal lines = off-balance, in motion
  • obtuse angles = broad, relaxed
  • right angles = rigid, unnatural
  • acute angles = slim, dynamic

If this sounds familiar, you’re right! It’s just the shapes all over again: 

  • curved lines make round shapes
  • straight lines with obtuse/right angles make boxy shapes
  • diagonal lines with acute angles make triangular shapes

But lo! Since we broke the shapes into their smaller components, it’s much more flexible! Now we can use lines and angles for more complex designs:

2. Silhouette => External and Internal Silhouettes

Last time, I explained the silhouette test: if you black out the figure, it should still be readable.

Problem: blacking out the figure only tests the outline of the design, i.e. the external silhouette. But what about the inside of the design?

Solution: block in the figure and test for the internal silhouette! 

If you want not just an interesting outline, but an interesting costume, block in the major components of your design to see if it has a readable internal silhouette. This test can help you avoid boring or cluttered costumes and makes your design stand out. If your internal silhouette is too empty, try adding props or designs. If it’s too busy, simplify it.

3. Colors => Values

Last time, I talked about the 60-30-10 and 70-30 rules for color.

Problem: those rules work on the assumption that you’re only using 2 to 3 colors. But what if I want to use more colors?

Solution: good news! The same idea applies if you split your palette into 3 major values: shadows, midtones, and highlights.

Balance your palette by converting your colors to grayscale and applying the 60-30-10 rule to the values. This is related to the idea of silhouettes; if you get a nice internal silhouette, you’ll probably end up with a nicely balanced set of palette values, and vice versa.

(Fun fact! You can split your palette in different ways. In a watercolor tutorial, Miyazaki splits the palette into bright, dark, black, green 1, green 2, blue 1, and blue 2.)

4. Inspiration => References

“Good artists copy, great artists steal!” -Picasso

Problem: Coming up with something 100% original is tedious and doesn’t always give great results. It saps the inspiration right out of you!

Solution: It’s a lot easier to steal ideas from references!

Note: don’t just copy, steal! Cherry-pick/massage the aspects of the reference you find the most appealing and work them into your design. Ditch anything that you don’t care about. Make it your own! Make it something you can put your own name on! Below is the reference image I used for my designs:

And below is my fanart:

That’s it for now! Thanks for reading! If you guys want to see any other topics, feel free to ask and I can try my hand at it.

If you want to see my previous character design tips, click here.
If you want to see the full-size Power Rangers fanart lineup, click here.
If you want to see other character designs I’ve done, click here.

Asriel in Super Banana Split for @sotorifico!!
These colors make me think more of like, banana split flavored lip gloss than an actual banana split. But it still works.

I actually have a really hard time drawing Asriel, and the rest of the goats too for that matter. They take me like 492832858 years to draw and end up looking pretty mediocre…but with this great palette no one will notice, right?? I really liked the color selection for this one. It was fun to work with.

(from this ice cream palette challenge!!✨)


                                      TWO    SIDES

                                                                         o f   t h e

                                      SAME   COIN


part of me wants to call this “The Great Watercolor Post of 2016″ or something else mildly dramatic because I’ve been asked these questions so many times in only a few months…

But because I go out sketching a lot, and because I go out sketching a lot with a group and with my watercolors I get asked a lot of watercolor questions, so I’ll try to put together what I can in a big post. Keep in mind though that I’m still figuring out this medium, and despite all the classes and sketching over the years it’s such a finnicky and dense medium that I wouldn’t be surprised if I miss half of everything in this post. 

Reasons why watercolor rocks:

  • it’s lightweight and compact
  • no need to refill your palette every time, they’re rewettable!
  • they’re cheaper than other paints
  • no flammable oilsor toxic turps
  • they look nice (super subjective point)

So here’s what I’ve got:

  • a Japanese style palette ($5-6?)
  • what’s basically a split primary palette with some extras
  • a handful of brushes I’ve accumulated over the years. (~$1-15 each)
  • a utility brush for big water washes - you might find them called hake or wash brushes in art or hardware stores

^I have a lot of flats, rounds, and angled shaders. The art store where I used to live also would often have discount buckets of watercolor brushes for $1-3. Keep an eye out for stores like this or for art students selling old supplies, but also don’t fall into the trap I did in high school that is getting a new brush each trip to the art store only to find you tend to gravitate towards the same type/size of brush. You’ll be returning the same thing a lot. 

Next up are my colors. I get asked a lot what’s on my palette, and frankly my palette’s a bad example. It’s a mix of colors from class lists in high school and from my mentor. You can see which ones I use a lot and which one’s I barely touch, but some I think are necessary to start out with:

  • warm and cool yellow (mine are lemon yellow and cad yellow)
  • warm and cool red (mine are alizarin crimson and cad red light)
  • warm and cool blue (I have ultramarine blue and cerulean)
  • black 
  • horizon blue (from holbein)
  • and…I use cad orange and yellow ochre quite a bit. 

The other colors on my palette I haven’t listed are magenta, burnt umber, new gamboge, naples yellow, viridian, and burnt sienna. These were from my high school class and I can’t say I use them all that much anymore. They’re not really necessary to me. 


literally anything. I’m not a stickler for paper types. If I was getting paid consistently for my watercolors I’d splurge on Arches or Cottonwood paper, but for now I mostly stick with strathmore watercolor paper (18″x24″) and my handbook sketchbook. I also have two little arches sketchbooks I got in France that are wonderful (and wonderfully cheap in Europe - if you’re anywhere near the Sennelier shop out in Paris stock up on these). You could paint on cardstock or low-quality printing vellum though and be just fine, actually cheapy paper isn’t half bad for your initial scribbles. 

Watercolor brands:

I’ve had teachers that’ll tell you anything goes, but I’ve tried a handful of brands over the years and don’t really agree anymore. How did I put up with Koi student watercolors for so long?! Horizon blue is a given since only Holbein has it, the rest I tend to get Da Vinci or Sennelier since they’re great quality, Da Vinci come in bigger tubes, and both tend to always be coupon-kosher at the art stores I’ve been to, so they satisfy my cheapskate bargain-hunter soul. This is another one though - if you’re heading to Europe (or Japan I think), stock up on what you need. A few of my paints on my palette are still Koi. They’re not horrible and I’m just trying to use up what I have (if you were gifted a set of watercolors get your practice out of them), but considering how long watercolor tubes tend to last (since you push out half the tube in your palette and keep rewetting them every time you use them) it’s not a bad idea to get your staples from artist grade brands/lines. 

How to Use:

watercolors are pretty versatile. You can work opaquely like gouache, you can work translucently, you can work wet-into-wet, dry brush, the list goes on and on…so I’m not going to say anything about techniques except to experiment with what different things do. Get out a sheet of computer paper or cardstock if you have to and just scribble. This isn’t my picture but it’s a good example:

just fill a few pages testing out your different brushes, different colors, different color mixes, different color strings. Mess around. 

Once you do that I had a teacher in high school who had us, with clean brushes, mix ever combination on our palettes like a Mendel diagram with paint. To mix watercolor you can either paint with clear water the shape you want and then drip in some pure color (or mixed but not for this) onto your water puddle. It’ll evenly disperse and you can either drop another color in to see what happens, or mix by layering…so do a dry brush layer over what you just did when it dries. This’ll give you a good idea of what your paints make. 

You can also work opaquely as if you’re working with gouache. But try seeing what different things do (like salt or rubbing alcohol or if you live somewhere cold, vodka). Then just start working - doodling, photocopies followed by doodles or memory drawings, or outside. 

I don’t know if it’s visible from this sketch I did recently - but I started translucent and got more and more opaque where it needed to be:

Hope this all helps and goes a little bit beyond the infamous “what brushes do you use?” type of question. 

Another round of color thumbnails using my tried and true technique! Color can be simple!  

 I start by painting swatches, and trying to harmonize the colors–in this case creating a Split Complimentary palette. The most important thing to keep in mind is that every color (and combination) will impact the mood of the piece. If your painting or design works at the simple color swatch stage and tells the right story, then it will work at any level of complexity! I then use those swatches to design out pretty much anything–from plants, to characters, to props!

To check out my last round of color thumbnails, which has a more thorough explanation of the process, click here!

I came up with a silly and maybe a little crazy idea for a legacy challenge that I wanted to try out. I don’t feel like it would be too interesting game-play wise, but thought about maybe streaming it or doing a let’s play. I thought about sticking with the sims 3, but with how much troubleshooting I have to do in that game, I don’t want to record myself playing. So I thought about trying it out in the sims 4 as well, using my palette split into eight generations. These would be the colors for the first generation. I decided to try them out on a sim for fun. Still thinking about it, but it is definitely something I plan on doing in ts3. 

NaJ Poth Fanfic

FIRST OFFICIAL POST!!!! ANNNND…. IT’S ANGSTY POTH :DD I thought of this last night and thought “hey, why not write this and show people what goes through my twisted mind?” XD anyways LET’S BEGIN (Bare with me, this is my first time writing my ideas down, given the hint that I have many writing ideas on my mind but I tend to keep them to myself because I always think they aren’t important enough to share ;-;) (Also forgive me if it’s too long, I don’t know how to make something under the cut on mobile QAQ)
It was getting late, and Goth was in the school library reading a book that he can’t seem to put down. He didn’t even realize it was getting late. He was getting to a particularly good part in his book when all of a sudden….

“Hey Goth~” it was Bunny, one of the cheerleaders that Palette trains with. Her appearance consists of a blue tank top with a dark green skirt. Palette wasn’t too fond of her because she would always shoe up late to practice and make excuses and Goth wasn’t fond of her either because of her constant flirting towards him. Although it seems this time she decided to completely skip practice in order to be with Goth.

“What do you want Bunny?” Goth said annoyed.

“What? Can’t I say a simple hello to my favorite librarian~?” Bunny said with a sultry voice.

“Hmm….” Goth wasn’t buying it. He knew she was gonna try to convince him into going out with her.

“Sooo, watch'ya doin’~?” She asked.

“If it isn’t obvious, I’m reading, or at least, I WAS until you interrupted me.” Goth replied rather coldly.

“Anyways, what do you really want?” Goth asked her.

“I need some help on finding out which books are the correct reading level for me.” She lied. She was planning something.

“If you want to read books that are your level go to the public library. I’m pretty pretty sure there aren’t any children’s books here.” Goth gave no fucks in saying that.

“Hehehe that’s funny Goth.” Bunny fake giggled. She was secretly annoyed at the comment. “But seriously, can you help me~?

Goth sighed. “Fine.” He stood up from his seat and walked with Bunny towards the bookshelves. “What lexile level do you prefer?”

“Something not too hard but also not too easy, so maybe somewhere around 1000-1500” She responded.

“Hm, the 1000 books are near the back of the library and the 1500 books are near the exit.” He told her.

“Can you show me the 1500 books please~?” She asked in a cutesy voice.

Goth sighed again, “They’re over here.” He took her to the bookshelves near the door of the library. “See anything of interest?”

“Oh definitely~” she replied while moving closer towards him.

“What are you doing?” Goth said while moving away from her.

“Something that I wanted to do for quite a while~” She responded while still walking towards him. Goth continued to walk away from her until his back reached the bookshelf.

“Bunny get away from me, you know I’m dating Palette.”

“But why have him when you can have me~?” She asked while wrapping her arms around his neck.

“Let me go.” He told her sternly while trying to unwrap her arms from his neck. He was almost successful, until suddenly he heard….

“Gothy? Are you here?” Goth heard Palette’s voice from the halls.

“Pale-mmph!?” Using her quick thinking, Bunny kissed Goth to shut him up. She latched her arms around Goth’s neck again to keep him from pulling away. Goth tried to pull away from her, but her grip was too strong. But even if he did manage to pull away, it would’ve been too late.

“G-gothy?” Palette saw the kiss from the doorway. Goth finally managed to pull away from Bunny. Tears started to form in Palette’s eyes.

“Palette… I-it’s not what you think-”

“Oh it’s exactly what he thinks. Sorry Palette but he’s mine now.” Bunny interrupted Goth.

“G-gothy… H-how could you?!” Palette said, tears streaming down his eyes.

“N-no… Palette-”

“WE’RE THROUGH GOTH!!” Palette shouted. He then ran away.

“Palette wait!” Goth tried to chase after him but couldn’t because of Bunny’s hold on his arm. "Grr let me go Bunny!!” Goth tried to loosen her grasp.

“But why have him when I’m clearly much better~?” She asked.

“I said, let me go.” Goth told her darkly. Bunny felt a small flash of fear and let him go. Goth then ran to find Palette.

“Hmph. I may have not won his heart, but I can guarantee that I have split him and Palette up for good.” She giggled and started to make her way home.
Part 2? ( ͡° ͜ʖ ͡°) We’ll see >:3

Goth: @nekophy
Palette: @angexci
Bunny: made her up I guess :/
NaJ au: @blogthegreatrouge

Hope you liked it! (IamsofuckingnervousinpostingthisI

punpunichu said:

Ohhh, dear Splickedy, might I ask for a Porrim in pallete #18 ♥ ?

Porrim “Unimpressed by your pickup lines” Maryam who’s off-screen? wvell i couldn’t possibly guess

Artist: Chris Kline
Medium: 8 - color Screen Print
Size: 20" x 13.25”
Edition: 25 (18/25)
Printer: (Artist)
Printed in: Philadelphia, PA
Event: A NITE OF EXTREME PERFORMANCE ART AND VIDEO! featuring R.O.T.F.L.O.L. aka Jacob Ciocci aka Half Of Extreme Animals aka One Of Those Paper Rad Kids, FORTRESS OF AMPLITUDE aka David Wightman aka Half Of Extreme Animals aka The Professor Of Death Metal and ANDREW JEFFREY WRIGHT aka AJW aka Art Joke Club aka Comic Kid, Tuesday, July 28th, 2009 at Space 1026