#YES this is a scanned in sketchbook piece that i colored digitally

[thewisestdino]

The Trojan Roomies (Lalia, Cat, Jeremy, Jean)

[molluskzone]

the thing that i dont get about digital art / AI comparisons (saying theyre both "cheating" in the same way, which ive seen a few times from both pro-AI and anti-AI people) is that in AI the only input is like... the text. it doesnt just make things easier or faster, it completely removes your creative control over a piece and automates the entire process. it's like... typing your essay out on google docs (easier and faster than writing by hand, you have access to spell check and dont need to erase or scribble out words you want to remove, formatting is much easier, etc) vs just inputting a prompt into chatGPT. do you understand the comparison im making here? it's literally the exact same concept, except i've never seen someone say that typing your essay on a laptop is cheating because "it's easier which makes you lazy and not a REAL writer, you're the same as the people trying to pass of chatGPT as their own writing".

also, if we're going there... all of the "cheats" you can do with digital art are entirely possible in traditional art (minus stuff like animation which are absolute HELL to do traditionally, especially 3d animation, but that's besides the point). so i don't even get the art-purist "you-can't-call-yourself-a-true-artist" pretentious argument here. YES, traditional art takes longer and costs more to make (you can buy a tablet once for 200 dollars, and connect it to a laptop which most people already have (or just use your phone/tablet which is even cheaper), and then have that be your only expense for YEARS except for replacement pen nibs and cables. meanwhile, sketchbooks are expensive and you need to constantly buy them, colored pencils are expensive if you're serious about it because you need a lot of different colors, paintings are on another level when it comes to materials cost, etc). i genuinely respect traditional artists since that shit is tedious. HOWEVER... saying that digital art is "cheating" kind of reveals to me that you're just unaware of all the potential "cheats" in traditional art. yes, theres some skills you need to learn, like coloring evenly with colored pencils or alcohol markers, or learning brush techniques and blending, color mixing, color matching, taking good photos of your art if you are someone who wants to post on social media, but there are ALSO unique skills you need to learn in digital art, such as managing layer types, learning to disconnect your eyes / hand (if you don't have a screen tablet), optimizing the image for digital viewing, color choosing (WAY HARDER TO DO DIGITALLY THAN TRADITIONALLY). they're equivalent in this way.

however... layering? use a light box and separate your sketch and coloring / lineart layers. undo? use a light box. quickly change colors? plan ahead better. physically paint over part of the piece. want to make multiple colored versions of a piece? cut out a lino block and use different colored ink to make prints. scan the drawing, print out more and color over them. tracing? fucking put the piece of paper over your laptop screen and trace it (we were expected to do this for practice in my high school art classes). mirroring / "flipping the canvas"? hold drawing up to mirror. if youre drawing on paper, hold it up to the sun or use a light box and flip it. symmetry? you can buy tools for this in which you hold a physical mirror up to half of your drawing and trace the reflection. we also used these in art class. you can also use tracing paper for this- it's my preferred method for making symmetrical traditional art, and for redrawing parts of a sketch / full piece that i want to move around or replace. color picking? any method you use digitally you can also use traditionally. the only trouble is IMPLEMENTING said colors in a full piece... but you also have to do that digitally. the biggest hurdle in color picking for traditional art is just... not having the resources to create a certain color easily, but that's a "can't afford a lot of paints / colored pencils / markers" issue, not necessarily a skill issue. even photobashing reference images or rearranging a piece is possible traditionally if you like... cut the sketch out and rearrange it physically before tracing over it, or physically making a reference with the same method. it is not hard and i have done this traditionally before. you can also use tracing paper for this. line stabilization is the only thing i've seen that's actually unique to digital art, but you can mimic this in traditional art by just... weighing down your art tool or having to redo the lineart a few times with the light box method (time consuming, yes, but not necessarily skillful. it just takes longer if you're bad at it, but the SAME results are possible). different layer types? just do the "math" in your head and figure it out. ive literally mimicked multiply layers before without actually using a multiply layer just to see if i COULD, and the results were the same. the only fully 100% true comparison i've seen is that stuff like AI-generated coloring and shading applied to digital art are "cheating" but that's... not digital art at that point... you're just making an argument again AI specifically because they are separate... it's closer to someone recreating an AI image themselves, or editing an AI image to make it look more realistic, which are, again, separate topics. also you can literally shade and fix traditional art with AI too if you take good enough photos of your art so this isn't even really a good argument against digital art specifically, it's an AI issue.

the only argument i see that makes sense is that traditional art, digital art, CGI animation, and AI art are all their own mediums that all require different skill sets (though i'd argue that traditional art and digital art are much more similar to each other in what skills you need than any of them are to AI art, but whatever). which i honestly kind of agree with? or i would is AI art was more ethical and not used in really dumb ways. but i personally think the AI slop is ugly, and my main gripe with it is that people try to "trick" others into believing AI art is real art by refusing to label it, or even labeling it maliciously incorrectly by naming fake artists as a credit for the image. you can't really do this with digital art since it's... pretty obvious when someone is creating something digitally. you know exactly what you're getting.

i think its fine if you want to say that traditional art is better or that you respect it more, because you're allowed your own opinion (even if i think you should at least experience drawing digitally before making a snap judgment). but its not "cheating" and its certainly not comparable to AI

[monsterbrush]

Could you tell us about how you do your art?

Okay, whoa holy shit, I gotta answer this don’t I? This is gonna get long so I’ll put it under the cut. Sorry, it’s a lot of reading:

So, there are two ways I do my art. First: Traditional sketch w/ digital coloring. You’ve probably seen my uncolored doodle pages, which are just scans of pages from my sketchbook, nothing special. When I color them, I open them up in photoshop and, after putting down a white background underneath everything, I use this handy-dandy lil trick called Multiply:

This allows me to color underneath the drawing layer, which ends up looking like this:

Very simple. Now, onto digital stuff. 

For this, I’m going to use the fanart I made for a Mad Max: Fury Road fanfiction called Unlikely, because it’s a good example of a full blown illustration from start to finish. Brace yourself for a lot of photoshop terminology that I am not going to explain because there’s no time.

Step One: The Thumbnail

This is the initial sketch of what I wanted the piece to look like. It was very small, but once I was satisfied with it, I resized it to fill the entire canvas and lowered the opacity to about 30%. I didn’t spend too much time on this, I got the basics down and that’s it. Thumbnails aren’t supposed to be pretty, they’re supposed to illustrate the bare minimum of what you want to achieve. Every proper illustration I make starts with this step.

Step Two: The Sketch

This is drawn on a separate layer above the thumbnail, and you can juuuust barely see the thumbnail underneath. For both the thumbnail and the sketch I like to use a mid-tone gray because it mimics a 2H pencil which I use for sketching on actual paper. During this step I can take the time to adjust the size of certain elements (I made Slit smaller, for example, and played around with head size and positioning), and make the composition nicer than in my thumbnail. In my sketch I also try to include as many details as I can, to make the line art easier on myself.

Step 3: Line Art

Line art is always tricky, but thanks to my detailed sketch I can get the line art down quickly. Again, I lowered the sketch layer’s opacity down to about 30%. For crisp, sharp lines I use full opacity and a round brush. For this step I use pure black because I want the lines to show up nice and clear, and I kept the size of the brush around 5 px as the smallest, 6 px as the average, and 7-8 px at the largest, to keep the line art consistent. 

Step Four: Flat Colors

Here’s where things are gonna get pretty touch and go, these steps aren’t very well documented and I employ a method I lovingly refer to as “100 Layers McGee”, because I use a buttload of layers. During this step I carefully fill in the basic color for each individual item in the drawing. So: skin gets a layer, clothing gets a layer, bandages get a layer etc. If two items aren’t touching each other, they can be on the same layer, but if they are touching they are put on separate layers. I call this the “Can’t Touch This” method. 

This can add up to a lot of layers. Don’t ask me how I keep track of all those layers, the answer is: I don’t. If I step away from a drawing for more than two days I will forget which layer certain things are on and will spend a little while looking for that thing by turning off each layer one-by-one. Yes, sometimes I don’t find which layer the thing is on until much later. Yes, I am okay with this. This is what works for me. I am willing to suffer if it makes other things easier. 

The reason I do this is because it makes the shading process much easier using this trick:

Step Five: Shading

See this button? I love this button. When I click this button all empty pixels in the selected layer become “locked”,  meaning that I can only color on the parts of the layer that already have color. It is a godsend. This is the same technique I use to color my traditional sketches btw, in addition to the “100 Layers McGee” and “Can’t Touch This” techniques. 

During this step of the process I keep a very close eye on the color panel when selecting my colors, and I use the eyedropper tool on previous drawings of certain characters in order to ensure that I get the correct shade/hue/saturation for specific elements to avoid making things too light or too dark. I will also reference other things like screenshots from the source material, or pictures from a comic page which has a similar color palette or lighting to the illustration I am currently making. I will later adjust the color of the characters according to the lighting I choose for the scene (this scene was lit by firelight, so I made the character’s skin slightly warmer and highlighted it with yellow/orange. I also used a similar color to highlight everything else in the image). 

Now, usually I have other elements like the background/clothing etc. filled in while I’m doing the shading so I know how everything looks next to each other but I don’t have a very good example of how that looks. But anyway, this is what the “skin” layer looks like with the proper shadows and highlights.

Sometimes I use clipping masks as well. I used clipping masks on the background in order to separate the cool shadows and the warm highlights, but that was just me being cautious because I was worried about fucking up something. That step looks something like this:

The coloring and shading steps require a bit of know-how regarding color theory, composition, contrast etc. basically a lot of planning and a lot of thinking. Practice is the key folks. Practice is always the key.

Step Six: Etc…

During this step I take the time to add my tumblr url and any additional credits/captions etc. I try to use fonts that are thematically appropriate. 

For most of my Mad Max fanart I use AgencyFB Regular, the font used for “Mad Max” in the Mad Max: Fury Road titles. This time I used a font called Road Rage Regular because it looked awesome, and for the dialogue I used a font called Act of Rejection Regular, because it looked awesome and fit the mood I wanted to convey. Never underestimate the power of a well chosen font (and keep in mind it should be reasonably legible). 

This is also the step in which I added the speech bubbles as well. Sometimes I might add a paper texture on top of everything with a multiply layer, however using this will slightly darken the overall image so I don’t do it often, but I did do it for this piece, though I had to make the speech bubbles lighter.

Step Seven: Sit Back and Stare at the Finished Product for 3 Hours

So satisfying.

[growhunter407]

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