watercolour sets


It seems that I forgot to post this here…

This is something I wanted to do for a long time - I used the Holbein watercolour tubes I had, added some colours, mixed some and re-created the set of colours recommended by Hayao Miyazaki. This is based on the first (old) edition of the 24 colour set that was being sold in Studio Ghibli’s museum in Mitaka (some colours got discontinued by Holbein though so you can not buy it any more). I will be painting an illustration using this set in another video.

The list of colours (including the ones requiring mixing)

1. Crimson Lake
2. Opera
3. Vermilion
4. Yellow Ocher
5. Permanent Yellow Lemon
6. Permanent Yellow Deep
7. Permanent Yellow Orange
8. Permanent Green No.1
9. Permanent Green No.3 
made from Sap Green W075    4:1   Yellow Ochre W034
10. Cadmium Green Deep
11. Cobalt Green Yellow Shade 
made from   Permanent Green No.2  W067     3:1   Viridian (hue) W061
12. Cobalt Blue Hue
13. Cerulean Blue
14. Ultramarine Deep
15. Compose Blue
16. Prussian Blue
17. Bright Violet
18. Light Red
19. Burnt Umber
20. Burnt Sienna
21. Ivory Black
22. Yellow Grey
23. Violet Grey 
made from    W025 Brilliant Pink     9:1    W120 Quinacridone Violet
24. Davis Grey

Works of Hayao Miyazaki © Studio Ghibli used for educational purposes  only

anonymous asked:

how do you do your water color~? I cant get mine to look good in my program..

Okay, so having some nice watercolour brushes helps (here are the brushes I use.) But I think that no matter what program you have, and no matter what brushes you use, as long as you try to mimic the way watercolours behave you can get a decent watercolour effect in digital art.

Here’s an example

I present to you a sketch of a random floating head because I am a serious and not at all lazy artist.

I picked a random brush (square-edged, no watercolour border) and made sure the opacity was set to low, because actual watercolours tend to lay down paint quite thinly. When people are using actual watercolour paints, they need to think about which areas to leave white, so I tried to think about this too, but only halfheartedly.

More colours! More halfhearted leaving areas white. I coloured the hair on a different layer to the skin.

I locked the opacity of the hair colour layer, and airbrushed over the area where the hair and skin meets, using the colour of the skin. This, sort of, mimicks the way that watcolours will blend into each other while they’re still wet. The reason I locked the opacity of the layer was to preserve the white spaces.

I added two multiply layers. On one I added a bit on light red for blush, on the other I added a bit of light blue for shadow. These were done with the same square, low-opacity colouring brush I used for everything else.

Using the airbrush tool, I erased the edges of the blue shadow, again to roughly mimick the way watercolours blend.

I increased the contrast. I used the levels tool to do this, but brightness/contrast should be fine too. This highlights all the rough areas in the colouring, but I think a certain amount of roughness makes it look more like natural media, so I don’t think that’s a bad thing.

I decided I’d done a shoddy job leaving white areas on the canvas, so on a new layer (under the lines, above the colours) I used the standard pen tool to draw on some white.

I also decided the lines were way too dark, so I changed the colour of the lines from black to dark brown and set the lineart layer to multiply.

Final step, add an overlay layer on top of everything with a nice texture on it (because good watercolour paper is textured.) Don’t have an appropriate texture? No problem, here’s how to make your own in any art program that has a noise filter:

1) On a new layer, fill the canvas with a medium grey (approx half-way between black and white)
2) Go to the perlin noise filter. You can play around with the settings and see what works for you, but here’s what works for me

3) Set this layer to overlay with approximately 30% opacity (again, play around and see what works for you) and you now have a lovely texture :)

And that’s it! Quick 5-minute digital watercolour doodle is complete. It’s very messy, and could definitely do with some cleaning up, but I hope you can see how it’s starting to resemble actual watercolour.

Depending on your program there may be more things you can do to mimic watercolour eg. a brush tip with rough edges tends to look more like natural media, same for a brush tip that’s textured, your program might let you set a watercolour border on either your brush or your layer (or both) and using the blend tool can also create a nice watercolour effect. But since I don’t know what program you use I tried to demonstrate a colouring technique that should work in most art programs.

I hope this helps :)

Current Favorite Tools Available in the Clip Database

I’ve had people ask what tools I use in Clip Studio Paint, which is hard for me to answer because I use a lot of different brushes. (If you want to know what’s used on a specific image, please give me the post’s ID number and I’ll find it on my blog and tell you!)

Here are some of my current favorite tools and brushes. I will give you the name that they are listed under so that you can find them in the clip database as well. These are listed in no particular order, because they’re all great!

This is a collection of fantastic tools to create work that looks like it’s a traditional marker piece.

The collection contains several different tools including brushes with chisel or brush tips, blenders, and a texture you can overlay on your image to achieve the grain effect you see in traditional, scanned image. The texture is even pre-set to have the correct blending type and opacity!

For extra fun, I suggest using colour swatches from your favorite art markers in conjunction with these tools, for even more authenticity.

Overall this set is AMAZING and I love just playing with it.

I’ve been using these pen tools a lot lately for sketching and sketch style ‘inks’. I’m not sure if they’re intended to mimic any specific type of pen, but they’re fun to use and the line quality they produce is really nice. “エッジ鉛筆“ in particular is one of my current favorites!

Created by the same person who made the fantastic marker brush set, they’ve also created an amazing watercolour set! Like the marker set, it comes with several tools with different looks and effects and overlays you can put over your image (I use the ‘pigment pooling’ texture from this set a lot). There are also blenders in this as well.

My favorite feature of this set and what makes it rank higher than other, similar watercolour sets is the colour blending effect. These brushes can use a single colour, or it can use both your main and sub colour, showing one colour when you press lightly and another when you put more pressure. This allows for some great depth of colour and more natural flow to the blending. Fantastic!

There’s more, but these are the things I’ve been using the most lately. I highly recommend checking out the stuff in the Clip database, you might find something you love.


On one of the days when Kana was busy teaching (workshop on making clay accessories), I went to do some outdoor sketching near Enoshima. I knew there is an interesting river near enough to just walk there.

It was VERY hot so my main priority was just to find a good spot in the shade to set up my two tripods (I use one for painting and another, simpler one for recording with my iPhone). I ended up painting the bridge, a mansion block and a Buddhist temple (?) on a hill in the back. It was an interesting composition - the pink mansion block was literally the only high building in the neighbourhood and it really sticks out.

I decided to paint this scene in a similar way to a sketch I did in Manseibashi (near Akihabara) by drawing the lines only on the objects in the foreground and painting the rest only in watercolours.

In the end, I was chased out of the shady spot by mosquitos and it was so hot that I was tired for the rest of the day - I guess I will have to work indoors until this hot summer goes away a little.

Technical details:

  • colours: My portable 24 colours watercolour set
  • lines: Copic Multiliner 0.5mm
  • paper: Watercolor paper landscape Moleskine sketchbook





  • 紙: 水彩用 モレスキン 横長 スケッチブック 
  • 線画: コピック マルチライナー SP 0.5
  • 着色: 24色カスタムセット (主にシュミンケとウィンザー&ニュートン)
watercolor tips and tricks

some tips and tricks that have seriously helped me in excelling at watercolour

1. PAPER WEIGHT. for the love of god do not use any paper under 110-120 lbs to paint with watercolour, a very VERY wet medium that will soak clean through the paper if it’s not thick enough (most paper pads sold at craft stores have the weight listed on them. printer paper is around 20 lbs, sketch pads will be about 60 lbs, IDEAL watercolour paper 140 lbs+). i use only 140 lb paper for my serious watercolour works. canson and strathmore are my favourite brands

2. there’s no need to have very expensive watercolour paints, but it is important to use something better than crayola. my dad gave me a 24-pan windsor&newton watercolour set when i was 8 and these are still the paints i use today (i was a very careful child, but i never even had to replace my paint pans after almost 10 years either, so this brand, while super expensive, lasts and earns my gold star.) some other cheaper options are: x and x

3. if you’re going to be using watercolours, prepare to use WATER. so many people forget this, but it’s so important to realise this media is meant to look translucent, so you should see the paper through the paint. if you can’t see it, then you’re using the paints as if they’re gouache or acrylics, so try using more water and work with lighter colours.



quite overused in watercolour but it’s so freaking cool it can be pardoned. *remember for all of these effects, you have to use lots of water with the paint for it to work!


you have to be very careful here because the second image can turn into the first if you use too much alcohol and it soaks through the water and paint gets in the spot, so be sure to experiment plenty before using this!!

but yeah you can use whatever clear alcohol you can find and it does p much the same thing


okay while the darker skin tones are more easily achievable with browns and additional yellows/blues/reds to bring out the undertone, light skintones are hard as hell to make with watercolour because it’s hard to even think of what to mix. think no more!

YELLOW OCHRE + ANY PURPLE = perfect skintone you can play around with. adding more of yellow or purple will give you either cool or warm skin tones you can build up on and layer until they’re the proper value. remember to use purple/cool shadows with skin in compositions with normal lighting!


and finally to repeat my previous post, use PAYNE’S GREY instead of black for a richer, darker colour in your painting. don’t use black unless your entire composition has warm colours, but even then, try to use a very dark brown instead of black.


finally, it’s very important to mention this: never use the white watercolour they sometimes give you. EVER. EVER. dilute your paint with water instead to get a lighter value, or else you’re not using watercolour to its full extent (which is something you might struggle with if you’re used to using acrylics or oil)

that’s all i can think of at the top of my head, but if you have any questions or need further brand recommendations etc, feel free to message me!

I suppose this is vaguely relevant to the content of this blog seeing as I based it on Mycroft’s eye although it doesn’t really look like his eye anymore but shhh artistic licence

(watercolour in sketchbook)


These two beauties are up for sale on my Etsy shop! 

Image description:

{ Image 1: There is a watercolor painting of a bee. Above the bee there is a  light blue ribbon that says “DONT BEE” and below the bee, a similar blue ribbon that says “ A JERK”. The ribbon and the corners of the paper have small purple flowers around it. The painting has a white background and the painting is sitting in a light blue tablecloth.

Image 2: There is a water color painting of mint green ribbon that zig zags across the whole piece of paper. The part of the ribbon in the middle says “PROUDLY AUTISTIC”. The ribbon is surrounded by small pink flowers. The painting has a white background and the painting is sitting in a light blue tablecloth.}

A lot of you have been asking me about my main watercolour set. 

Recently I updated it yet again, but this time I will probably stick to this configuration for some time. You can see the set on the photo, but this is basically the standard SCHMINCKE Horadam 48 Half Pan Watercolor Set with few modifications: I took out the gold and silver colours, as well as both the white paints and replaced them with some greens (which I felt the set was lacking quite a bit) and a nice semi-opaque colour somewhere between red and orange.  

  • 361  Permanent red 
  • 512  Chromium Oxide Green 
  • 536  Green Yellow (discontinued it seems) or 537  Transparet Green Gold 
  • 530  Sap Green 

With this modifications I have, what I think a very versatile and well balanced set that is fit for my style of painting - usually I try to use the colours with as little mixing as I can (I also paint my comics with it so I want the colours to be consistent and easy to get). 

Schimincke Horadam series are overall really high quality professional paints with high pigment concentration. The set contains though a lot of opaque colours (I don’t mind this actually but some of you might). This brand is really popular in Japan and it’s easy to buy replacement colours - this is also a reason why it’s my primary set.

* For white details I usually use white inks, poster colours or specialist paints like Dr. Ph. Martin’s BLEED PROOF WHITE or ZIG white ink 30


Welcome to City Hall

um. so i have a lot of sentiment attached to this picture, since it was maybe the first properly completed piece of art i’ve done in a few years (i know i’ve uploaded things recently, but it took a while to get this scanned). sometimes you get stuck in a rut and then a spark of inspiration comes along that kicks you up the backside until you go find your watercolour set, and for me that spark was the MBMBaM tv show, apparently. episode 2 is probably my favourite, and the scene with Mayor Williams (if i may call you Mayor Williams) is one of many many many highlights.

there’s lots of little errors that i keep picking up on (i was Extremely Rusty especially in the inking department) but mainly i’m just very proud of finishing this and i hope it makes someone smile like the show made me smile (eg. like a big goof).

BTS Reactions - They flirt with you at a fansign

You pay your hair down nervously as you get ready for your turn. You hope you’re not shaking as much as you think you are as you check you still have all the presents you got for the boys, as well as their new album. Seeing that you do, you sigh in relief. Before you know it, you’re being directed to Jin.

Keep reading

anonymous asked:

how do you do the cel shading? im so amazed at the colors

Oh, buddy! Thank you!

I’m not actually very good at picking colours, so I’ve found a way to sort of compensate for it by using layers like heck. I’ll explain it as best I can!


I’ll be doing this in SAI, but the general idea is still applicable to other programs, and the layer styles are usually called something similar (note: ”Addition” in SAI is similar to “Linear Dodge (Add)” in Photoshop).

First, here’s a list of the layers I use. The Lines layer is created first, and then the rest of them are made in order starting from the bottom. The arrows mean that layer is clipping over the one below it. Anything in black isn’t clipping, and is usually set to Normal at 100% opacity.


1) Shadow

This layer is completely filled with some colour. The colour you choose for this will give you the colour of your shadows.

2) Lighting 1

This is where you do the actual cel shading, i.e. it’s where the lit-up parts are. I’m afraid I don’t have much in the way of tips for that, since I just kind of slap it on while trying not to forget where the light source is.

3) Lighting 2

This is mostly just a duplicate of Lighting 1. The main difference is that I blur the edges. I usually change the colour and/or opacity, too, but you might not need to.

The colour(s) you choose for Lighting 1 and Lighting 2 will mostly give you the colour of your lighting, but since they’re over the shadow layer and each other, it might take some adjusting.

4) Shadow adjust (sometimes)

This is for if your lighting is about right but you want the shadows to be darker. This layer should only cover the parts of the image that the lighting layers do not already cover (use the magic wand tool). You can blur this layer if the edges of the shadows are too hard.

5) Flats adjust (sometimes)

This is for when the lighting and shadow layers change the colour of part of the image in a way you don’t want. Most commonly, I’ve had problems with skin tone being lightened too much and the colour green getting washed out. This layer is here to fix that. You might need more than one, depending on how many bits you need to change.

Select and fill the area that’s the wrong colour. If it’s the value of the colour that’s wrong, fill the selection with some sort of gray-ish colour. If it’s the saturation of the colour that’s wrong, fill the selection with the actual colour you want.

6) Lines adjust

This is to get coloured lines the lazy way. Duplicate Lighting 2, move it above the Lines layer, and set it to layer clip. Blur it a little bit, if necessary. If you’re doing bright lighting, this is probably a good idea.

It’s likely that you’ll need to manually tweak this layer.

7) Extra layers

For eye shinies and such.


Here’s a few examples of what different layer settings will look like on this picture, to give you an idea of how it works:


1) The Hue/Saturation panel is a great help for when you’re trying to figure out the colour/saturation/value of a layer. It can be brought up by CTRL+U in both SAI and Photoshop.

2) To get blurred edges in Photoshop, the easiest way is: Filter >> Blur >> Gaussian Blur. To get blurred edges in SAI, the watercolour tool with these settings works well:

I hope that helps!

I was supposed to do this illustration as a cover for a magazine but another, more autumn-like idea I sent was chosen. I changed it a little bit and used it as a testing ground for the Miyazaki Hayao watercolor set I made recently (Re-creating Miyazaki’s watercolours set PART 01 - YouTube ) Apart of the watercolors I tried to recreate Hayao Miyazaki’s work environment as closely as I could: I used the same sketchbook, pencils, watercolors, brushes and even water tank.

This illustration is based on the small plaza in front of the Ōkuma Auditorium - part of the Waseda University. I wanted to paint it many times but it’s always really busy there. This time I used this and made up some interesting characters - students preparing for some event - a thing I saw there many times.

Technical details:

* Paper: maruman F4 size Drawing Block
* Paints: Holbein watercolors set based on the set sold in Ghibli Museum
* Pencils: mitsu-bishi HI UNI    HB to 5B
* Brushes: 名村大成堂 彩色筆 namura taiseidō saishikifude  -  sold in the Ghibli Museum watercolor set
* Ceramic water tank  陶器筆洗

I did some Sim stuff today (really last night - late last night) but you don’t want to see pictures of wip of pylons sooo…..have a picture of flowers I posted on Instagram.  🌸🌷🌻