Trust me if you weren’t here for The Brushnger Games 2013, I tried like 50 different pencil brushes and this was the best.
Exactly what it says on the tin.
Mostly David Tennant and other pretty people and also funny things I want to show friends.
Also, Kati stop following me. This is a storage blog. What are you doing.
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!
Once again stressing that this is how I do things, not how you should do things. I mean, you can if you want. But it’s entirely a personal thing, as art should be! Always look at other people’s art, as they will come up with poses you hadn’t even thought of and generally broaden your mind.
Here are some useful links:
- pixelovely has photos of life drawing poses and a system that cycles through them like a real life drawing class! You can also pick whether you want just men or women, or just nude or clothed, or both.
- posemaniacs has tons of 3D models in poses. They’re shown on the muscle layer of things so that you can see how the muscles work! All models can be rotated 360 degrees, and come in varying degrees of camera angles from top to bottom. They also have a fantastic hand viewer which has hands that can be rotated along all axes, although there’s a limited selection of poses and the anatomy of the hands themselves could use some work.
- Some great stock providers on deviantArt include SenshiStock aaaand… I can’t find the others right now. I’ll edit this post when I do!
- Here are some other good tutorials and references! one two
Hey ya’ll! I’m not much of a tutorial person, but this was a technique that I learned from Syuzuki, one of my favorite artists back in the day, when I was 13. I memorized the technique and it’s been one of the most useful things I can do on photoshop. This was something that really helped me, and I hope that it will be useful for even some of you.
In this tutorial, I will be going step by step how I take something from my sketchbook and color it on photoshop.
sö î hèãrd ÿôū łįkê gùÿś wìth áçćėñtš
someone should try to actually pronounce this and make it an audio post
Can we just for a moment actually look at this from an art/animating view?
I like this gif. I really do. I find Jack attractive, and it’s not just because I like teenage boys with white/silvery hair. But as I’ve been looking at it I’ve been noticing all these little things that make CGI movies so realistic in a way, nowadays.
- The strings on his hoodie. As he turns, they move the way you’d expect them to, they look like they have the right weight or something. They fall the right way. Someone watched people turning around in hoodies and made sure this was right. A+ on the physics engine and the lighting system in this movie.
- At the ‘end’ of the loop watch his chest. He’s breathing. ”Of course he’s breathing,” you might say. But he’s breathing. His chest is expanding, like a real chest, not just from sighing or anything, but from just standing there and being a human. You don’t even notice it, like you don’t really notice the breathing of yourself, or your friends, or your family, or anyone else. It’s one of those things that brings subtle life to things and I’m just completely taken over it.
- His ear. ”But Melissa,” you say again, “It’s a fucking ear.” Yes. Yes it is. It is a stylized ear, but look at the lighting. It looks like it’s glowing red dully, and that’s not because he’s frosty and people get red on their ears when they’re cold. It’s because light is going through his ear, and showing the blood in it, and so it looks red. You never really think about it, but ears are pretty thin, and when the right light is on it you can sort of see through it. But only a little. You can see the insides. You know what I mean.
- When he’s turning, his right arm is reasonably loose, and you can see the subtle movements from centrifugal forces or whatever, that his arm moves out and then back in again, and his hand moves with it in a way, and it’s adjusting the staff so that it stays on his shoulder instead of just flinging off into the sunset. And if you look, the staff is making the proper bobbing for balancing, and it’s just like AJDFKSJAFJSDKAJFDA
- His hair. It moves and bounces just ever so slightly, and it’s so shiny and perfect, and I want it, and ajfDSAJFSAKJFSAJFSajfksxjvkaskreqw /dies
- You can’t see it well in this, but throughout the entire movie when there was a particular closeup of Jack’s eyebrows, I was in love. Sure, from far away they look like they’re just dark, but up close there are silvery white hairs in his eyebrows. There are actually a lot of them, but they’re mixed in ever so slightly and it’s giving me an art boner. I recently had to do a lot of work on hairlines and eyebrows, and you don’t really realize how important highlighting a few hairs here and there makes it so much more realistic than just a dark smear for an eyebrow. As for why they decided to make his eyebrows dark, it’s because white eyebrows on a very pale person looks very strange and uncomfortable. It doesn’t show up well on screen, for one, and emotions are shown much easier if the brows contrast with the skin. The same goes for eyelashes. Light eyelashes look unsettling, because we’re so used to seeing darker lashes break up the white of the skin and the white of the eye. (I understand this point is moot with people who aren’t pasty white, but Jack is pasty white.) From what I’ve seen, facial hair is commonly a little darker than head hair on white folks. Unless you’re a weird ginger. But getting back to his eyebrows, it’s fantastic that there’s brown and silver-white in there AND THEY HAVE INDIVIDUAL HAIRS ON HIS FACE
- Also this son of a bitch has remotely realistic fingernails and I was freaking out because nails are terrifying to me.
- The frost details on his hoodie reflect more light than the fabric and it’s SHINY.
And that’s why he feels real.
I think this film definitely deserves a lot more credit for it’s flawless animation.
And aside from Jack Frost, I kind of want to start talking about how Tooth was brilliant. Because seriously, her feathers were God damn realistic as hell and her movements didn’t odd like I expected they would.
Because it irks me when there are those films where there’s a Human/Fairy thing just looks awkward because they’re not really flying, they’re just hanging in the air and looking like they’re dangling from a string. BUT TOOTH WASN’T LIKE THAT. KUDOS TO YOU, ANIMATORS.
And the reason it looks so perfect is because they did a craptonne of tests so that when they animated her, they’d make her fly realistically instead of just thinking something like “U NO WUT SHE CAN FLY COZ MAGIC AND WINGZ LOOK PRETTY SO WE’LL KEEP THEM ANYWAYZ”. No, her wings actually do something. Or at least, they look like they do.
“… tests based on a very simple hummingbird dragonfly kind of creature, with a little bit more weight because she’s bigger.”
I’m not an animation expert, I don’t study graphic design anymore at all, and physics and I broke up ages ago and it was a very messy end to our relationship, but although I’m stupidly educated in the ways of those important life things, I can still recognise when something moves the way it should.
Or maybe I suck and I have no clue.
My favourite thing about the baby tooth fairies has to be the feathers though.
Their tail feathers fan out, but you don’t really notice it when you’re watching because it’s so quick and you’re not meant to be focusing on that part of the screen. But they’re all animated individually. They’re all doing different things, their tails are fanning at different times to different degrees, it’s just. WHUT.
ART AND ANIMATION?!