This thing has been sitting on my computer for over three years. (Yes, it had already sat there for a year before I posted it on tumbles.) Now it is done, and I am done, and if I never see it again, I’ll be happy.
Turned out pretty cool, though.
Daytime reblog for those of you who were not, for whatever reason, browsing tumblr in the middle of the night. Sorry for spamming everyone again! Except I am clearly not sorry, because I am doing it anyway. I don’t understand myself sometimes.
OK to make a font out of your own writing
instead of printing it off just use this blank thing that way you dont have to scan it or anything
so fill that out by pasting it in any art program and whatnot
then save it and upload it to that site
and itll give you an option to download it
so do that and then install it BAM
didn’t know what to draw today so i thought i’d refine the design of one of my deity characters. made her antlers smaller and gave her skin more of a bruise palette.
for those of you who don’t know, this is The Goddess Of Bloody Corners, she and her sister are gods of the ‘fight’ and ‘flight’ reflexes.
she’s the goddess of all the fights that you shouldn’t, in a universe that even remotely makes sense, be able to win or live through. she comes to beings who are facing the killing blow from their attacker and gives them that little push to get up on their shaky legs, lift their weak trembling arms and try to rip the heart out of whoever DARE had the NERVE are yOU SERIOUS FUCK YOU YOU’RE GOING DOWN WITH ME.
and if you don’t win the fight whatever is after you will at least think fucking twice 5ever because why and how and NO.
one of her legs is constantly covered in fresh wounds but she feels no pain. the leg is barely usable so she walks with a very pronounced limp. she carries no weapons, has no official followers, speaks very softly, wears very little, and looks like a really easy target for both mortal and divine predators of all types. her familiar is a slightly bleeding wolf skin who’s face is always twisted in a manic grin, like something about it’s current situation is hilarious or it’s in on some grand joke.
when forced or challenged she will fight. the wolf skin spends this time laughing hysterically.
when the fight is over it gets to have the remains of whoever just made some bad life choices and any spare spilled blood is used as hair dye.
sorry if some of you knew this stuff, i just really like writing about her (◡‿◡✿)
umm well I have no idea if anyone would want this, but! I made a redbubble account so I could stick it up as a shirt (even though undoubtedly the vibrant colors are lost some! printers can’t handle it extremely well)
I guess it’s a start! I’ll try to do things here and there that I can stick in these places
Her use of colour is unparalleled.
I finally remembered to save shots of a piece along the way so I can show you guys a step-by-step!
First just let me emphasize that this has nothing to do with “how to draw” or “how you should make a picture.” Blindly following someone else’s process isn’t gonna help you learn a damn thing. My hope is that people might benefit from this by THINKING about my decisions and analyzing how you may or may not be able to incorporate this information into your own approach. Picture-making is an active problem-solving process. This serves as a good example of how I generally work, but I don’t make every picture the same way! I can’t, because every picture is different. If you only learn how to follow a set of steps or rules, and not how to think and problem-solve, you are going to hit a brick wall as soon as you have to create anything remotely outside of a very limited comfort zone.
Okay, now the steps I went through with this picture:
- Recently I’ve shaken up my usual way of working by starting out with silhouettes rather than sketching with line right away. Strong, clear silhouettes are important, and it helps to focus on the basic shapes of the pose rather than getting lost in markmaking and detail.
- I started over with a different pose because I wanted something more dynamic, based on this ref. Holding hands may be cute and all, but maybe not so practical when in battle. Besides, what’s cuter than two people with the dokis going into battle together knowing they’ve got each other’s backs?? IT IS THE CUTEST DON’T ARGUE ME ON THIS
- Lowered the opacity of the silhouettes, made a new layer on top, went to town. Drawing on top of silhouettes gives me enough information to go straight into clean linework, without the stiffness you get when you do clean lines on top of a sketch. Don’t trace the silhouette, it’s just a general guide. BE FREE.
- Got rid of the silhouette layer and made a new layer for color underneath the lines. Used the magic wand to select all the negative space. Expanded the selection by a few pixels, inverted the selection, then filled with an obnoxious color so I could see what I was doing. You may have to clean up some areas where the fill doesn’t match up with the lines (that’s where the bright color helps).
- The “coloring book” stage. Locked the transparency and blocked in the local colors (i.e. don’t worry about lighting yet).
- Added some hue variation. Again, we’re not worrying about lighting yet, so this isn’t about values. Getting some color variation in skin is really important, especially in faces (see here). I also created a clipping mask above the lineart to add color to the lines.
- NOW is when I start working with lighting/values. I like to work dark-to light, so I start out by putting a blueish shadow over the characters with a Multiply layer (on a clipping mask above the flat color layer, like all my lighting layers will be). Then I add in the first light source on a Hard Light layer (test out others like overlay, screen, etc. because different layer modes work better than others depending on the particular image you’re working with).
- So far my Multiply layer and my primary light source are both cool-hued, so I’m gonna add some variety with a warm secondary light source. I also added some very low-opacity white to fade some parts of the figures into the background more gradually (particularly the sword and the bottom of the shield).
- The last step is to add a subtle texture overlay, which in addition to providing a bit of natural texture also makes the colors a bit richer and more unified. I always fiddle with the hue/saturation/value of the texture image, because it has to fit the picture and it has to enhance it, not overpower it.
I hope that was helpful in some way! If you have any questions about how to use clipping masks, where to find brushes/textures/etc., please actually don’t ask me, because that stuff can be easily discovered by googling. But aside from those kinds of inquiries, or things addressed in my FAQ, I do welcome any questions I might be able to help with!
Hey Tyler, you were featured on The Art of Animation!
(That blog puzzles me a bit, as the work we both do is not for animation productions.)
But dude, this is an awesome feature!
Deep in the rainforests of the Indian state of Meghalaya, bridges are not built, they’re grown. For more than 500 years locals have guided roots and vines from the native Ficus Elastica (rubber tree) across rivers, using hollowed out trees to create root guidance systems. When the roots and vines reach the opposite bank they are allowed to take root. Some of the bridges are over 100 feet long and can support the weight of 50 people.