Skin Tutorial by acidlullaby from DeviantArt
Also check out the rest of their Tutorial gallery section for more tutorials about skin!
Thanks to reflectuousechoes for telling us about this tutorial!
don’t remember if I’ve reblogged this or just liked it, either way have some skin painting tips.
(incidentally, anyone know of any good ones for darker skin?)
(via artanecdotally)
Source: acidlullaby.deviantart.com
(tutorial)
i just did a cool thing that i think would be useful if you’re like me and sometimes have a hard time picking colours / a colour scheme for an image
basically i just took a brush with moderate spacing, turned on colour dynamics and set all the hue/sat/brightness to a low (~10%-30%) jitter, picked a base colour, and drew a line down the side of the canvas
it’s sort of like when some people save colour swatches so they can keep their shading consistent, but more for playing around with different tones and lighting on a single surface. it’ll probably be pretty good for skin which is very multi-tonal by nature.
a lot of colours came out that i probably wouldn’t have picked manually, but they still looked pretty cool. and it saves a lot of time because now i have a broad range of colours without having to browse through my pantone swatches or open up the colour picker.
(via art-tutorials)
Source: belovedlights
This was an experiment I ended up liking. I did it to draw this and this. Basically, it’s a quick way to get started on a painting. This is gonna be a face so I can show the details. I decided I want to draw a guy this time, with a smug expression. This should be fun.
THIS IS FOR PAINT TOOL SAI. You’d be doing yourself no favors trying it in Photoshop.
01. I fill the canvas with a dark, desaturated color. Above that I begin to block in colors in a shape that resembles what I’m painting. The color I used is a peachy skin tone.
02. Using a brown or tan color, I draw on some line art. It looks ridiculous right now and that’s ok. All of this is done on the same layer.
03. On the same layer, I begin to block in colors (over the lines somewhat). I’m concerned with just covering the blue of the canvas. I’m being bold with a lot of the color choices, but it’ll pay off.
I use this little chart for starter skin colors:
04. With my water color brush on these settings (the size/density get toggled, and usually on the side of larger + lighter opacity):
I begin to blend with a sort of pinky peach color, to start. I blend all the colors together on the same layer, just basically mixing everything. I change the color depending on the saturation of the area being painted, so I switch to an orange for more red areas. Basically, try and match the colors. If you paint over a cooler area with a warmer watercolor, it will change it, of course.
05. This is the brush I do the first few details with! I got it from Tumblr, you’ve probably seen it around, it’s that really good blend-y edit for the acrylic brush:
(I toggle the size and opacity, but on the side of smaller + darker.)
I begin to pick up colors from both the canvas and the color wheel to make details. A lot of nice pretty colors are on our canvas already and it’d be a shame to waste them. But using the same colors to blend without eyedropping new ones will make the color palette a bit flat. Thus, I do both.
06. I also tighten up with an airbrush on these settings, changing only the opacity and size. I remember that it is entirely possible to overpaint things, so I try and enhance what I’ve already done instead of trying to repaint it. This is a mistake I and a lot of artists make, I think.
07. Still fixing up with the airbrush + watercolor (sparingly) + acrylic.
08. Once I’ve made some headway on refining, I get a gigantic airbrush (about 200px) and turn down the opacity to about 8-11% and begin to brush some reds and yellows onto the face to warm it up. Alternately, I’ve brushed greens and blues and purples to cool skin before.
09. I pick my background color and begin to use it to clean up the edges.
10. Last thing I do is paint his eyes! Time to export and edit the colors a bit in Photoshop. I try and fix them as much as I can in SAI with painting, but digital lends itself to the ability to fix quickly. Pretty much why I like to digital paint, besides it being cheap.
11. Before I export, there’s a few things I can do to make it better. Since it’s kind of quick and cartoony, I can lightly line it and make it pop. Or I can refine further with a nice textured brush and make it look more realistic. I dig the lines, so I’m going with those.
12. After I PS it (which is nothing more than a linear contrast curves layer and some warming via selective color) I shrink, duplicate the image and run a Paint Daubs filter (both settings on 1) to sharpen it. I take down the opacity of the sharpened layer to about 40-60%. I’m done!
(via artiststoolbox)
Source: remarried
This is a tutorial I’ve written two years ago. I still see a lot of people having problems with hand pains while using a tablet so I thought I might post in on tumblr where it should get to more people than on my LJ. If you use tablet you might want to look at it, if your friends use tablet you might want to show it to them.
Protect your hands and back before it’s too late~!!
Original text starts here:
I realized, that I’ve encountered many professional artists online that have problems with wrist that are caused by using tablet. No wonder: you can find tons of tutorials on graphic software, but you won’t find any on actual USING the tablet. Well, it is simple: you install the drivers, plug the tablet in, personalize the buttons, if you have any, and start drawing the same way as you did with the pencil, right?
Well… NO!
That is why I decided to write thisentrytutorial. Please, read if whether you’re just a beginner, or a professional that has been painting for longer than I have lived; the issue is much too grave for people living of making art to simply be ignored.
These are just things I wish I could tell people more often-
First, everyone should learn basic color theory - primary colors, secondary colors, RGB, CMYK, warm, cool, neutral, complementary, analogous, tertiary, hue, saturation, tint, value, etc. If you know the basics, you’ll be able to handle color more deftly.
Second, NEVER USE COLORS LITERALLY! Colors are never as they literally appear to us. Your brain understands colors based on the context that those colors are presented to us with. If for example you’re in a room bathed in yellow incandescent light, and you’re looking at some purple grapes on a table, those grapes probably appear purple to you based on what your brain is telling you, but in reality the light that is hitting your eyes from those grapes is probably a brownish color. Everything in color is relative.
So for example, if someone’s wearing a bright blue jacket and he has blond hair, don’t immediately reach for a bright yellow and a bright blue! In painting, this would be called ‘using the paint straight out of the tube’, and it’s just as much of a crime if you do it digitally with the default color palettes. Always look for more interesting and uncommon colors and color combinations.
Third, USE LIMITED PALETTES!!! Limited color palettes ALWAYS make things look more appealing. If you use too many colors, they begin to overpower each other, and you get an image that is GARISH and UGLY. LIMITED PALETTE DOES NOT NECESSARILY MEAN LESS COLORFUL! Colors only look as good as the colors surrounding them. All colors affect all other colors surrounding them. If you put a gray right next to black, it will probably look like a regular gray, but if you put that same gray next to a bright red, the gray will appear greenish gray in comparison.
Do not underestimate the power of grays and neutrals.
A great example of this is Frazetta’s work, where if you eyedropper tool basically any of his paintings, you’ll very quickly realize his paintings are MOSTLY GRAY with some spots of brighter color to make them read differently.
Fourth, SHADOWS ARE NOT BLACK! My painting teacher translated this piece of advice into telling me “NEVER use the black and white tubes of paint”. If you make shadows by just putting on a darker version of that color, it will make your shadows look ugly, washed out, and unnatural. Always have some kind of color to your shadows- always know if your shadows are WARM or COOL, for example.
- Keep in mind that human skin follows different rules of color than other materials. Don’t color and shade it the same way you would, for example, a toaster. Frazetta once said that he never painted skin without the color “green”, which seems counter intuitive, but it’s because of the unique way light scatters in the many translucent layers human skin.
-color can set mood. Warm colors often mean a happy and comfortable scene, cool colors a more sinister atmosphere, and cool grays denote sterility, but this can always change. A palette bathed in bright crimson red can indicate urgency and peril
-color can be used narratively to indicate all kinds of things: time of day, whether a room has candlelight, fluorescent light, sunlight.
-If someone is exiting a room and entering another room, use a different color palette for each room, and keep it consistent. It can make your illustration, comic page, or film make more sense to the audience without them even realizing it.
-These posts on how color is used narratively in 101 Dalmatians are kinda mindblowing
-When I’m STUCK I also often go to COLOURlovers to get some ideas about color
-when colors are similar values and saturations but have different hues, the colors will vibrate against each other. this is the effect that happens when you look at neon color palettes and think “wow this is really hurting my eyes”, but it can happen to relatively dull color palettes too
-and as always, LEARN FROM A WIDE RANGE OF INFLUENCES!!! Don’t just stick to one thing. There is ALWAYS something to learn from other people
Source: pollums
