» Tree Tutorial v1

taleclock:

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breakingmelancholy:

kittilumpo:

jedito:

umbrellasareessential:

deviantart | facebook

*at first glance* aw man that eye is looking pretty goo—SIHT. FUCK. HOW

you can literally see an entire city in that eye, and the moon, and a highway

now draw the other one

ok


reaill:

retrogradeworks:

conceptcookie:

Exercise 26: Shading Gems Results
Check out the results of our Shading Gems exercise here along with the explanation to create your own HERE!

I love this tutorial SO MUCH.

AAAAAAAAH!!!!!!

beastofthewest:

Some hand references.

Sources 1 2 3 4 5 6 7

Redid a post by fucktonofanatomyreferencesreborn with sources because they never source anything and I don’t want to reblog that post because I don’t want to support blogs who don’t give credit to people

(No, stating that the art is ~not yours~ and ~came from elsewhere~ IS NOT PROPER CREDIT. Many of these have usernames and such on them but not every single one and you still ought to link back to the specific piece)

I couldn’t source the last one so I didn’t include it.

(Source: brothercoldheart)

artblog-with-lots-of-booty:

Ryan Woodward Sketches Part 1

grizandnorm:

Tuesday tips — Costume Design 101.

Costume design is a very important part of character design.  It tells you a whole lot about your character; ie. age, personality, what she/he likes, time period, strength, … etc.  It supposed to enhance a character’s personality.  

Here are my process in tackling costume design.

1.  Find a good reference.  Inspiration is key!

2.  Look for a good silhouette that is recognizable and different from other characters.

3.  Pick one silhouette and find smaller shape within.  Do tons of variation and have fun.

4.  Color variation.  Use variation the same color combination for all the design.  Keep it simple!

5.  Finish up and have fun.  It will also a good idea to think of texture and material.

-Griz

perseusjacksoff:

mitose:

Twitter / rokissh: この描き方めっちゃ楽だったからツイ 15秒で薔薇みたいな何か …

WAIT SO THATS HOW YOU DO THE THING

saeun:

requested by a-thousand-crows i hope this is helpful 

(Source: fav.me)

lexxercise:

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 :>

BRUSHES

Pencil

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.

Ink Pen

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.

Round Brush

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.

Flat Brush

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.

Watercolor

Best used for smooth blending, washes, gradients, and smoky atmospheric effects.

Cloud

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.

TEXTURE OVERLAY

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!

-L

reapergrellsutcliff: