I tried really hard anon but I’m not quite sure if this is what you meant ;w; I’ll give a process along with explanations!
I start with a sketch/ lineart thingy (I’m just too lazy so I pulled out an old sketch of Alma Karma from D-Gray. Man sorry ;_;
Then I select the outside and then invert. After that, I color in the scheme I want it to be in.
After that, I start coloring everything directly on that layer. It’s best to stay in the color range of the scheme, otherwise it looks really whacked up. (But it might be just the way I color OTL)
If I have to use a color outside the range though, I just do this little method where I make a new layer and lower the opacity, then eyedrop it. When you get used to the colors, you won’t have to later on c:
For the trees (and rough texture in general), I use this brush! It’s really handy and fun haha. When I use it to color, I usually first use a larger brush to give the general shade to the object then use a smaller brush for details.
Afterwards I just merge both layers together and draw more details with pen/ airbrush on it directly.
I make this overlay-y thing with my brushes and set fringe on to maximum.
Afterwards, I just set it to overlay and change until it’s somewhat satisfying! ^^ I hope this helped you, anon!
mosaku-san, how do you do your lineart? i suck at those tbh and yours is so *meow* ;w;
OH I HATE LINEARTS TOO ESPECIALLY FOR BIG PICTURES that’s why sometimes there are periods I change my style because I’m too lazy to make a lineart (but if you do make a lineart, once you are half-way, you get a sense of accomplishment to keep going too so it’s not all bad though!).
I think the key point to making line arts look better are the “stronger/thicker” lines or the varied “thickness” of the line art.
(I’m still in AkaKuro repentance)
I edited this for the example.
Green circle: I usually put those “thicker lines” on those parts where shadow usually casts on the forehead. The other times, I don’t. But if you feel like it, you can put those thicker lines where the “curves” or “corners/turning area?” are.
Blue circle: I also make thicker lines for those parts I want to show different depth. Like for example, for the ERI (the collar). To kind of show it’s inverted, I cast a shadow on the parts to show that it’s standing up and not flat on the wearer. Same as the other blue circles. I put them to show how the clothing actually bends (where they go to).
Purple circle: I just get bored so easily so I also sometimes shade in those little parts with dark shadows.
Brown circle: To pop out an object, you can thicken the lineart of the said object like so.
Aaaaahhh anyway, I think looking at the picture will be better to understand than my description (。┰ω┰。). But anyway, the point is, to vary the thickness! At edges, at separate objects and at partitions (for example to separate the obi from the rest of the kimono, etc.). Oh but be careful too because you might make one object pop out too much. You should balance them out, don’t put too much thickness only on one side or one part (it might look like a cut-out).
Oh, I’m using the Pen Tool at around 89% opacity at the above picture.
If it’s a manga-esque thing like the Rakuzan + Kuroko one I’ve done when I started Tumblr, I go ahead and shade everything in the line art itself to make it more interesting. For the shading, I didn’t just slab the pen to make a flat shade, instead, I scribbled with a small brush. Sometimes I cheat and slab a big part, but I still leave some parts to be left for the small brush to scribble on.
I used 100% Pen Opacity here.
Lowering the opacity can make your line art look “softer”. One hundred percent makes it sharper.
My personal taste in line art is actually the not-so uniform one. So I do not practice “carefulness” when drawing line art, I just draw away and not care about it being perfect. I almost always draw above it anyway (when editing- and you can too- and if you make a mistake, you can always erase around it). This also lets me avoid the stress of having to draw perfect lines because I can never draw perfect lines. My hands shake like the ones holding the sushi in TV shows.
However, I care about it being “understandable* in a sense that you can tell one object apart from the other, and that’s where the line thickness will come in handy!
I also color my line arts to make them appear *softer*.
I color the line art of the eyebrows, jaw, eyelid, eyes most often. You can also see that in Kurokocchi above.
Ah, if you can see Akashi above, some linearts are drawn on a different layer. Sometimes, I add things after I’ve finished the picture and I just put them above the whole thing instead of erasing the previous lineart. It makes it easier for me to color that way because I’ll just select the outer side of the lineart and Inverse the selection to get the small objects. It also allows me to reposition the small objects however I want later on if I change my mind where I want them. This is also why sometimes I separate the layers for two characters standing side by side in case I get the wrong height difference. For the Aomine - Akashi picture, I separated Aomine and Akashi into two Groups where the lineart and the colors are all under their respective group.
Depending on the art, if I want to make the line art stand out more, I duplicate the layer and merge them together. That always works for me (in SAI) to make the line art darker and more prominent :D. Instant fix. I still color the line art after to pick out the parts I want to look “softer”.
Sometimes, I delete parts of the line art when I’m coloring like the fold lines, once I know how I want the fold to look. :D
If you want to make your life easier when you color, you can separate the layer you’ll put the shadows (in the lineart) so it will be easier to select the parts later on. I don’t do that because I hate having many layers (^w^;; ) ← makes life harder for self
These are the ones I can think of!
(((((((((((っ･ω･)っ (Don’t tell yourself you suck) ε=ε=┏(ﾟロﾟ;)┛