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mutata posted:
I hope so, cus I'd like to see more of that from you! Nice work - I like what's going on with her muscles and that butt indentation when the glutes meet the thigh. (since I peeked at the other thread, I also feel obligated to mention that this body type can exist for women; it's what an athlete who lifts but doesn't cardio excessively, and doesn't diet particularly hard would look like - a female powerlifter or maybe boxer in the heavyweight class might have a similar physique.) Just found the thread, here's some of my stuff:  beecat  (one day I will revisit this, when I am not so swamped with work)  Part of a Chinese animal Zodiac set I put together, made prints of, and sold at Denver Comic Con this summer Frown Town fucked around with this message at 19:28 on Nov 1, 2015 |
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Nov 1, 2015 19:04
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| # ¿ Apr 25, 2024 12:36 |
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 Saw Danish Girl. Procrastinating/recharging from work tasks that are making me lose my mind. Working on getting likenesses still.. liquify tool is God.
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Jan 22, 2016 06:55
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sigma 6 posted:This is fantastic! Sure! Sadly I flattened many layers so I don't have great visual representation of any of this (maybe will re-visit and put something together when I'm less crunched for time).. I use Photoshop, but same concepts can be used in whatever digital painting program you've got. Typical/ideal process, if I have a decent idea of what I'm getting myself into (not necessarily the case with this one): 1. Sketch layer - sloppy line work, just to get shapes and compositions in place 2. Underpaint layer, underneath sketch layer - usually pick a darker, more muted version of whatever the midtone of object in question would be 3. Background layer, underneath Underpaint layer - background wash of color, defines stuff like lighting info (Underpaint + BG layers usually happen around the same time 4. Once underpaint/BG feel good, I start basic detailing on a layer above Underpaint layer. That can be any number of layers, including screen/softlight layers for highlights, some multiply/overlay layers for shadows; this is the step where I paint the gently caress out of everything but don't have a very scientific way of describing this process.. Basically I define midtones, highlights, and shadows to create voluminous shapes in some order that makes sense. This is also the part where I'll typically start with a softer round brush, then finish/tighten up/polish with a harder round brush. And I'll merge/flatten a lot here whenever I feel the layers are getting unmanageable. 5. When basic detailing feels good, I may create an additional detail layer for stuff like freckles, eyelashes, etc: usually will hide my sloppy sketch layer at this point or clean it up to become linework 6. If anything is a bit off proportion wise, I may flatten major areas and use Liquify tool to massage stuff into place.. then adjust, clean up, and hand paint in any areas of liquify slop. 7. Finishing/color adjustments/etc any effects that sit on top of everything. I'll usually have a bit of curves and/or contrast adjustments This stuff happens a bit organically because I rarely have a solid idea of how I want something to look going in, so I may decide to color adjust halfway through, flatten stuff, hide things, nuke things, etc till I have a better idea what I'm going for. I absolutely know there's a more efficient way to work than how I normally do. There's a somewhat crucial step I inevitably seem to skip in personal work, which is thumbnailing to get a decent idea of targets for composition/light source/color choice/etc. I recommend thumbnail sketches if you're trying to complete a finished illustration or get feedback from a client before you really get invested in any one direction - recently I've just been loving around and doodling stuff with the end goal being to just relieve stress and explore ideas without much pressure to create anything cohesive.. but if I were actually practicing a technique, or prepping stuff to sell/taking commissions/etc, I'd approach it more logically and with more process than I typically do in the interest of saving time in the long run. When I really don't know where I'm going (for sketches and stuff), stuff tends to end up all on one layer and it's a simple round brush all the way to give me the freedom to cut stuff up with lasso tool, liquify, rearrange pieces till I'm happy. If I'm going for a more cel-shaded look, the process gets more clear - I'll have an additional step where I clean up sketch lines/"ink" stuff.. and will block out all colors solidly, then use clipping masks/preserve transparency/etc to shade. When painting, I usually work dark to light.. but that changes when it comes to cel-shaded looks: I will typically work from midtones first, then shadows, then highlights. Random tips: -Paint and draw from observation to build a solid foundation for how stuff should look; then painting from imagination becomes much easier. Photo references are a good place to start, but nothing beats painting from life. -Separate your background and foreground layers!! This is for your future sanity. -Clipping masks are God if you're working by blocking in solid colors; so is preserve transparency. Great for cel-shaded styles. -Liquify tool is God for nailing down facial features/tweaking proportions... if you don't mind flattening layers for painting. -Smudge tool is nice for blending; you can add a bit of scatter to it to make it behave more organically/less obvious that you're smudge tooling stuff -I use Coolorus plugin for Photoshop, which is a much nicer color wheel (similar to Painter) that has been transformative for my digital painting -Eyedropper tool is good for blending/picking colors -Pay attention to lighting and color selection: straight black is not often found in real shadows (usually some off-shoot of blue or whatever, but that depends on the color of the light source) and will muddy/dull a painting; which could be the artist's intent, but something to be aware of if you're going for something more vibrant feeling -Gradient maps are very handy for bringing grayscale/bw sketch to a colorful thing whose shadows aren't gross and muddied That's all the general knowledge I can impart off the top of my head. If you have any specific requests, happy to answer them Frown Town fucked around with this message at 19:40 on Feb 11, 2016 |
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Feb 11, 2016 17:53
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 I watched the debates and will revisit/finish this one.
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Oct 22, 2016 18:24
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Mar 1, 2018 05:09
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Sociopastry posted:is that what this style of shading is called? I love it. Thanks. I was feeling bad about gun stuff, and good about Black Panther.
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Mar 1, 2018 13:08
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| # ¿ Apr 25, 2024 12:36 |
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 procreate + ipad pro  photoshop.. dusting this one off after like 3-4 years
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Jul 31, 2018 14:36
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