There’s literally hundreds of great drawing, manga, comic, painting, sculpting, and art related books on this site. The website language is in Russian but many of the books are in their native language. Hopefully this is as helpful to many others as it was to me!
Okay but seriously though.
It doesn’t stop doubtful manga looking artbooks.
There are anatomy artbooks by Vilppu, by Matessi…Artbooks from video games( ac , thieves …) , Artbooks about zbrush modelling, 3DS max lightning how to texture properly. Even how to concept art for video Games !!Without mentioning artbooks from movies ! From Miyazaki to Pacific Rim, I encourage you to check them out. This post doesn’t have nearly enough notes ! Fellow artits, share the references around ! =D
Ferdinand the Bull | model sheets
Dan Fessler’s HD Index Painting Technique let’s you paint pixel art in Photoshop in a non-destructive manner, and lets you use pretty much every tool in a perfectly pixel-gradient fashion!
The article gives you everything you need to try it out for yourself.It’s easy to set up and use, and the results are so fucking cool.
"No more CGHUB.
Sad day. Project CGHUB is officially closed.
The reason behind this extremely tough decision is personal and will remain private. It’s absolutely not connected with business or any kind of technical difficulties.
On behalf of development team I would like to apologize to CGHUB users and fans for abrupt project closure and delay with its announcement.
If you have any kind of questions please send them to firstname.lastname@example.org . Can’t promise replies to everyone though.
CGHUB wasn’t ideal, but we loved it SO MUCH! :*(
oro8oro asked: Yo! I found an post with a link to download FrameToon, but it's off now. Do you still have him? Thanks! :)
Digital studies, trying to get a good feel for tigers. These are the tidier ones. Mostly done off of deviantart stock photos I looked up under the ‘newest’ section.
Tuesday Tips SUPER WEEK - Push it!
Clarity is probably the most important thing to think about at all time when boarding. Pushing your poses to an undeniable level of clarity will improve the clarity of the storytelling in general. Don’t leave space for uncertainty in posing out your characters. Your audience will be more engaged and entertained by the sequence.
This is the last post for the Super Week. I hope you enjoyed it. Back on the regular schedule next week (Every Tuesday).
What a great series. Thanks for posting these!
Hello! I run two other tumblrs where I dump other resources in
Digital Brushes: http://digitalbrushes.tumblr.com/
And Process Resource: http://processresource.tumblr.com/
I might open a screentone brush tumblr in the future sometime when I have more time. A lot of screentones I find i have to manually convert into a brush. So it’s a little bit more work.
I’ve been getting a lot of asks lately about the brushes and textures I use in my work, so here’s a BIG FAT REFERENCE POST for those of you who were curious! Bear in mind that I’m really lazy and don’t know what half the settings do, so don’t be afraid to experiment to figure out what works best for you :>
I use the pencil tool with SAI’s native paper texture both for sketching and for applying opaque color with no blending. Lower opacities give it the feel of different pencil hardnesses, while full opacity makes it more like a palette knife, laying down hard-edged, heavy color for detail work or eventual blending with other brushes.
Mostly made this because I’m lazy and I didn’t want to have to keep turning my textures off/opacity up when I wanted to ink something (even though I don’t do it very often), or lay down flat colors. I find the line quality to be much more crisp than Photoshop, and you can manually adjust in-program stabilization to help smooth out hand wobbles.
The plain ol’ brush tool acts as sort of an in-between for me in terms of brush flow. It’s heavier than my usual workhorse brush, for faster color application and rough blending, but not as heavy as the pencil tool, which has no blending at all. I like to use the canvas texture on this brush to help break up the unnatural smoothness that usually accompanies digital brushes, but it works just fine without.
A brush tool set to flat bristle is by far my favorite to paint with. I don’t use any textures with it because I think the shape of the brush provides enough of that by itself. I use it for everything from rough washes to more refined shaping and polish. It’s just GREAT.
Best used for smooth blending, washes, gradients, and smoky atmospheric effects.
Basically a grittier version of the watercolor tool, because too much smoothness weird me out. Good for clouds and fog, as the name suggests, or just less boring gradient fills.
To further stave off the artificially smooth look of digital painting, I almost always overlay some sort of paper texture, and it’s almost always this one, which I scanned and edited myself. You’re all welcome to use it, no permission required!
Using overlays in SAI is just as easy as using them in Photoshop. Just paste the texture into its own layer above everything you want it to apply to, and change the layer mode to Overlay. That’s it!
Want a more prominent texture? Up the contrast. Something more subtle? Lower the contrast or reduce the layer opacity. You can also use a tinted overlay to adjust the overall palette and bring a little more color unity to an otherwise disparate piece! Just be aware that too much texture can hurt the readability of the work beneath it, so I’d err on the side of subtlety.
Hope that helps!
Here’s a project I’m currently working on that I’d love to have some feedback for. Anything would be good, but since this is still pretty rough I’m especially looking for advice on composition and colors/hues/values/whathaveyou. It is supposed to be a “red” theme, so any advice on how to make it seem more red while still keeping the coloring realistic would be nice as well! Also I really suck at rocks and ground, so I guess advice on that? I don’t know, I need it all. :P
Thank you very much.
I’ll give you some advice on the composition here. Since that’s the biggest issue here.
One thing that should always be considered is the well known “Rule of 3rds” which I’ve mentioned in previous critiques. The rule of 3rds isn’t that complicated, it’s a lot about where you place the “focus points” in a painting. Focus points is basically what you want the viewers eye to first look at. Therefore you should avoid placing key objects and focus points in the centre of an image, since we want our eyes to wander around the painting.
This is my so called “redlining” or paint-over of your submission.
One thing to remember is that there’s a reason why canvas dimensions are called either “landscape” or “portrait” - pictures that shows a lot of environmental elements work best on a canvas with more width than height. On your version, you picked a “portrait” dimension of the canvas, which makes the environment feel cramped up and too tight.
A sunset/sunrise is a typically serene scenario, using a wider canvas helps you increase this feeling.
Now also note that I placed the bunnies on the area where the red lines meet, as well as the sun on the opposite cross. Whenever you have an image with two objects looking/facing each other it’s always good to use this “diagonal” placement after the rule of 3rds. it’s classic and always work.
I decided to not go too much in to the rest of the picture, because I think that just by fixing the composition you have already improved the picture a lot.
I hope this was of any help. :)