katalogs:

image


1,107 notes | Reblog | 27 minutes ago

eyecaging:

AnimDessin2” 2.0.0 for Photoshop CC

A version for Photoshop CS6 users exist, named AnimDessin version 3.0.0:
creative.adobe.com/addons/products/130

To download it, you first need to install the Adobe Exchange panel from here:
adobeexchange.com/api/AdobeExchange_cs6.zxp

Then, form the Adobe Exchange panel (Window > Extensions), search from AnimDessin.”


252 notes | Reblog | 1 day ago

loish:

process of this piece.


6,671 notes | Reblog | 2 days ago

The Relative Color and the Absolute Color

colours-theory:

Since the colors are never what they look like, It’s useful to understand the color in two ways : the RELATIVE color and the ABSOLUTE color.

The Relative color is the color as it is seen, according to the perception of the eye and the translation from the brain to the mind.
The Absolute color is the color as it is, in reality.

This is part of the colors relationship, and the contrast of the colors.

To be able to get the right relative color (meaning without any false notes), it’s crucial to know what its absolute color really is.
image

For example, the absolute color of grey is very often the relative complementary color of its surrounding color.
image

image

Depending of the kind of picture and depending of your color’s intentions (that is off special effect or narrative effect),
using an absolute complementary (that is, for the previous e.g, a true blue) in direct contact to its surrounding colors may easily create
a so much strong contrast that the mind will perceive it as a false note, then causing a global unbalance on all other colors in the image.

E.g, here is the page 05 from “Detectives” vol.02 (Hanna/Sure/Lou, ©Delcourt editions)
image

The “grey” panels 05 and 09 have a cold vibration, almost blue, because they are in a direct relationship within a yellow hot tan.
This two panels, in minority, are also secondary in the narration of the page.


Using a true absolute blue would reverse this narrative order because the color contrast would became so much strong that they would became the primary focal point of the page.
image

Let us look a little closer at the 3rd strip.
The mind read the left panel as cold, in a subtle blue. The shirts are read as white, and the bottles of champagne as greenish…
image

…but by isolating the absolute colors, in comparison with a Titanium white, none of this previously mentioned relatives colors exist in this picture.
image

…And if they were, the balance of the colors would be broken, and the falses notes would be made.
Notice how the eye now read differently the picture, it can’t stop looking at those white shirts and then those bottles.
It almost forget to look at the balloons and the characters. ( i’ll talk about the narration through the contrast of colors later, in another post)
image

It is the same for the values.
A relative value defines itself compared with its surrounding values.
image


image


image

Let’s look back at our 3rd strip.
Watch the contrast between the shirts, and the light jacket in the front, how they seem to be so much lighter in comparison with the other clothes.
image

When in reality, if we compare them to each other, the difference became a lot more subtle than it seemed to be.
image

This is a side effect of the relative color.
The mind analyzes et translates a color based on its database stocked in its memory, trying to identify the color in the most simple and efficient way possible.
image

The shirt itself is light indeed, and white. But it’s simply its “name”. Its “classification”, its “identity” (see the flat step of my quick step by step).
What we’ll ask in a store.

In reality, this shirt is not white, and not much lighter than the light face of the grey jacket or the blue shirt.
But for our mind, white means light. Lighter than everything.
However, a white shirt in shadow is often darker than a back shirt in the light, whatever the mind is saying.

So, compare, isolate, compare, isolate, compare, always.


You can change your “mind database” with some practice.
By using a paper sheet with holes to isolate outside colors. ( grey paper is best)
Or by opening some pictures in a software and use the color-picker to learn what is going on with the color relationship.
Testing yourself to find out the absolute color of your surrounding whenever you can.

Then, colorisation will become much easier, and like a musician able to reproduce a song he heard a the first try,
you’ll develop the Golden eye.


2,557 notes | Reblog | 2 days ago

Apparently it’s Kyrii Day on Neopets. So here’s some old adoptables I made for Sunnyneo in 2011, but haven’t been used. So since I liked how a bit of them came out, I figured I’d share.


90 notes | Reblog | 3 days ago

conceptcookie:

Cumulus Clouds Reference by Tim Von Rueden

Check out our tips, tricks, and techniques on creating the “puffy” clouds for your environment or illustrations pieces HERE.


5,958 notes | Reblog | 5 days ago

Anonymous said: I love your tutorials! Thank you so much for creating them :) I was wondering if it would be ok to ask you about sketching advice? Often I've found that my sketches are rigid or use too many strokes and I'm not sure how to fix them. I admire your sketches for being simple and flowing and I would love if you could share some advice on how to achieve that sort of feel. Thank you so much and have a good day!!

shattered-earth:

!! Thanks a bunch, i’m flattered anyone would come to me for advice >_<. I was going to just link to some resources i remembered from back in the day but apparently searching for “furry lines” these days just yields tutorials on drawing furries ah aha ha >_> So lemme just try to do a quick write up with examples!

"Furry lines" as I call them are a VERY common technique beginner-intermediate artists use. It’s something every artist will naturally break through on their own with more and more practice sketching and drawing, but I think you can expedite the process by identifying why you do it and purposefully working away from it!

image

Here i’m using gardevoir as a “mental image” of what you want. You want those pretty flowing lines of the figure in your minds eye, but you want to get it just right. You lay down one stroke, and see it’s already wrong, so you go ahead and lay down another to correct it. It’s kinda right, but also kinda wrong, so you try again. Over and over till the end. Over all it looks kinda right.. but the brokeness of the lines destroy the fluidity and well, unintentional “furry” look haha. 

The things you will want to remember is that, you will never get it right in one stroke, especially not in a sketch (which by definition ins’t supposed to be perfect!). You will probably never match exactly whats in your minds eye so there’s no point in trying to get it so precise with so many strokes. Instead focus on LONGER strokes that can still be wrongimage

And when you realize you can’t really be “perfect” you have less urgency to do those short furry lines to get it JUST RIGHT. You become more comfortable getting it all wrong, and going over it again in longer strokes. The end result with a lot of retraining is you still don’t get things perfect, but they are they actually wrong? or just not the same as what you wanted in your mind?
image

You still need to do lots of personal practice, just practice making long strokes with your ELBOWS and SHOULDERS NOT your fingers! Lots of pages of just lines, random doodles and stuff to understand the feeling of fluidity. Doesn’t have to be something in specific, just teaching your body what feels right and what feels wrong. But coupled with understanding WHY the furry lines are wrong and WHY you want to do it i think will help you move faster. 

I hope this helps you, Anon! Good luck master the non furry lines XD


1,090 notes | Reblog | 5 days ago

jenpenn:

Feature 2/7 - Toast aka Ktullanyx

Another person I’ve known for a long time, Toast is some-one who has more talent than she realises. For years she has been able to create impressive linework but over the past couple of years she has jumped into new territory with painting and colouring that has pushed her work and her improvement to new heights. 

She showed over the past couple of months her dedication to making content for prints which inspires me as a person and not just as an artist. You deserve the praise you receive and I look forward to seeing what comes next for you.

Go follow her stuff! http://ktullanyx.tumblr.com/


321 notes | Reblog | 5 days ago

jenpenn:

Feature 3/7 - Sieg/Fore aka Foreling

When I first saw Fore’s work I was very impressed with the use of atmosphere and background in his images. To this day I still am. I had the pleasure of hosting Ammochi with him as he holds the same drive I do to learn and to apply himself. In many ways that experience taught us both a lot more than art and personally it made me see I couldn’t have done it with anyone else. 

Fore has continued to show the skills that first drew me in and has excelled in many areas I strive to catch up with. He’s a constant inspiration and a great friend.

Go check his stuff out! - foreling.tumblr.com/


485 notes | Reblog | 6 days ago

yellowfur said: h-hello ! I really adore your smooth lines ! do you have some brush lineart brushsettings ? I understand if you dont want to share ! ^^

ozzysblogsters:

Hello hello! Really sorry for the late reply!

These are the brushes I use mostly for lineart:

Your art is super cute!! <33


1,511 notes | Reblog | 1 week ago
1 2 3 4 5 »
Theme By: Jahrenesis