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#low saturated with lots of red colorings
poniesart · 1 year
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Here is a little comic I made about some thoughts I’ve been having recently. I don’t ID as transmasc, and I have noticed that since I’m nonbinary and AFAB, some people in queer circles (online and irl) label me as transmasc! This has increased since I started T. Much love to my transmasc siblings, but I don’t identify with that term, and it misgenders me.
I figured if there’s not a lot of acknowledgement or discussion about non-transmasc and non-transfem people who physically transition, I can make some myself :)
Thank you to @/rjalker for the ID below!
[ID: A nine panel comic, done is low-saturated colors, mostly featuring soft yellow and shades of blue and purple.
Panel 1 reads, "I am an AFAB trans person on T." showing a surface with a towel, and an open packet that reads, "1% 25mg".
Panel 2 continues: "And I'm not transmasc." and shows a rainbow flag, and a nonbinary flag hanging above some jewelry.
Panel 3 shows a person walking on a hill, the sky pale yellow and the ground in shades of blue. It reads, "My gender isn't woman, or man, or adjacent to either, or neutra/ 'in-between'." The venus and mars symbols float in the air, in red and blue.
Panel's 4, 5, and 6 read, "It's a separate, other, gender." Showing shoes worn under a light blue skirt, a person wearing a shirt, jeans, and vest waving, and a person without clothes floating among stars.
Panel 7 reads, "Queer people who know I'm on T, or even just know that I'm AFAB, often think I'm transmasc." "They label my experiences automatucally." The same person from before is shown between the two sentences, sweating nervously as though being trapped.
Panel 8 reads, "It feels like misgendering. From people who should know better." The person is shown sittign facing away from the camera, head bowed, lifting one arm across zir shoulder, where half a dozen flags have been stabbed into zir back like arrows, all dark blue, and marked with either the blue mars, or pink venus symbol.
Panel 9 reads, "'Masculinizing' HRT doesn't mean I'm transmasc." Next to a small picture of the person smiling away from the camera, wearing blue glasses, with stubble on zir chin. The next small image is of the chemical symbols for testosterone, with text next to it that reads, "It doesn't mean my gender is male, or male-adjacent." Followed by another small picture of the person, smiling with hearts next to zir face, wearing the nonbinary pride flag like a blanket or cape.
The yellow background fades downward into the nonbinary flag, with stripes of yellow, white, purple, and black, here with the purple and black in shades of blue. The text reads, above a final drawing of the person, wearing a pink sweater and a blue skirt, smiling up at the camera and surrounded by small sparkles, "It just means I'm a nonbinary, genderqueer person who is becoming more like zirself. And that just happens to involve HRT!" with a smiley face emoji at the end.
End ID.]
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sanctus-ingenium · 8 months
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hi im so sorry if youve already answered this but how do u go about selecting the colors you use for your works!
hi! i've had this question a few times and every time i've only been able to answer with a vague sort of 'ehhh i just pick them'. but i think i'll actually talk some more about it now since a lot of my art actually takes a lot of beating before i decide on a final palette. but with a lot of them admittedly i already know what palette i'm using, and i organise the whole composition around those colours.
i use like two main palette methods and here they are (once you see it in my art, you won't unsee it). It mainly involves picking one main hue, and then a contrasting secondary colour.
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So the most basic is to have a drawing be mostly a small range of hues, in this case the reds and oranges, and adding a single contrasting shade. Here it is the bounce light on the metallic metal parts, and doesn't appear anywhere else. It looks blue but it isn't - if I used actual blue, it would be too jarring and the colours would not appear unified. This is a warm and nice scene. So instead I pick that strong blue and blend it into a small swatch of the base colour. Then I pick from the blended portion, and what I get will be more blue than the base, but not actually blue. In fact it is yellow-orange :) The entire drawing looks warm as a result.
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When working with marginally stronger contrast, here I have a cream unicorn on a green background. The main shadows on the unicorn will be the colour of that ambient room temperature bg - green. So I use the same test swatch method to pick a shadow colour which LOOKS green without being too disruptive of the cream unicorn. I increase the saturation and darken the value (moving the colour dot diagonally to the lower right hand corner of the box) and also spin the whole wheel towards green just a bit. Then I blend into the cream and colour pick a shade in the middle. But for the bounce light, I chose to use a common contrast of green - pink. It looks like pink in the drawing but in fact it is a low saturation orange! Using that real pink would be disharmonious. I do the exact same thing - I blend the pink into the bg colour and come up with that orange shade. It looks harmonious.
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Now (top example) I am using two contrasting hues side by side. I decide the shadows will be warm, and the highlights in that contrasting zone. That means that for every colour i pick - Islin's skin, hair, his glasses, his shirt collar, his coat - every colour gets slid around the colour wheel until it falls inside that narrow band. And when I am highlighting his skin, I turn the wheel towards green. When I am shading his skin, I turn the wheel more red. I do this for every single element in the drawing.
It's the same for the Rua cover but this time I am not using such a wide band of available hues on the colour wheel, it's much tighter. I did this to replicate the look of a faded print, intentionally lowering the available contrast I had to work with by removing black as tool. It's all in that small cream to red window but it LOOKS purple - it looks like Pascal wears a purple shirt and that the smoke in the bg is lilac. Well, it isn't. That's all red and orange. I pick those colours by, again, choosing my goal "look" - a low-saturation purple, and then turning the wheel into the red range.
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Okay so! for this it's just... the exact same thing again. Literally it always is. But since this one is recent I still have the process fresh in my mind. I envisioned it in the car, and I wanted this empty sort of desolate blue bg and a cold, distant overall tone. I ended up making the white on the chessboard & white pieces warmer, cream instead of white-grey, which worked out great. I wanted the blue, I wanted the pale cream/white, and the black of the chessboard. I didn't envision a colour for Pascal's shirt. but when the time came it was an obvious choice. It has to contrast with the bg both in value and hue, without falling outside the cream range already established by the chess pieces. So it's shiny salmon pink :) or orange, whatever you think it is. The only disharmonious part of this palette is the red velvet under the black knight piece - it works, but if I'd taken more care I might have spun the wheel more into orange and it would stand out less. But I don't mind.
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eshithepetty · 1 year
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Mob Psycho 100?? More like Mob 'why are all these characters just different flavors of autistic holy shit'..... 100!!!!!
Click on image for better resolution. Also an ID below, in case the text is too small to read:
[ID: art of Mob, Tsubomi, Tome, Ritsu and Serizawa from Mob Psycho 100, with a list of autistic symptoms below them. The background is beige and behind each character is a square mismatch of colors unique to them as a background.
Mob:
He is wearing his school uniform and smiling lightly. The background colors are saturated blues, cyans, pinks and reds, which are swirling in a liquid like fashion. Below, text reads:
Polite little autistic boy
flat affect
alexithymia
perpetually confused
attempts to mask, just ends up appearing a different type of ‘weird’ as a result
low empathy, high compassion
really strict moral integrity
didn’t have a special interest for the longest time due to repressing himself
disassociating king :(
comorbid inattentive type ADHD
Tsubomi:
She is wearing her school uniform, staring ahead with a bored, uninterested expression. The colors behind her are dark and sharp browns, violets and reds. Below, text reads:
Girlboss
masking queen
low empathy
can’t read social cues but has mastered the art of scripting and being polite and pretty to escape ostracization
hard time connecting to people
often acts unintentionally rude/blunt
stubborn
actually cares a whole lot about people she really considers friends
Tome:
She is also wearing the uniform, leaning her chin on her hand and flapping the other hand excitedly as she rambles about something. The colors behind her are a bright yellow, green and orange, formed as circles and some sharp edges. Below, text reads:
Weird Girl
stimming galore
loud™
special interest in the occult/aliens
finds herself only connecting to people through that interest
emotional dysregulation
comorbid hyperactive ADHD
barely passing grades
probably spends hours on random wikipedia articles
Ritsu:
He is wearing a yellow hoodie, looking to the side and finger raised in confusion. The colors behind him are green, orange and magenta, and they are swirling in a kind of square vortex around him. Below, text reads:
just a little hater
sounds /neg
has a selective wardrobe of comfy clothes cause textures,,,
has no idea what friends are
special interest in psychic powers
spoons are a comfort item
denied he was autistic for a long time because “wdym, i’m completely normal. Look how well adjusted I am.”
comorbid OCD
Serizawa:
He's wearing his usual suit and smiling, eyes closed with the grin, his hands clasped together at his chest. The colors behind him are cyans, blues, greens and magentas, some lines, some circles. Below, text reads:
gamer .....
self isolation as an (unhealthy) coping mechanism
uses comfort items
emotions also be dysregulating but like,, he’s learning to deal with it
high empathy
missed out on a lot of milestones, but it’s okay, he’s catching up :)
special interest in video games
finds comfort in dark, tight spaces
comorbid social anxiety
End ID.]
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titleleaf · 2 months
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I’ve wanted to watch more Roger Corman films for a long time — he’s been a pivotal force in the careers of a lot of directors whose works I enjoy and his impact on some of my favorite silly horror tropes is off the charts — but tonight we did a questionable thematic double feature of Corman’s Masque Of The Red Death (1964) with Visconti’s Death In Venice (1971) and hoo boy… my Vincent Price thirst… is strong…
Some thoughts:
- It’s a delight to have an adaptation that engages with Poe’s use of color and the color palettes of all that highly saturated, artificial, Star Trek TOS-looking costuming is a pleasure after “the Middle Ages were brown and gray” has been the norm for so many years now. The presence of the Red Death is undercut by the liberal use of red in the courtiers’ costuming but the costume/character design fucking rules.
- On the flipside, every single one of these costumes could be dated like a tree trunk slice; they are pure 1964 and they look like if you held a match up to them they’d melt. I would loved to have seen more Bogus Renaissance Italy vibes rather than Bogus Generic Medieval but I get that they were working with what they were working with.
- If I saw this movie in 1964 as a teenager it would have blown my tits right off. Arch, sexy, incredibly nasty Prince Prospero low key holds a virtuous peasant girl hostage in exchange for sparing the lives of her lover AND her father, then proceeds to attempt to seduce her into his philosophy of cynicism, skepticism regarding organized religion, and also Satanism, while his clearly pretty lonesome consort is off doing her own thing with Satan and they have a truly bonkers triangulation with exquisite wife-mistress femslash potential and also there’s a lot of evil bathing and evil dressing??? Also there’s a pretty loosey-goosey adaptation of Hop-Frog but I don’t give a fuck, Hop-Frog (excuse me, Hop-Toad for some reason in this) is my favorite figure from Poe and while the ending of the film is a bit Hays Code-y (just too many people being spared!) him and his lady love getting away clean is always a lovely element. (Even if the choice to cast him with an actual adult little person actor who’s appropriately super charming and scheming and her as an ADR’ed child is: super super weird. It was the 60s, I guess.)
- @allthestoriescantbelies pointed out to me that Jane Asher is also the protagonist of The Stone Tape and damn, girl cannot catch a gothic break, no matter what era she’s in. She’s lovely in this.
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- I want to show this movie on repeat to all historical costume accuracy discoursers.
- I also want a bunch of Jacobean revenge tragedies costumed exactly like this. In some alternate reality where all the incest wouldn’t be a dealbreaker I think Corman could have cleaned the fuck up adapting Webster and Middleton and whatnot. Hell, do Corman’s Hamlet.
- All the courtiers’ debauchery is pretty tame at first — they canoodle fully clothed, impersonate animals, and drink a lot of wine — but when that finale hits, it really hits.
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In conclusion I feel like this film gave me an injection of vital villain/heroine essence directly to the bloodstream.
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raaindropps · 3 months
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Evil art challenge ! Criteria I followed under the cut
[ID: A digital drawing in a sharp, cartoony style with minimal shading. It shows a girl with spiky green hair in low pigtails, posed in a way that her legs are closed to the camera. She wears goggles with a heart and star shaped lenses, a white and red t-shirt, fingerless gloves, jeans, a toolbelt, and red tennis shoes. The background is light yellow /End ID]
Criteria was:
- Less detailed eyes + hair
- Less contrasting colors and harsh lighting
- Not looking at camera
- Sharper edges/more focus on shapes
- Thicker lineart
Overall, I wanted to try a more heavily stylized, western cartoon-y style. A lot of ppl were also commenting on my shading, but bcs I do both cel and blended shading I decided to go with as little shading as I could !! I really enjoy the look of the black shadows against the regukar colors.
I seldom use light and warm color palettes- even when I use warm colors, theyre usually in dark shadows so it sorta cancels out. I decided to used warmer and lighter colors in this !! They were a lot more saturated on my computer than my phone tho T_T
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ohshitsherry · 3 months
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how do you pick your colors? sometimes i want to go for those earthy, kind of desaturated tones but i struggle to make it work lol
HI HELLO i suck at explaining stuff so i tried to do something in practice real quick! using babygirl aikawa (from dorohedoro) as a vessel
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a mistake i used to make in order to make my art naturally yellow tinted, for example, was to just paint the skin as a plain yellow color. it can work depending on your goal! but its far harder and has a far more intense result. Now, instead, i just shift the hue slightly towards yellow - if you used to paint your skin with a red shade, now try to shift it to orange.
this is how a "neutral" color palette would look like - it also looks great, but its not the specific style we´re aiming for.
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lets shift the hue towards yellow! and desaturate it a bit (muted colors are always lighter, so you might want to also darken it up a little).
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for the base shading, i use an *extremely* muted shade of the color we´re aiming for - in this case, yellow. make it BOLD! usually, when using such a greyish multiply layer in low oppacity, the picture will just look dirty and bland instead of the actual effect we´re aiming for.
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for the midtones, it would be fun to add a pop of contrast - so i'll shift the hue for a slightly more reddish tone. it can also add vibrancy if you make a warmer and saturated layer of paint before covering it up with our usual neutral scheme.
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on that same topic of vibrancy - a huge mistake a lot of people do (myself included!) is to leave the entire piece in the same muted shade (unless a blander scheme is your goal. art has no rules and i myself am making a bunch of exceptions on color theory for the sake of personal style). we want BALANCE! fill your art with btoh muted, neutral and highly saturated tones, even better if these shades meet each other in areas of high contrast.
like here, in a sketch i finished right before reading your ask:
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reminding that this is not much of a general color theory guide, but a guide mainly for my personal style!!!!
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starlahuskyz · 1 month
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If you're comfortable with sharing... What pen and color do you use for the lineart on your 80s cartoon style? 👀
Well I say if you're trying to replicate an 80s cartoon style then I would say firstly find what kind of style you're looking to replicate. For example I take inspiration from Don Bluth's style
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His art doesn't really use a lot of line weight, in fact the lines are pretty light. Shape is also very prominent with his artwork as every character can stand out from each other and doesn't end up getting repetitive. I would say try to study different artists styles to help develop you're own style, see what they do to make their art stand out.
I use firealpaca as my drawing program, and in the brush shop there is a pen called pencil(leather) I use this pen but I alter it to the settings seen below
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This allows for thin linework and for it to have a somewhat grainy feel giving it that more older feeling. As for color I don't use full on black, I use a sorta black but with a greyish pink tint. (As seen below)
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And I also use a grey color for when I color using the same black as the main linework, I just recolor the original lines into the grey to keep it from becoming indistinguishable. I'll put an example so you have an idea.
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Of course if you wanna alter these choices that's up to you! Experiment with whatever works for you.
I'll do a little demo to you can get an idea of how you can approach doing this process.
First I start with completing my linework, I may even leave a few blemishes just to make it look a little more "natural" cuz nothing is perfect
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Then I color the lines outlines of any part of the characters that are black into grey so it'll look something like this (I colored the background white so you can better see the change)
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Then next I colored the drawing accordingly and shaded it, shading just involves me using certain colors like a dark low saturated red and using the darken layer. But that can of course vary, I also as a slight gaussian blur to the shading as a stylistic choice.
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Then through putting everything into a folder or merging the layers together, I duplicate the entire thing and on the top layer use the gaussian blur once again, and put it at a value of 5
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On that same layer I lower the opacity down to around 50% so it makes the drawing look more like an old animation feel.
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Then I add the finshing touches like the background, which is a color gradient and a texture overlay. A noise filter just to make it that much more retro. and a drop shadow beneath the characters because I think it looks neat. And after adding my signature, it's finished.
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I hope this my advice and this lil demo helps with developing an old cartoon style. Sorry with how long this shit is, I just didn't know how to keep this simple and concise without confusion. If you have any questions then feel free to ask.
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calware-png · 11 months
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your colors are alwasy SO GOOD.... do u have any advice for how u pick them
thank you! for advice, i have a few tips:
the first is to always keep in mind what color palette you are using. as you become more experienced this will likely become something you do subconsciously, but when i was starting out with drawing i would usually deliberately choose a color palette and reference that while coloring in my drawing.
i'll go into some basic color theory (ha ha) but feel free to skip this if you're already familiar with it.
there are many different types of palettes to choose from, but the most common ones are:
monochromatic
analogous
complementary
split complementary
triadic
square
tetradic
for example, the drawing i just posted follows a split complementary palette (which is favorite scheme btw)
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i can explain this more in-depth if anyone want me to but for the sake of brevity i'll leave it at that. the only other thing that i think is important to note if you're following a color palette is that it's important to balance out the values of the colors that you are using (how light and dark they are) as well as use it as a guide but you don't have to strictly adhere to your pallete 100% if the time within your piece. for example, the my drawing uses MAINLY blue, green, and red-orange, but there is also some orange, yellow-orange, yellow-green, blue-green etc. in there as well
my second tip is to experiment! i hear the phrase "learn the rules before you break them" a lot when people are giving advice to beginner artists, which i don't always agree with because i think experimenting and finding out what you like and what you think works is very valuable (especially when you are drawing for fun and not professionally!) have fun with it, do the opposite of what people tell you to do just to see how it looks, etc. i remember getting the advice to always shade warm tones with a warmer tone and cool tones with a cooler tone (this is only a rule of thumb btw) and one day i started doing the opposite and found that it can look cool in certain circumstances
my third tip is to use references! i joke a lot about colorpicking from the most random images but i think that looking at other images and asking yourself "how is the artist/photographer using the colors to make it look this way? how do i recreate that?" and using that as a way to study their use of colors can be really helpful. i you find a drawing that has cool colors, try using those colors in your own drawings and see how they look!
the fourth tip is to play around with contrast. some drawings will look better with LOTS of contrast (where the darkest points are black and the brightest points are white), while others will look better with low contrast. stylistically, i prefer using low contrast. going back to the drawing above, there is no true #000000 or #ffffff used anywhere (except the white outline). i find that in certain situations this can help colors stand out. but like i said, it's more of a personal preference
the fifth tip is more for digital art, but it's to play around with blending layers, adjustment layers, and gradient maps if you don't like your colors but have no idea how to fix it. some programs don't have this feature but using blending layers/adjustment layers/gradient maps is sort of like using a filter to change the hue/value/saturation of your art in different ways
hope that helps! if there's anything i need to explain further please lmk!
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diezmil10000 · 8 months
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Hi hi, hope you're doing well!! Wanted to ask if you could explain how you pick colours! They're always so appealing to look at... (If you could also explain how you pick blush colours it'd be great! I never manage to pick good ones, no matter how hard I try :'))
hi anon, i'm doing fine!! it's summer right now where i live and that's healing all my problems (⁠◡⁠ ⁠ω⁠ ⁠◡⁠)
i have recorded the process of some of my drawings and everything is posted in my youtube channel (in twitter too), so i'll drop the link here and try my best to explain the coloring part to you. the short answer is that none of the colors you see in my drawings are similar to those i initially picked.
i try to keep my lineart loose but i pay attention to the outlines so i can quickly select the outer parts, invert the selection and fill it with the bucket tool. my base colors are all 100% opaque and i don't use any fancy brushes here.
as to how i pick colors, i never use the color picker tool, i eyeball everything. that's important for me because i tend to make all of them warmer: the greens are dark yellows, the pinks are light reds, and everything that's close to blue is very desaturated. i do this even for drawings that turn out much different later, unless i have a very specific vibe in mind from the beginning. i also never use pure whites for anything, and if something is black i make it part of the lineart.
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then i always color my lineart!! there's no trick to that, the layer is in normal mode and i just paint it with a darker color than what's below it. i usually add the shadows and highlights at this stage of the drawing too. you're going to kill me for this but shade with gray set in color burn or linear burn (never multiply). i just don't want to think about color variety at this stage because it makes things more difficult for later. sometimes i add textures and some basic color correction here (curves, color balance, layers set in overlay, etc.) but i mostly leave that for the next part.
as to how i choose blush colors, i usually pick the base color and move it towards the saturated end of the color wheel, and a bit more pink. sometimes i add a multiply layer and airbrush hot red over the base colors at low opacity. coloring the lineart with hot colors surrounding the blush areas helps a lot too :)
i also almost always duplicate the lineart, blur it and set it in linear burn (i paint this layer in a light gray). this adds a lot of depth to the drawing, especially if later combined with the bloom effect.
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the key to why the colors in my art pop so much is that i don't enjoy drawing as much as i enjoy postprocessing pictures 😂🤣😅👌✌️👍 once i'm satisfied with the "base" colors i merge everything except the background, open a new canvas and go crazy with filters and textures. that's why i use ibispaint X even if i do the lineart elsewhere (krita), and even if it works a bit wonky with big canvases.
i do something different for each drawing here, so first i'm going to explain my reasoning so that you understand my process: i used to have a problem of using very strong colors that overshadowed my beloved lineart into which i had put a lot of effort, so my goal nowadays is to make everything look less contrasted without losing the visual impact of saturated colors. that way the lineart remains a strong point and not just a way to separate one color from another.
what i usually do is duplicate the new merged layer, set it to exclusion mode, add a gradient map and play with the opacity. then i duplicate that and do the same thing with another gradient or another blending mode. i tend to add like 3-6 layers of bullshit over my drawings, including textures and other filters like "bloom" or "sharpen". i understand everything that's going on there but i don't think too deeply about it, i just pick whatever looks best.
for the final touches i always pull up the saturation and contrast (since a lot of it gets lost in the process), and i usually have to manually change some colors (ibispaint X has a filter to do that) or tweak the curves. then i add chromatic aberration, noise set to overlay and little polka dots set to linear dodge.
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here are some comparisons of the before and after of recent drawings. the 1st one is very subtle, but you can clearly see how much warmth and depth it gains it gets after all the postprocessing. the 2nd one is so different that i understand why you're curious about how i pick colors. i don't think i can replicate that look just from picking nice colors, there's a lot more going on!! the 3rd one personally feels like it had potential lost (i liked the yellow highlights), but the colors were too strong and all over the place, so the finished result looks more intimate and calm and i like it a lot more.
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thank you for the interest anon, i'm very happy that you like the way i color things and i hope i have explained myself. good luck with your own journey!!
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campmcskin · 1 year
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Color and saturation tips, for Minecraft skins!
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Minecraft skins have a very low resolution. This means it is much harder to get a lot of information into the space we are given. Dark colors against a light color will add a lot of information and look like a dark shadow. Deep shadows on light surfaces are typically something you want to avoid.
To the left are two light colors. Notice how the values (V) barely moved? With how bright the top color's value/lightness is, it would be really sudden to make it much darker. A nice truck to make a color appear darker, is to move the hue and saturation just a little. Your lightest color should have the least amount of saturation and your darkest should have the most/almost the most.
As these light colors get darker, you can start moving all three sliders more! Don't be afraid to experiment with random hue shades as well. With every new color, you should have a different hue.
You typically want your lightest color in a palette to have the smallest number in the saturation slider (S). The darkest should have the most saturation.
(I like this side of the palette) c:
If colors are too saturated, they can look unnatural.
Notice how the first few colors are similar in brightness? This keeps the palette from getting too dark too fast.
Lighter :D
Bright colors can't be treated the same as dark colors any small changes looks huge.
Additionally, highlights that are lit by white light reflect all of the colors from the light back. When all the colors are bounced back like this, it keeps the white/desaturated color because we assume the surface isn't absorbing surrounding colors. So light colors should be less saturated if they are the highlights.
And finally, the original palette for the hair and skin are clashing because they are so similar. Both rely heavily on bright yellow highlights with warm red shadows.
To the left is the lovely T Swift. When selecting colors from her skin, they all fall under the red hue. Most light skinned folks have a red undertone to their skin (Of course not all, but it's a pretty safe assumption for art :D). Humans are big walking sacks of blood, red shows up a lot in our skin color. Not so much a very saturated yellow. Some yellow, orange, pink, purple, and blue variations are normal, but not usually in extremes.
Original from @emeraldliker on Planet Minecraft! Give them a follow, amazing content!
(I usually treat the bangs like one big shape, but that's a personal preference)
Taylor really is red
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bonesblubs · 2 years
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hello fair bones!!!!!! i hope you're havin a swell day today :DDD
if it's alright to ask, from a beginner artist, do you have any tips for coloring after lineart? i love your art sm and your sketches are all so fluid n clean w such vivid expressions and hnhnghgng it's always so cool to see how much you can convey with a single drawing!!!! i keep getting frustrated by how my lineart always seems to lose its initial expressions after coloring so any shading/lighting pointers would be v much appreciated ;;
ALSO I LOVE YOU SM YOU SEEM LIKE A RLLY COOL PERSON TUMBLR IS A HAPPIER SITE TO LOG ONTO BC YOURE HERE PLS BE SAFE AND HEALTHY AND MAY YOU HAVE GOOD SLEEP QUALITY AND VIVID DREAMS <<<333
Oh sure yeah!! So obviously a lot of this is from color theory and there are so many great resources for learning it such as this book (I've linked the PDF), but here are some notes-
I took a neutral drawing without lighting and did some quick/simple color corrections using the 'level corrections' tool and an overlay layer. This stage is mostly just toying around until you feel like the emotion or mood that you want to capture is headed in the right direction. I actually haven't done a lot of lighting painting or corrections to any of these drawings- just shifted the palettes to fit the theme. Even that makes a huge difference. I have made no changes to the drawing or expression.
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You can see in my notes why I made certain decisions; none of these are 'rules' and they can be played with and broken! But a visual shorthand can be used to communicate things more effectively/efficiently. For example, I noted that high color contrast between figure and background (i.e. figure is blue while the background is red) creates drama. Whereas low contrast between figure and background gives your eyes a rest and is less work to look at/information to absorb.
You can also see that saturation is a large part of this- for high drama/emotional scenes I use more saturated colors to draw attention to it, but for softer/more neutral scenes the colors reflect the lack of conflict.
Similarly, harsh shadows and highlights can create a feeling of tension when shading a figure that a more subtle approach to shading would not.
This was mostly to show that color can have a huge effect on expression, especially at a glance, so thinking through your choices and being aware of the language will certainly help in expressing what you want to express. Super recommend checking out the book I linked, it helped me a ton when I started learning!
Hope that helps!! Always happy to answer further questions (and thank you very much!!! <3)
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artterminalph · 1 year
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Art Tip #1 - Color Theory: A Crash Course
Art isn't complete without colors, right? Unless you'd consider a blank white sheet of paper as art, then by all means...
In today's first stop at the Art Terminal, we will be learning how to use colors using Color Theory! Being knowledgeable about basic color theory can really help you develop your skills as an artist no matter what medium you'll be using - be it traditional art, digital art, or even a mix of both! It may seem confusing at first but with this guide, you'll be making well-coordinated compositions with flying colors in no time!
PART 1: How to use the Color Wheel
This infamous wheel by Isaac Newton helps you see the relationships between the colors.
Keep in mind these 3 categories:
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⓵ Primary Colors: Red┃Blue┃Yellow These are the first three basic colors - all other colors can be created by mixing them in different ways. Tip: mixing all three creates the color brown! ⓶ Secondary Colors: Purple (red+blue)┃Green (blue+yellow)┃Orange (yellow+red) If you've noticed, these colors are created by mixing our primary colors. ⓷ Tertiary Colors: Red-Orange┃Red-Purple┃Blue-Purple┃Blue-Green┃Yellow-Green┃Yellow-Orange As you might have guessed, we get these colors by mixing our primary and secondary colors.
Part 2: What are the Color Properties?
Keep in mind Color has 3 primary properties:
⓵ Hue: the colors in their purest state - or in other words, a color's name.
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⓶ Saturation: the brightness or dullness of a color - the intensity or purity of a hue. Tip: High Saturation/Saturated = color looks very bright ┃ Low Saturation/Desaturation = color looks washed out or greyed out
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⓷ Value: the degree of lightness or darkness of a hue. Tip: There are 3 ways to change a color's value: Shade┃Tint ┃Tone
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Shade/Shading: a shade is a color that is produced by adding black.
Tint: a tint is a color that is produced by adding white.
Tone: a tone is a color that is produced by adding grey.
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PART 3: What is Color Harmony?┃What Color Combinations or Schemes can we use?
Go back to the Color Wheel as it is a good reference in helping you create appealing schemes. Here are 6 common combinations you can apply in your work:
⓵ Analogous: uses colors (around 2-4) that are next to each other in the color wheel - Match them!
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⓶ Complementary: uses colors that are opposite or across of each other on the color wheel - if you can't match 'em, clash 'em with their opposites! Tip: matching these colors creates great contrast and visual interest so they can overpower each other sometimes so keep that in mind.
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⓷ Split-Complementary: 1 base color then 2 colors adjacent to its complementary color - if the contrast too much, split them!
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⓸ Tetradic: uses 2 complementary pairs. This forms a rectangle on the wheel - if you need more variations go double complementary!
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⓹ Triadic: 3 colors that are evenly spaced out in the color wheel. You're free to choose from a variety!
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⓺ Monochromatic: uses different tones, shades, and tints of a singular color. Sometimes it just works!
PART 4: What is Color Temperature?
Ever wonder why some compositions feel cold or hot? It is a fact that color has the ability to evoke feelings or emotions. As such, color temperature is the one responsible for this - it is the "warmth" or "coolness" of a color.
Warm colors: Reds┃Oranges┃Yellows Generally seen as colors that are bright, cheerful, active, or happy
Cool Colors: Purples┃Blues┃Greens Generally seen as colors that are dark, mysterious, melancholic, or gloomy
And that concludes this stop for today! These tips are a lot to take in, we feel you, and that's alright - come back to this station when you need a quick reference. We hope you learned a lot from this and that you'll be able to apply them in your paintings or digital illustrations!
Now pack your art supplies and start creating! Safe travels~
– Post by Leonardo
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milkweedman · 1 year
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Would you mind making a text tutorial for dyeing with onion skin? I want to use up all the skin i collected but i don't trust the tutorials i found so fahr. 😅
Sure ! I don't know how helpful it'll be (I am not the best note taker of all time) but I'll give it a shot.
I don't tend to measure things, so I usually just do all my onion skins (4 or 5 big handfuls) with however much yarn I want to dye (usually around 100 grams, iirc) and end up with saturated colors and lots of extra dye bath. However, a 3 to 1 ratio of wool to onion skin (by weight) should work well.
Put your onion skins in your dyepot with water (I always use yellow, if you use another kind of onion you will get different colors of course). I haven't found the ratio of water to onion skin to matter very much, just make sure you have a lot so that it doesn't all boil off. Bring to a low simmer and let it cook until the skins are almost colorless and the dyebath is richly colored. If the skins are translucent before the dyebath has good color, just keep cooking the dyebath down until it looks good. Typically I end up with a deep red at this point.
Remove the onion skins--I like to strain the dyebath into a large dedicated bowl to remove the skins, but you can also pick them out with tongs.
Mordant your wool. Usually I give mine a copper bath, but the type of mordant you choose should depend on what color you want.
Once the wool is mordanted, return it and the dye bath to your dyepot and gently simmer with a lid until your wool is a good color. This should take several hours, and possibly overnight. For overnight dyeing, it's safest to turn the stove down until it is no longer simmering, and keep a lid on. My way of testing this is to use tongs to lift some wool up, pull off a lock, gently rinse it, and let it dry near the stove for a few minutes. If you've reached the color you want and still have lots of color left in the dyebath, just reserve the dyebath and once it's cool it can be stored in water bottles in a pantry for at least a year (that's how long I've left some dye bottles sitting around, and they worked very well).
Modify your color if you want. Then rinse in water the same temperature as your dyebath until it runs clear. Let dry.
Some colors you can get, depending on mordant (this is all for yellow onion skins specifically, as that is the only type of onion I buy).
With no mordant, or with vinegar: wheat-colored
With baking soda mordant: gold
With iron mordant: greyish green
With copper mordant: olive green
With alum mordant: bright yellow
If overdyeing a light color (in my case it was light brown), you can get a rich brown if mordanted with copper and iron.
Can't wait to see what colors you get :D
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unknownarmageddon · 5 months
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bro info dump, rn, also, what’s ur sketchin process? you got an art process bro? explain
Okay!! So!!! For my sketching process I start with just like. A stick figure. Basically
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after I figured out that was something I could do it’s helped me IMMENSELY like it’s insane. It’s really good with helping me map out the scene I want, poses, and proportions and stuff. It’s a great starting point for me ig
and then after I get that down I just. Starting gettin to it I guess. Layin down shit y’know
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I use a lot of different colors to help like. Differentiate different parts so it doesn’t just all bleed together when I look at it. Helps get stuff looking less wonky for me ig. Also the way I do sketching is a lot of going back and forth and like shifting around lines and smoothing stuff out via erasing. Generally really intentional and not quick or energetic or whatever. IDK it’s hard to explain
I also do a shit ton of moving bits around and resizing and rotating and all that. That’s like one of my favorite things about doing stuff digital is the fact that you can move stuff around basically effortlessly it’s great. That’s my crutch man
after I get my sketch how I want I usually do the background after, depending on if I’m doing a big background or not. I’ll either do the background between the stick figure phase or the entirety of the sketching phase. Doing the background then helps me from getting tired of the thing I’m working on A LOT like it’s like. A break I guess. Cause I don’t like sketching but I fucking love doing the backgrounds.
and for my backgrounds I have. Absolutely no idea how I do those it’s such a process. I black out when I do them I don’t notice the exact way I do them /silly /j But usually I’ll lay down the base shapes and colors and then do just. So much rendering. Like it’s really just me fucking around with colors and lighting and shading and stuff. That’s also usually when I establish the palette I wanna use for the piece. And I usually do the background in one go.
Then after the background I do lineart, which isn’t that exciting so I don’t got a lotta say about it. Same thing with the base colors, which I do after the lines.
THEN after that’s when it gets fun, which is when I do the rendering. For this it’s just a lot of me fucking around with shading and colors again I do like. Fifty (/j) passes of shading and lighting and just. Colors. I usually start with like a base of cell shading, which I’ll either leave as is or soften the edges with one of my brushes. Depends on the piece. THEN I’ll go in with my airbrush brush and slap on a bunch of the same shading color to like. Add interest I guess. usually I’ll keep my focus where my light source isn’t instead of just doing it all over it IS deliberate. Generally keeps stuff from being as flat as it would be if it was just the cell shading. And I do that for several layers and mess around with opacity and etc
these are kinda some good examples you might be able to see what I mean here
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after I get the shading down’s when I fuck around with like. Overlays??? Sorta but not really but I dunno how else to describe it. Basically this is when I start layering on whatever my lighter value is. Usually it’s a bright red or a bright purple. In the spots I didn’t shade as much. This kinda like. Makes stuff more vibrant, cause I find that the shading can make stuff look less saturated in cases. Again idk how to describe it BAHA also that’s just how I like doing my colors 👍
the whole coloring process is hard to explain that’s when I really get Hyper Focused and get into this coloring frenzy so I’m not fully conscious of how I do it /silly
ANYWAY after the colors I’ll usually do the final touches of like, coloring my lines. I’ll airbrush on some bright red and/or purple in spots and then turn the opacity down so it’s not that in your face, but it is there, so my lines aren’t just pure black. Then I’ll lay on some low opacity layers of whatever my shading colors are, like a dark purple, to tie stuff together more. Then I slap on some random noise. Love that shit. And any final final shading rendering stuff and also usually I’ll add a border around the main focus (the character(s), usually) via copying the layer that is that character, putting up a color vector thing or whatever you call it, selecting it with my selector tool, expanding the selection a bit, and then coloring it again. Hard to explain but that’s the gist. And then I’m done!!!
So. Yeah. That’s the Armageddon Art Process I guess :] /silly
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lord-shitbox · 4 months
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part 2 of this ask
📝Process for hurt mezu drawing 
here are the steps i dug out of an art server's wips channel lol
1. initial sketch
2. refine sketch. thats lines now babey. (omitted "the sleeves are KILLING ME WAHHH" stage that led to this)
3. grayscale, to use with gradient map (this is a more polished grayscale than I started with, i dug the working file out to get better images)
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4. find nice gradient map (ended up being the same one I'd used for the piece i made right before. the goal is to make what's essentially an underpainting, not to color the whole thing with one map)
5. tweak and add colors that arent in the map with hard light layers & also sneak in a layer for special effect and atmospheric/ scenic perspective while you're at it
6. shading & more finishing effects. pretty much all of the shading was done with hard light layers! the only non-hard light layers I used for the shading were the particle effect layers & like one faint glow layer to fix some values. blood was done with linear burn
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✨Inspiration for hurt mezu drawing 
the coloring method (grayscale -> saturated gradient map underpainting -> additive color adjustments) is something I tried out with the piece i'd made right before (the one where gozu is holding mezu from behind) & turned out really well, so I wanted to keep going with it
I also wanted to draw them angstily again because it'd been a very long time. like half a year at least. angsting them is very enriching for my soul so I try to do it regularly, this one was overdue
subconsciously referenced the poses in the initial sketch from this old thing (feb 2021). i love doing this. all my for-fun works recycle old elements in some way. my favorite game is "what old art reminds me of what im doing rn" im so good at digging stuff out of my archives for it. everyone loves when i do this
the gangi-kozou panel also
i went through a "shade in bold red-orange & dark blue with hard light layers" phase in like..april/may of 2021. i still like that stuff a lot so I wanted to revisit it
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💚Things you like about hurt mezu drawing
repasting the link there but the sixth image in the process is essentially the final so you can just look at that
the colors are nice!! I'm real happy with using more saturated colors n I think the warm vs cool balance works really well
the sleeves (man being dramatic on the sand meme)
no like fr look at the 2021 piece's kimono sleeves vs the one I just did 2.5 years later. so satisfying
Gozu's expression came out nice
i think the claws and flash lines successfully added Emphasis to Gozu's expression & the piece overall
the poses … the drama …. the brush textures are also good
⏳Things you’d do differently with hurt mezu drawing
add in a liiitle more contrast...aka use a wider range of values. Some lighter lights and darker darks. I miss my 2021 hard neon lighting
a bit more distinction between the characters and the background also
the composition isn't bad but it could be better. Should've thought more about the way the eye would flow around the image in the drafting stage (solid b&w color block thumbnails are good for this)
Moar Sparkles. (I put a solid amount of large & low opacity light bubbles in there & some finer brighter dots especially around the claw stems, but I think more clusters of tiny bright lights on the characters themselves would've gone hard)
💌Some favourite feedback on art
as the wise man Austin Kleon once said: keep a "praise file" of all the positive feedback you get (if you've never read "Steal Like an Artist," you must). so. i am prepared for this question hold on
tastes like sugar glass
multiple people have told me my art is soft & dreamlike
jayce you reblogged my touchstarved art with nice tags on april 10th ive got that saved love uou
umm theres a lot...anytime someone keysmashes or feels emotional because of my art i get happy ,,, lys messaged me about the hurt mezu piece that made me happy also,,,,,there is so much joy in the world
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zerotosixty · 9 months
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gif coloring showcase!
i’ve been posting the before & after of my coloring process on my #coloring tag, and i thought i would revisit a few gifs that i made recently in one big post!
i’ll talk a little bit about each coloring and some of my decisions in editing the way i did, so buckle up.
first: post-sprint fernando in austria
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before: aston martin likes to add a filter over their videos, and while it’s not a bad thing, it is super low contrast sometimes and adds a lot of gray
after: just brightened up the overall gif and got rid of this yellow-ish tint.
overall i am very satisfied with how this turned out
second: alex and logan ft. a snake
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before: very gray and low contrast
after: brightened it up and added vibrancy and saturation to the colors
third: fernando in canada
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brightened up the gif and added back some of the vibrancy lost because of the overcast/cloudy weather
really satisfied with this one
fourth: kalle at dmec sweden
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probably the most drastic change of coloring here
before: very saturated with red lighting. the red added a tint to everything here
after: fixed the color balance to be more natural.
not perfect, but good enough! i like how this one turned out
fifth: post-qualifying fernando in austria
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a simpler edit than the rest
i got rid of the blue background. the blue was bulking up the gif size and pretty inconsistent. it is lighter at the top than it is at the bottom. by turning the blue into black, it saves space
i also deepened the blacks, essentially making the black fireproofs darker. detail is lost (you can see that the folds of nando’s shirt disappear), but since it is a gif, you don’t need all the detail anyway
before: 6.3mb gif -> after: 3.6mb gif
and that’s it for this showcase!
i will probably do this again in the future since it’s fun to show/talk about the coloring process.
+ please remember to support gifmakers on tumblr!
also for anyone wondering, i use photoshop to make all my gifs edits.
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