value rough

I found a cool new way to value rough!  Layer two copies of a pencil sketch on top of one another, the top one’s values adjusted so that the paper color is white and the pencil sketch almost black, and the bottom one left untouched (gray, like all pencil scans look).  Set the top one to multiply; leave the bottom one as normal, but mask out the parts that are supposed to be white (or erase the parts that are supposed to be white if you’re brave).  Then, layer a digital texture (mine’s from lost and taken) in between the two, set to multlply and again mask out the parts that are white – et voila! A fairly decent ink wash comparison.  Plus it took all of three seconds to do, hurray!

Sorry, just had to share this technique.  I’ll be inking this guy later this month hopefully…

EDIT:  This works best if the original pencil drawing had a decent range of values in it to begin with – so a drawing you made with soft lead!  Anyway, try it out if you’d like!

I really like Mamuru’s art

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Bravest Warriors #24 is coming out next week, with this cover I did for it! Here’s some of the process work - I included some explanations this time. I don’t know if it’ll be helpful at all or just… verbose… but hopefully there’s something useful in there :>

1. Thumbnail

2. Tight sketch

3. Rough values painted underneath the sketch

4. Value painting on top of the sketch to tighten things up

5. Flat colors! Regular area fill for set pieces, and a few color/overlay layers to quickly indicate hues in the painting

6. Set lighting: using multiply layers to indicate the overall scene lighting raking across the wall, working out how that will interact with the portrait painting and lead the eye. Also continuing to paint in regular layers on top of the portrait.

7. Warming/brightening up the scene lighting, picking out highlights on the frame, softening some form shadow edges to add dimension, adding some rimlight to Catbug. Continuing to work up the portrait. Adding occlusion shadows under the frame and curtains.

8. Using a lighten layer to better expose and unify the areas of the scene struck by light. Lightening the shadow areas a bit to raise overall tone and prevent stuff from getting lost or too dark.

9. Pushing the lights even further to get a stronger afternoon-light feel and create better separation between light and shadow. Adding a soft glow around the light edges. And dust mote sparkles! :>

[Vampire AU] How They React When Their GF Asks Them To Bite Her (BTS)

Requested by a lovely anon <3

Feel free to send in requests (Fridays & Sundays, Central time) guys! We do Reactions, Preferences, Fake Texts, and Scenarios! Just tell us who you want, what you want, and how you want it! <3  (MalexFemale, MalexMale, FemalexFemale)

*Don’t own the gif/s yo*

Author: Taebaby

NAMJOON:  I think he’d be really conflicted, because he’d want nothing more than to bite you and make you his forever, but he wouldn’t want to rush into it, without giving you time to think it over. It would drive him farther than crazy, but he would resist

YOONGI: He would get real close to biting you. Like he would have you pinned down on the bed (or whatever surface was closest), hips grinding down on you and fangs grazing your shivering skin- before he pulled away. Even though Yoongi could be rough, he valued control over everything else and he wouldn’t condemn you to a life of his kind without seriously talking it over first

HOSEOK: He would bite you if you asked him, but you’d have to ask him yourself first. He would never do it against your will or without your explicit permission first. Even though he knew you should talk it over first, a small bit of selfishness and consuming desire for you would take him and he’d sink his fangs into his favorite part of your neck

SEOKJIN:  He wouldn’t bite you, not right away. He’d want you to be 1695397% sure that this was what you wanted and he’d want to make it special. He’d prob propose to you first and then bite you, since you’d be his mate forever after he bit you anyways

JIMIN:  He’d be sooo tempted to bite you as soon as you asked, you don’t even know. But I really think he’d use all of his willpower to hold back, afraid of hurting you or that you’d regret your decision. He wouldn’t be able to take all of your begging and persuasion (how many wide collard shirts do you have?) and would give into you real fast, making you his forever mate

TAEHYUNG: I don’t think he’d be able to hold himself back if you outright asked him to bite you, especially in the heat of a passionate moment. His fangs would sink into you before he even realized what he was doing and he would practically pin you down (not that he needed too) as he claimed you for his eternal mate

JUNGKOOK: His mind would say wait but his body wouldn’t listen. He’d practically jump on you, not having enough control to stop himself. A few seconds after his razor sharp fangs sank into your soft skin, he’d realize what he’d done and start begging you for forgiveness. There’d be no need though, since you wanted to be his mate just as much as he wanted you for a mate

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Another painting from my personal project along with a breakdown of my process. In this image, two of the three main-characters are on their way to the haunted castle of a deceased hollywood millionaire. They want to investigate the paranormal happenings (had to avoid “activities” there…) going on in the castle, so they’re arriving at sunset. 

The goal with this images was to create some kind of eerie beauty in the lighting and atmosphere. This is the point where the story pivots from a warm beautiful summerday to a dark and unsettling night full of mysteries and danger. 

Quick sketches:

As usual, I started this image with some super quick sketches. I already had the design of the castle figured out in sperate sketches and I had a pretty good idea of the shot’s basic layout in my mind, so I did rather few of these really loose sketches. Usually I spend a lot of time in this stage, to make sure I only invest more time in a refined drawing if I’m really confident in the image’s layout. 

Refined Linework:

Once I had a sketch that I was happy with, I created a tighter linework. For this project, I tried to go for a really clean outline-style in my lineworks. The goal here was to find a linework-style that would work consistently for characters, props & environments and would be easy to work with in later stages. By completely avoiding cross-hatching, etc I could keep the linework as a simple multiply-layer later on, without it interfering with my values. 

Value-Sketch:

As soon as I’m done with the refined layout drawing, I do a quick value-sketch. I try to limit myself to a range of 3 values here, which forces me to focus on the big contrasts rather than detailing things. The questions I ask myself when doing this value-sketch are: “Which edges/elements need the most contrast? Which ones need to be readable but aren’t the main focus? And which ones can be lost, if you’re squinting your eyes at the final image?”

These value-sketches have become one of my most important steps in painting, because they give me security in my process later on. If I have a solid value-structure that works with three values, I can be confident that as long as I don’t break that structure in the final painting, the contrasts in my images will work as I intended. 

Color-Sketch:

With the rough values in place, I start searching for the right colorscheme for my image. Here I just go nuts using all kinds of layer-modes and adjustment-layers. The goal here is not to produce a pretty image but to find a combination of colors that works for the story-moment. Questions I ask myself are: “What color do the different lightsources (keylight(s), fill-light, additional lightsources) have? What are the predominant local colors in the environment/characters? What combination of colors could convey the feeling of the moment?” I’ve learned that it’s really helpful to spend enough time to have good reference for this step!

Final Colors and Adjustments: 

After finding a colorscheme that I like, I start painting the final image. I’ll probably go into more detail about my rendering process in another post, because this one’s allready way too long! Something important I’ve learned is not to stick too slavishly to my initial colorsketch. I usually find ways to improve the initial colorscheme during the rendering process. 

As soon as I’m happy with the image, I try to show it to people whose feedback I trust, to get a fresh pair of eyes on the image. In this case, my old Motivarti-Mentor Nicolas Weis gave me some really great advice on the composition that I tried to implement in the last step. 


And that’s it! Hope some people find this helpful, please let me know if you have any questions, you can email me, message me on tumblr or contact me anywhere else =) 

Stay tuned for more!

Commissions are OPEN!!! 10$ Headshots 15$ Chibis

I recently got a job for the fall and I am going to start my career. (yay)  I’m going to move pretty far away and I want to draw commissions a lot this summer in order to pay for things in my new apartment, so I can make it into a home.

I’m going to accept only 8 slots for commissions

Flat Chibis are 15$ each

Cell shaded Headshots are 10$ each

Once the slots are filled up, commissions are closed.

For more info, click here!  My email and my commission rules are there.  If you are serious about getting a commission, email me and we can talk details.  After both parties agree, I’ll send you my paypal email and we can get started.  Thank you!!!

Steps to my painting, ‘Lay Me Down’, inspired by Sam Smith’s song of the same name! I’m going to attempt at explaining what I did to achieve this result (which I’m not entirely ecstatic with, but what else is new!). >.<

Step 1 - Black + White

So when I’m working this way, I normally start off in black and white and with reaaaallly soft, subtle values - super low contrast. The reason why I do this is because although I have an idea in my mind, it’s really quite blurry in there, so I’m not entirely certain how it’s going to look when I paint it on my Photoshop canvas, so using low contrast-y values really helps me to visualize it all better.

I start off with a SUPER rough value sketch - you can see it really just looks like messy blobs of nothing at this point. But I’m trying to work out the poses, and because it’s a pretty difficult angle (particularly for the dude), and I don’t have any particularly useful references that I can work with (I suppose I could’ve taken some pictures, but, you know, I can be a bit lazy sometimes =P ), working it in lightly really helps me to figure out the shapes. If I was to go in there with dark, highly contrasted values, the likelihood of me messing it all up would be pretty high. It’s harder to visualize things when you have definite lines and shapes, so I find keeping the values low contrast and somewhat blurry is key here.

So I’ll keep working out the image in B+W until I have a pretty clear indication of the shapes (which I’m always, always, always trying to keep in mind!), and composition. Here, I’m really trying to just lead the eye to her face (and to the dude’s sadness) so I’m trying to make sure all (or most) elements of the image leads the eye there. And also, I wanted the lighting to feel a little dramatic, so I’ve decided on a harsh diagonal gap of light that shines only on the area of the image I feel is important.

Step 2 - Colour

Once I’m relatively happy with how the B+W image is going, I’ll add in some colour on a ‘Color’ layer, and I’m using a ‘Color’ layer (as opposed to ‘Overlay’ or anything else) so it doesn’t mess up my values. But anywho, I’ve plopped on some colours and they’re really under-saturated at this point. And I’m doing this on purpose because I find that it helps me find a harmonious colour palette with hues that work well together. If I was to jump in with saturated colours (just from my personal experience), I’ve found that my colour palette becomes a bit of an eye-sore and it’s just really hard to get the colours to work together. I also end up having to de-saturate areas of the image that don’t need too much attention anyway, so may as well start off with a low-saturated palette. I am quite honestly terrible with colours (I just can’t get my head wrapped around it!), so I find this way also helps me with visualization much in the same way that starting off with low contrasted values helps.

Step 3 - Fleshing it Out

So really this step entails just going in there, adding in more saturated pretty colours, and fleshing out the image with details until the end. I’m doing this all on Normal layers now. I’ve added little cracks and other details to the stones, fluffed up the flowers, extended the canvas a touch, and reworked the fabric of her dress. I also noticed at this point that I’ve made the guy’s head way too small initially lol, and he also looks a little awkwardly hunched over so I’ve switched up the angle a bit and enlarged his head so the foreshortening feels more natural.

By the end of this I’m really just fiddling around with the lighting and contrast of the image, adding in hints of colour here and there on overlay layers in areas where I felt there needed some. They’re very subtle changes, but I feel as though they help to bring it all together.

Anywho, that is all! I hope it helped at least a little for those of you who are trying to learn! Any questions? Just shoot me a message! :)

Thanks for the view!

=D

Act 3 Sc 3
David Threlfall and Suzanne Bertish

The tense semi-flirty way this scene plays out in the Arkangel Othello is so much better than any other production I’ve heard – I’m not much of one for couples or any of that business, but thanks to that clip, I ship these two hard.  Playing it that way brings so much dimension to their characters and their relationship, as if they needed to be any more interesting.

The plan was to slap some rough values on the sketch to make it readable, but it turned into a two-day painting project.  Ah well!  I was proud of the drawing in 2010 and still am, so I suppose it deserves a treat.

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Fwaaaahhh, finally done! 

Here’s my final for this term’s perspective class, and some process stuff from initial sketches and rough value and colour comps before the final paint. The task was to do two long compositions of a city in five-point perspective.

I’m really happy; there’s plenty I still want to work on in terms of executing and designing environments, but I feel like I’ve improved a lot since starting this class, which is always a heartening thing. Now, once more into the fray! :)