#DONT tell me to flip the canvas i literally do and it just makes everything zigzagged ARGH

[paradimeart]

aggghhh why is everything so difficult

[ot3]

My approach to flat colors + limited palette drawings

This is a follow up to this post  i made about how i go about figuring out a color palette for my limited palette drawings. an anon asked me about my actual technique of finishing them so this is gonna be an explanation of how I work in a limited palette with flat colors. I ended up with these thumbnails for a sketch last time so we’re gonna work from here and I’m gonna sort of walk through how i got to the finished version

first things first: every part of this process is just developed as a result of me messing around. take my advice with a grain of salt and if you think you know a way to do something better/that makes you more comfortable. go with that over what I say.

I’m honestly a little surprised when people express confusion about how i draw like this because it’s SUPER simple - literally all you’re doing is just stacking solid color blocks of shape. its very imprecise despite how sharp everything ends up looking. 

First things first is that you want to decide how you will be handling your edges throughout the duration. Do you want your shapes to be ultra-sharp and precise, or do you want a little bit of a wobblier, grainier edge? Both can look good but it’s VERY much a matter of situational basis. i’ve been favoring looser and grainier shapes so that’s how i’m going to be working on this. 

on the left here, you can see the shapes made with precise rectangular selections and an untextured pen, on the right, freehand drawn shapes and a grittier pen. There’s something immediately pretty different feeling about them. So play around with that first - its not something that’s fun to change halfway through! But lets step back a minute. It helps to work large to small. The two biggest shapes here are these orange chunks and everything gets stacked on top of them so i’m gonna do that first. 

Now, a key feature of what i do: clipping masks. almost all digital art programs have them. What a clipping mask does is it constrains the pixels of a layer to the transparency of the layer below it. Here I have the light orange layer, and then on top of it the buildings and billboard are clipped to the orange. Most of you probably already know this and I’m overexplaining a bit, but there was a time when i didnt know how clipping layers worked and someone had to explain it to me.

now you’ll notice the shapes of the buildings are rough, and sloppy. here’s the fun part: since this is all about stacking shapes, only your exterior edges matter. this all gets filled in. be as sloppy as you want when you’re making your shapes. in fact, the outside edges get trimmed out a bunch to when i do this - i go in and erase them clean. Don’t be too finnicky about drawing perfect and precise! its a waste of time. As long as the silhouette is what you want, the interior can be a nightmare.

Working this way, it’s important to keep your layers stacked in a way you can make sense of. Right now there are four layers here: the background dark orange, the two main orange rectangle shapes, and then the buildings on one layer and a billboard on the other. I rack up a LOT of layers doing this and it makes it annoying in some aspects, but being able to freely recolor any one chunk without losing my detail is a key aspect of this.

So, I block those out

Next, I do the same for the smaller chunks that are still main shapes. There are once again, a lot of layers here. The top layer is the hair - you can see the head showing through it. The head and arm underneath the hair, same layer. Then the cup. Then the light green pieces of paper. Then the dark green ones.

The cup is technically farther forward than the head and arm so you would think it’d go on top, but the point isnt to recreate the foreground and background hierarchy with layers so much as it is to group things in a way i can work with. The cup goes underneath so it can be grouped with all the other objects on the table. 

now, i just go and fill in all the shapes. i forgot to do the blinds but i get them later. you might notice a lot of these shapes are pretty rough, which was harder to notice before they were filled in. Now that I can see better, I go in with an eraser and clean up the edges until they’re the shape I want 

sometimes erasing leaves little bits of ‘noise��� around objects like on this napkin here. i like to keep a little bit of this noise for texture, but if you dont like it make sure to get rid of it! if you’re working very crisp this will stand out a LOT

Next up is to add some detail onto the objects

I flipped the canvas here because the head shape was wrong - the ears were uneven and i wanted to fix it. I want to go about adding detail onto the billboard and buildings. i do all detail with clipping masks - but the objects are clipped to another layer and so nothing can be clipped to them. instead, i unclip them and just erase by selection for the same effect

all of the text on the papers is clipped to the papers below it. the buttons are clipped to the phone. the yellow photos and card are actually another independent layer on top, in case i want to recolor them separately. im indecisive and end up recoloring things a lot. For the most part these objects are starting to become recognizable as more than just shapes

i go in an add the details on the background and character now. theres some more stuff on the table. the lines of the face and ears are on one layer, and the flats of the eyes below that. Here’s what each group of layers is, and what they look like on their own

The background/bottom chunk. Just the table, window, and shirt.

The middle bit. All the stuff on the table and the blinds.

Finally, the top, which is just his head and arm. 

now this stage is the bare bones of the drawing. you can more or less tell everything that’s happening. it reads. but its very much lacking in something - it doesnt have a ton of depth or interest. and adding that additional detailing, the dept and interest, is where stuff starts getting REALLY tricky and subjective. 

im gonna take you to a much simpler scenario to show the sort of options i go through at this stage

ahh its our dear friend, sphere casting shadow. this is, more or less, the kind of image we have. you can tell whats happening but it’s lackluster. there are TONSSS of ways frm here that you can go add interior detail to a shape once it has been established. here are some quick and SUPER rough examples

from top left to bottom right: flat cel shading, softer airbrushed/gradient shading, halftone, and a textured brush. Each of these has their strengths and weaknesses. They can also be combined.

for example, here’s the solid cel shading being used to contain a gradient/airbrushed detail. This image - probably the single oldest piece of my art i still willingly show people - is entirely colored with gradients being contained in cel-shaded chunks. It has a sort of soft, luminous quality but without losing its crispness.

here’s a super quick bust with some variations of stuff going on. obviously this is no masterpiece but you see how different types of detailing can interact with each other and be used to distinguish materials too. 

With the mob psycho comic I did, the detailing that wasnt line was done using a variety of halftones of different shapes layered on top of each other

by contrast parts of my ace attorney comic use a textured brush and have a sort of blended, papery feel

any of them can work for pretty much anything as long as you are using it with intent. practice around. mix styles of finishing together. find a comfort zone. the more you do it the more intuitive it becomes and at the heart of it this process is a very intuitive way of drawing because of how far removed it is from realism.

Now here is the trick - light and shadow.

Everything up to this point has been very flat and adding detail helps but there’s only so much that can accomplish. To get HEAVY light and shadow you need to think about things differently. I think if there’s any part of this process that’s complicated, its this one. 

To truly get the most out of your palette, you need to pick chunks of an image to be in higher/lower light and then either ‘step up’ or ‘step down’ the colors in that chunk. here’s what I mean.

Here’s our ball with a beam of light on it. Everything Within the beam of light is one step in our limited palette lighter than anything outside of it. Here’s how I go about doing this: the shape of the beam of light is below everything else. Then, once I have the shape blocked out, i select it. With that selection in place, i go to EVERY SINGLE LAYER that’s effected, lock the opacity, and recolor that chunk. So what’s going on here is that there is only one more layer - the beam of light, below everything but the background, and the rest of this effect is just caused by every layer above it now being two-toned following the exact same silhouette. THIS is why it’s so important to keep your layers separate - if the shadow and highlight had been painted onto the base directly, i would not be able to do this without significant effort. 

This works with all of the finishing techniques I talked about above

A combination of cel shading and half toning, all stepped up to give the appearance of heavier light on one area.This is also how I go about rendering transparency in this style. All of my layers are fully opaque and I allow the colors to do the work of conveying transparent material

Here’s our ball with the patterned/textured brush  shading, being viewed partially through a window

it’s obviously not a very representational way of working, but as long as your audience UNDERSTANDS what you’re trying to convey, then you’re executing it successfully.

So with that, now we’re gonna go and finish this drawing.

For this one, I decide a big central shadow is necessary. In the original thumbnail, he was backlit, which I still plan on doing, and that wouldn’t make sense without casting a shadow.

I’ve had to change the colors of some objects entirely in order to get this to work right. This is what I mean when I call this an intuitive process - some stuff felt weird, so I changed it. This also involves a bit of problem solving. The newspaper is now unable to be separated from his hand. Sometimes changing the color of an object makes that object look better, but ruins its relationship with the objects around it. It’s up to you to learn how to adjust and finagle things until you get it where you want.The paper he has and the napkin underneath it also all blend together now.

The next few parts of this process are REALLY just trial and error, where I toss a bunch of spaghetti at it until it works. It’s hard to decide what to screenshot, because I don’t know what will or will not be part of the finished drawing. To that end, you can watch the recording of this drawing here. This video isn’t edited at all so it contains a couple of minutes of really shitty sketching, and then all of the color thumbnailing work i did in the last post. Actually getting started on these final colors begins around the two minute mark. It is also sideways, I am sorry I don’t know why. 

Now, here you can see where I’ve more or less worked things out. His hand’s not on the cup anymore because my friend pointed out it didnt have an arm attached to it. I added some halftoning to make a gradiating effect in the sky and on the table to give the impression of a sunrise. His eyes are different but as of posting this, I don’t like them and am probably about to go back and change them again. The Cup now has a shadow and some rim lighting. His hand is in shadow. The stain on the napkin is big enough to define the edge of the paper on top of it.

Little things like that. 

The more you draw like this the more the way you need to think about your space becomes natural. I hope this helps and I wish you all the best of luck!

[crowsent]

👶,⭐,💘, and💻. Love you!!

thank you for ask anon! writer ask game is here if yall wanna send in something. still taking asks for these btw

👶- advice for new writers =

yall this is hella fucking generic but PRACTISE. theres a reason almost literally every writer on tumblr gives the advise of “practise practise practise” and that reason is it works. practise doesnt mean ‘oh just write bc youll automatically get better over time’ it means ‘write bc if you dont, you wont figure out what you need to improve.’ did yall know that i literally had no sentence variation in the past? i started every sentence with [character name] or [character pronoun] and i didnt realise until i was 15/16 and i only realised bc i started writing a lot.

i think there’s a fear of failure with new writers. there’s this lingering doubt of  “what if its not good?” and boy howdy i will answer that question right fucking now. it wont be good. when i compare my current work to my earlier work, my earlier work sucked fucking shit. i spelled soldier with a fucking ‘j’ and i had no idea what the hell a point of view was. and thats okay. whoever tells you that youre going to perfect writing is a fucking liar. there is no perfecting writing. 20 years from now, imma look at the writing from today and im gonna think it sucks shit. writing is a process. its a craft. you get better and better over time and the way you get better is by experimenting w different styles, different genres, different ways of writing.

and the only way you can experiment and improve is through practise. in video games, especially rpgs (which are my favourite kind of video games), you struggle in the early game. youre at a low level, you dont have good equipment, you have a hard time moving to the next area. but the only way you progress is by grinding, gaining levels, and getting stronger. same w writing. if youre a level 1 writer, just starting out, no idea what to do, just experiment. fuck around a bit. write crackships, write rarepairs, write niche self-indulgent reader/character fics. at the end of the day, you should write for yourself. its good and cool if other people like your stuff and validate all your hard work, but at the end of the day, the one who should enjoy your writing the most is yourself.

you WILL mess up and you WILL struggle, but thats the only way you can improve. i struggle with pacing the most. still do. but others might have pacing down pat and struggle instead with word choice or pov or something else. cant figure out where you need to improve if you dont write, so just practise and worry about all the fine print later

⭐️- how do you get your inspiration? =

this is definitely not universal, but i just sit on my bed, close my eyes, and meditate. cycle through all my emotions and thoughts and filter them out. then i just toss everything out the damn window. like. id just meditate for a while, focus on breathing, on experiencing the present, picture a field and a tree and myself and breathe. thoughts fly by and i let them happen but dont focus on it.

meditating gives me some semblance of emotional control bc i normally have none, and it gives me kind of this space. this safe space that only exists for me and me alone. so i use that space to let the world drift away. just me and my thoughts and sometimes, those thoughts end up being good writing ideas. but i usually meditate for a set amount of time. like 15 minutes or 30 minutes so i dont write until i finish meditating.

then when i get out of my headspace, i open up my laptop and see what i remember. thinking too hard about something causes it to muddy up. same with art. in digital art, artists flip the canvas to refresh their eyes, see if there’s anything weird or wonky about the illustration that they normally dont see bc theyve gotten used to it. flipping the canvas is like giving our eyes a jumpstart and lets us see what we could do better. in traditional art, its turning the canvas this way and that or repositioning yourself. meditating is like that. a break. a cleanse. a kind of pause where you dont think about anything and just try to process what you already have. you relax and kind of let yourself float down a river of thoughts and sometimes, a fish would jump out of that river and youd go “hey, thats a good idea. i should try that” so when you get out of the river, youre refreshed and ready to go.

same principle with showers. more ideas come to you in the shower when you dont have anything to write with bc youre not thinking about it. youre not focusing on finding inspiration or motivation so ideas naturally flow through you. you know that feeling when you want to do x then someone comes along and says “hey you should do x” and suddenly all motivation to do x leaves? same w your brain. focus too much on “i should be writing” or “i want inspiration” and its never gonna come. just let things happen. at least, thats how i do it. some people might get inspiration by reading or watching tv. everyones different so if thats not what works out for you, dont feel pressured to try my method

💘- what’s your favorite AU? Least favorite? =

magic au. specifically fantasy au set in like a pre-modern era. shows like avatar where theres all this magic and fantastical beasts and so on and so forth. semi-modern like six of crows and nevernight are great too. i want that magic to be woven into people’s lives. harry potter is okay but there’s like this separation between magic and muggle. there’s this feeling of “magic” but like as a tool. like a spoon or a gun or a shovel. i want magic au’s that are INTEGRATED with the world its set in.

like in atla, earth kingdom people have trains they move with bending while fire nation people have machines powered by heat and steam. both correspond to their bending and makes sense for the world they live in. but if your plot is like harry potter and its less worldbuilding and more action, then there’s this book series called seasons rising (read it. so good) where there’s a bunch of spells but the spells have character. the people using the spells GIVE it character and it feels much more intimate. pokemon does the whole fantasy mixed w reality better. give two trainers the exact same pokemon and by the time that pokemon reaches lvl 50, its gonna have a different moveset, different fight style, etc bc it was shaped by the world and people around it. i like harry potter but tbh it could have been so much better

for the least favourite au, it’s A/B/O i dont like the whole “omegas are only good for breeding hurr durr” and “alphas are violent and aggressive and cant control themselves around omegas” thing and it squicks me out. major squick. i read the original harry potter squick (THAT one. yeah. you know the one) and i still hate a/b/o more. i get why people like it, and there are one or two fics set in a/b/o au that i enjoy reading, but as a whole, i severely dislike a/b/o fics.

the themes are squick, the character dynamics get so messed up, and shipping dynamics (bc a/b/o fics usually have shipping) just get so blown out of proportion. there are so many a/b/o fics that turn ooc or the character interpretations radically change or something else. no hate against a/b/o fans bc yall are amazing for writing/drawing yalls au. there are things that you can only do in this setting and exploring those things can be incredibly fun for people, but for me personally, its not an au i like to visit.

💻- three works of yours that are must reads =

i. dont know what fandom youre in anon or your genre preferences. so ill just rec you one fic for a different fandom each with kind of different genres. ts masterlist is on my side @hufflepuff-deceit and regular fanfic masterlist is on my writing blog @crownonymous 

(BNHA) Viper. its my first serious attempt at fanfic in YEARS and its my baby. currently has 7 chapters, i havent updated it in a while bc im hyperfocused on ts rn, but i love it to bits. its just all of my fav bnha fics crammed into one fic. quirkless kind of villain izuku with stain as a mentor as they work together to bring light to the injustices of hero society and where bakugos bullying has visible and long-lasting repercussions? sign me the fuck up. you can read it on ao3 HERE bc its not on tumblr. kind of fast-paced, has a lot more action scenes than anything else ive written. heavy plot-wise but has a lot of humour and comedy to break things up

(Kimetsu no Yaiba) I Pray To God He Hears You. not related to my other kny fic oleander which is a multichap retelling au. iptghhy is a standalone one-shot and kind of a character study on one giyuu tomioka. i love him so much. giyuu is my baby and i adore him. so of course i wrote a sad fic focusing on him. well technically, the fic focuses on giyuu AND his relationships.  SPOILERS for chapters 130 and 131 of the manga. focuses mostly on giyuu and sabito, but there’s a fair bit of giyuu and tanjiro and urokodaki.  you can read it HERE bc this is also not on tumblr. also deals with heavy things but more emotion-wise since it doesnt have that much of a plot. loss. grief. moving on. survivors guilt. that kind of stuff.  very sad. hurt but with comfort, especially at the end.

(Sanders Sides) Logan’s Birthday Fic: Logicality. just what the title says. i wrote 5 different fics and published them all on logans bday but the logicality one received the most feedback and honestly? the cutest of the bunch. its gonna be crossposted onto ao3 but for now, you can read it HERE on my ts sideblog. theres no plot since its literally just domestic and relationship fluff. and puns. patton is in the fic, theres gonna be puns. nothing but good things and warm feelings bc logan deserves it.

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thank you so much for such interesting asks anon! i enjoyed answering these. have a lovely day!