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!
Uggggh my goal in the next 5 years is to take another 3-month trip out of the country and go to either South America (Peru maybe) or southeast Asia. I went to New Zealand & Australia last time. …my spanish is also terrible, though.
leaving the country is such a refreshing and rewarding experience and i had to take a lot of money out of my savings account and that is money i cant put towards my tuition but it still feels like money well spent. i will never forget my time there.
Oh my god, word. I uh, spent an insane amount of money in NZ & Oz, but it was SO VERY WORTH IT and I’m so glad that I did. I don’t love my credit card payments or the amount of loans I have to take out now, though.
Actually, we just have a guy that walks around putting up high res images in front of you so it LOOKS beautiful… Really we’re just choking in sheep.
Art Student Meme
Andreas Lindquist | Filmed by Candy Kennedy for Visual Tales #11
Pretty colours on pretty girls!
If you’re tabling at a con as a Li’l Rookie, get ready to experience these 12 Stages of Feels exactly like this.
Heya folks. I don’t reblog often, but I’m rebloggin’ this.
That’s because I’ve had this day, multiple times. This was me. And if you’re planning on taking a shot at the whole cartoonist thing, this will inevitably, horribly, unavoidably be you.
Cartooning careers are forged in the crucible of obscurity. This period, the one where no one cares and you go home discouraged, is when most aspiring creators quit. It’s just too much.
But if you can live through a few years of Saturdays spent being passed over for meme t-shirts and fanart prints, if you keep producing and keep going to shows and keep sharing work, you can reach escape velocity. You can find an audience that wants to support you.
Talk yourself out of giving up. Give your work a chance. Your fans just haven’t found you, yet. ( o_o)-b
Oh god yes. So much.
THANK YOU FOR THIS!
this was me, at just about every damn convention i ever sold stuff at. i get so much anxiety, and can’t ever put myself out there loud enough for people to take notice. i barely made money the first few times, i did okay a handful of cons, and then it died again. con drama won. as of now i haven’t sold anything at a convention in over 3 years, and haven’t been to one in 2. social anxiety and being painfully shy coupled with feelings of horrible inadequacy for most of my life are not good (life drama did not help, either).
perhaps i’ll go back to a convention someday. just gotta work myself up to it.
I sympathize with this, because I had retired from doing conventions for a long, long time for exactly this reason. But I would also like to speak up on behalf of the nameless “grumpycat” artist. Because moreso than being outsold by fanart at a convention, the thing that hurts me deepest in my soul is feeling like I’m pitted cruelly and competitively with the other artists (fanart, original, or otherwise) I want so badly to be friends with. Jealousy has eaten me up alive before, and really harmed my career, and I never want that to happen again. The industry seems hellbent on keeping me in a constant cage-match with other artists, and I have to bust out at every turn.
So here we go:
Dear grumpycat artist, your work is not just “topical bullshit.” You have a place at conventions and nerd-culture gatherings, and you are no less worthy than the folks with original content. Creativity expresses itself in many different ways, and there is no “right” way to make a living as an artist. It’s true, you are fortunate to have the talent, business savvy and affection for popular properties that allows you to sell well at conventions. Hold onto that! It’s important! It doesn’t make you any greater or lesser than another artist, but… if you can, please share the wealth. With that extra money you make at cons, go buy another artist’s original comic. Go commission another artist to draw something you love. Approach someone who’s art you admire, and tell them you admire it! …. And if someone approaches you and asks if you have any advice for selling your wares and making money at conventions, please share your knowledge. You might even make a friend.
The reason for my survival as an artist is due to the kindness of other artists. I can’t spend my days eating jealousy, or I’ll die. I want to live my life by the rule that “Successful people help others become successful”, and I think I’m doing okay at that. Or at least better than I was.
No fear, no envy. Ride together, die together. *brofist to my artists peeps*
Whimsical illustration comes to life, by Cristian Grossi » Design You Trust – Design Blog and Community on We Heart It - http://weheartit.com/entry/49615653/via/xFreeYourself
do you ever just look at someone’s interpretation of a character and want to gently put your hands on their shoulders, look them kindly in the eyes and say you got it all wrong
it’s like he’s talking about tumblr
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