~Devil Trigger~
In favor of setting Muslim women on fire
Carmelo...
self caricature
self caricature
Testing some new brushes
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Messed with it a little more last night. Think I'm mostly done with this lol
That's looking pretty good for your first time to straight color! It does take a while to get the hang of it.Love you style. I decided to make the leap to color with this one and I chose the same subject as you. You know, so I could make a direct comparison and then feel bad![]()
I was trying out these, specifically the oil brushes. They're pretty nice. I'd recommend them if you like having a more traditional look to your pieces.Looking good, really like the values. What brushes you using? And you have a tumblr??
Whether you're doing everything on one layer, multiple layers, or on a physical paper or canvas, it's a good general guideline to only do one color at a time. Do your base color first, then your darker colors, then your highlights. Or you can do your highlights first if you're working with certain mediums such as colored pencil (since it's harder to go over dark colors with light ones). Digitally, here's what my layers usually look like:
1) Linework
5) MISC (aesthetic details)
6) Highlight (lighter hue with LUMINOSITY or SCREEN Layer Setting on)
4) Textures
3) >Shadow (darker hue or same blue with MULTIPLY/DARKEN Layer Setting on)
2) Base Color (blue)
I have them numbered in the order of how I do them, but the way they're stacked is how they end up looking. If you're not using lines, one shade of your Base Color is what I would do first. Then I'd apply shadows, and then put anything else on that section before I do the final highlights.
In simpler terms, do one shade of color at a time and build or sculpt up from there. You don't necessarily need to mess with transparency (everything can be 100% opacity), but you can make your highlights or shadows slightly transparent depending on how intense you need them to be.
Again, this is just what I've learned and grown accustomed to doing, so you can always develop your own way.
^
Awesome as always
I was trying out these, specifically the oil brushes. They're pretty nice. I'd recommend them if you like having a more traditional look to your pieces.
Aaand I do have a tumblr for following people and image hosting but I've been meaning to make one for more serious work. I'll link it when I do!
Very nice work, by the way! Always enjoy your attention to detail![]()
ABXY, sorry for not getting back to this thread a bit earlier. Thanks for taking the time to explain your process -- it is very helpful. It's great that you've separated the process flow from the actual presentation (I'm assuming that the items at the top of the list are above those below, so it's a stack). That's something I've struggled with in my mind when trying to get my head around the digital painting process.
Thanks again! I'll try and paint something soon and get it out here. It won't be nearly as great as the wonderful work here but I've got to start somewhere. =)
Thanks yo. End result of yours looks pretty good. I'd personally like to see some darker values in some of these portraits, maybe to get some more definition. But I like the lofty look about them.
Enjoying branching out to color but I might regress back to grayscale because it's still too far away from where I want it to be. Not quite sure what the next step for me is though, well, other than practice.
PSY・S;88938453 said:Is anyone here good with monitor calibration? I got a new monitor from the Walmart pricing error mess and I was wondering how I should calibrate it for digital work. I've played with my laptop's built-in display and it's great for games and movies but it's probably poorly calibrated for design and painting. I could never really tell.
To calibrate your screen for printing you'd have to get a calibrating device. It should then display the colours as accurately as they can according to standard colour numbers (there's an international standard for the EU, and possibly a separate one for the US, can't recall off the top of my head though).
Calibrating your monitor is only half the battle. To be sure you have an exact match from your screen to print you will need something called "profiles". Profiles are how printers read and print out particular colour numbers.
If you have your screen correctly calibrated, and have the profiles for the printers you will be using applied to your image, you should get a near exact match.
I currently use the spyder elite4 (you can probably find one way cheaper on ebay). It works fairly well, haven't had a miss print since using it. If you're serious about getting printed work done, it will save you money on having to buy various copies of your work to try and get the colours right. There's quite a lot of info on colour management out there. If you have any other questions though, I'd be happy to try and help.
PSY・S;88998019 said:Thanks man, I'm going to try to hunt one down. I've read that there's a difference between calibrating for printing and calibrating for purely digital work. Would it be easy to switch between the two, or would it be better to just get a second monitor altogether? I mostly create art to be viewed on a screen, like in-game assets, but I also have a good amount of work that will need printing.
I can easily switch between having the calibration turned on and off on my screen as it has a system tray icon and I can just right click to turn it off. You can really only calibrate your screen to print. You can't really calibrate for screens as each monitor will always be slightly different depending on the make, how old it is, etc. Most screens end up with a bias or colour shift over time (usualy blue), but you'll never see exact colour representation from screen to screen (unless they are of course all calibrated), so its just impossible to try and do that.
What I would suggest is to have the calibrator turned off if the vast vast majority of your work is intended soley for screen purposes. However if you are going to make something with the intention to print, start the work with the calibrator turned on, and then when you are ready to display your work online or whatever, make an adjusted copy for screen veiwing. I recommend doing it this way because it takes time for your eyes to adjust to the tint the calibrator puts on your screen, more so than how it would switching back with it off.
Basically with the calibrator on it makes white on your screen more like paper white. My screen has a blue bias naturally so, it seems yellowish when I turn the calibrator on at first. The first image is what I've painted with the calibrator on. An uncalibrated monitor makes it look quite blueish in tint :
however this is what it looks like when I have my calibrator turned on:
This image is adjusted for non calibrated monitors so they can see how I intended.
And with the adjusted picture on my screen it then appears like this :
Hope that all makes sense.
Anyway , finished this yesterday:
About 3 hours? Pencil on moleskine.