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NeoGAF Drawing-a-Day Thread

Carmelo...
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self caricature
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Now that Halloween's almost over I decided to make a less lazy avatar for the new handle. I did it at 400x480 so it's not too huge, but it's a little more understandable than the avatar itself. I added the glow to Sub-Zero in post just because he blended into the composition a little too well otherwise. Took about an hour overall to get the references, suit texture, accents, etc. done.

I'm Wahrer, just in case nobody made the connection.

DQgf50A.png
 
Messed with it a little more last night. Think I'm mostly done with this lol

Looking good, really like the values. What brushes you using? And you have a tumblr??


Working on commissions again, but this current one is nsfw, so here's a cropped version.

iNz2OdS6NyZgf.jpg


Pencil work took about 4ish hours. Spent a few hours painting it, wasted most of my time livestreaming though.
 
Hey thanks guys!

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 :P
That's looking pretty good for your first time to straight color! It does take a while to get the hang of it.

Looking good, really like the values. What brushes you using? And you have a tumblr??
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 :)

Also I lied. This is the last one for reals

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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.

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. =)
 
^
Awesome as always

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.

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 :)

Thanks for the brushes, I'll have to consider them. Always have a hard time finding brushes I actually like. When manage to get your tumblr, hit me up with a link, I'd like to see more of your stuff.


Lol, I'm so slow.

iBDQ9j7mJ1wBk.jpg


I've got a commission to draw a girl next...gaf, what do?
 
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. =)

Hope it helps! I also forgot to mention that those should be in their own folder so you don't have a mess of layers if you're working digitally. Also get in the habit of naming layers, and try to use as few layers as possible. It just makes the process easier.

OT: I haven't posted in a while but I've still been drawing. Kinda developing my own "paintery" looking style while forming the details behind the universe I'm doing. Lots of amazing stuff have happened ITT since and you guys continue to inspire me.

If anyone is interested in commissions though, I have a few characters I'd love to see realized with realistic graphics. It might take me a bit longer to get to that point than I'd like.
 
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.

Thanks for the feedback, I feel so clumsy for not noticing it before :P

I hope this is better.

another_sai_test_by_firez_da-d6t72if.jpg
 
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.

 
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.

One thing you can do while painting in color is create a layer on top of everything, paintbucket it black and set the layer mode to Color (assuming you're using photoshop). That way you can turn the layer on and off while you paint to check your values in greyscale.
 
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.
 
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.
 
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.

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.
 
Just wanted to drop in here and say that I love all of the art in this thread. You guys are so talented, its stupid. I can barely draw a stick figure! Keep it coming.

I am assuming most of these are digital paintbrushes?
 
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.
 
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.

Yeah, it all makes sense. Thanks again for the help.
 
Doodled a concept for a HarmoKnight-influenced Mega Gallade today.

ibafgliGE9HFYG.png


Also a sketch of Drei's new outfit following his "makeover" in what amounts to Act Two. He has a mysterious ancestor (or alternate-timeline incarnation) known as the Starbuck, who was a feared lancer that allegedly drew his power from the dyson sphere's local sun itself. The Starbuck was also known by his honorary title, the Calamitous of Catalysis. Each of the 8 Livechamber characters had a similar ancestor; Luca's was the Antithesis of Catharsis, for example. Drei's Act Two outfit is based pretty heavily on the Starbuck's design, which I'll solidify later. The rose-colored bits are half-capes. Dark gray is bodysuit, thin indigo are just lines glowing on the suit, dark purple are scarves mummy-wrapped, and things completely filled out in indigo (including the helmet) are ice armor.

i0VVsncoXxLps.png
 
I haven't posted in a while, not because I've not been drawing, but because I've been through a slump where I've not been happy enough with what I've created to post it. As usual, GIMP + Wacom.


This dude is a character from Seanan McGuire's "Velveteen" series of books. They are excellent and you should give them a try if you've not read them.


I've started watching Gundam and collecting the models. One thing I like is that there's a very distinct style to each faction's suits. Here I've put together my own design based on cues from a couple of the suits, heavily inspired by Exia/Astraea.
 
Man, there are some talented painters in this thread. I'm still trying to wrap my head around digital painting. Haven't been drawing enough the last little while again, the cintiq is like RIGHT THERE but I look at it and think I'll just let it down :P.
 
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