#need to work on my paintovers in the future

[ebonynightwriter]

makorra request for @girlwiththeglow

it was fun to revisit these two after all these years 🥰

[aesthetic-sushi-6d3]

As you can probably tell I've been inactive here for quite a while! I still love tumblr, but Instagram has always been my main platform, and tumblr threads get reposted there all the time. Im not as much if a fan of Tumblr's layout either wich was the main reason for me going off both my accounts.

I think it's time to make a new account. I will only post my art there (and I'll make 2 other accounts for my DI comic series and nsfwart... Is nsfw art even allowed anymore? Idk maybe I wont make one here- I already post that on twitter and instagram). I will still reblog anything non-art related here though. And of course I'll keep my free asset master list up. :)

I thought of going back here for art because I never really have the chance to post sketches or anything. For aesthetics purposes I keep my twitter and main instagram with big finished pieces only and my sketch account never gets used because I hate it lol. Tumblr seems like a platform (to me) that will be fine with sketches and finished works on the same account. For Instagram and Artfol, I want to keep my feed looking nice and clean. And while Twitters accounts are similar scrollers like Tumblr, the space just feels more daunting in general.

Thank you all for your support throughout this account! I hope my future endeavors here stick, and wish you all the best of luck with yours. 💌

Also to give an example, since I havent posted any drawing on here since about- 2020? I haven't really posted anything on Instagram either because my feed needs to be very specific to me idk why. I rarley finish works but I love drawing in general! Here's a current wip of my favorite oc from my comic, Maximillian. He is a demon and the painting is of 2 possible outcomes to his life. It is a paintover TypeONegative's Peter Steele and Johnny Kelly. Peter is part of Max's voice claim, though Johnny's face is slightly more accurate to Max's own lol. It is based on this paintover-real-faces-with-ocs trend I saw. Idk the name of it, but I thought it would be a nice way to practice my digital painting. ^^

I hope you enjoy! I look forward to posting more art on this website in the future. ^^

[blackbyartblog]

I’ll be launching a Patreon!

So.

Guys.

I said it in a previous journal: I am launching a Patreon soon. What can you expect from it? What content? What do I expect to achieve with it?

What's the goal?

I love to teach and people say I'm good at it. I love to help. But most of all, I love cooperative creations. Working together to make something special, something dreamy and beautiful that even more people will appreciate.

I lot of you guys asks me for help regarding drawing and want to see my 3D models. You often ask for specific illustrations or printed merchandises from me. Thing is, I currently don't have the time nor the ressources to produce any of that.

Unleeeeess... I get help via Patreon!

Patreon seems the most fair, most simple and effective way to produce content that will satisfy both you and me.

What will be be on my Patreon?

For the moment and depending on the chosen tier:

Access to patreon only feed (Q&A, news, sales, personal blog posts, behind the scenes,...)

Access to the Discord server for art and lifestyle talk

Access to streams and chat live

Access to all SFW patreon only sketches & WIP before everyone else

Access to all SFW patreon only high-res illustrations before everyone else

.JPG of the process of creation with comments

Wallpapers on ask

Access to previous stream sessions

I review your drawings during live streams and do paintovers

Access to all NSFW patreon only high-res sketches, Wip & illustrations before everyone else

Get to vote on the next illustration and stream themes

Access to the Discord server for art feedback

Your name listed on social media with the content you helped create

Personal videochat lessons on drawing & digital painting. I'm your mentor.

-5% off commission

If we get far enough that I can open an online shop, You will get free or % off of merchandises you helped create by participating in the Patreon.

What's on my Discord?

For small pledge patrons: access to logs, announcements and "blog post". You get to ask for advices from me and the community about Art and improving yourself. Access to the inspiration board, science talk, mental illness talk, video games talk and the radio.

for bigger pledge patrons: you can suggest a character to draw or a theme for my next creations. You can promote your work in our community and get unlimited access to all the tutorials and art advices that I produce and that the community shares.

What's in stock for the future?

My ultimate goal is to produce figurines, or help you make your own. I would also like to put your ideas into an interactive display, be it: videogames. I already know how to do it but it demands a lot of time and a lot of work. Imagine your favourite character, right there as a figurine at home. Or being able to move it and play with it in an interactive environement. Do you have an idea of a video game mechanic or want to learn how to do game assets? That's what I want to offer you in the future.

So, there is the whole project. Now there are more questions I can answer:

How about your health? Can you really be consistent?

I can update monthly, yes, that's for sure. I tested it these past 3 month. I would not do more, at the moment; I need to test the water. See how it goes, and adapt the content after your feedback.

So.... NSFW stuff, hé?

Well, if you've visted my FurAffinity page (and are old enough to see it), you know that I do like to draw sexual content. It is not something that I will do every day, sure, but I quite like it and would like to do more of it. The access to those works will be under strict control, since I know that half of my fanbase is underage or are not interested about this kind of stuff.

Illustrations, tutoriels, then online shop, 3D modeling and figurines? Isn't it a lot to do? It seems all over the place.

It would be per month, so, no, it's not too much for me. Right now, I will only be producing illustrations, streams, sketches and managing a Discord for Patrons, so it is quite managable. The Discord already exist and has been tested. I may find someone to help me manage it in the future, and the number of students under my wing will be limited.

For the rest, what's I want in the future, yes, one 3D model would take more than one month to make. Then, as I said, I will adapt the content to what you guys want. I already know how to do it. I have the materials for it. It's not really different from what I already do, except I will do it for you. A sketch can be turned into an illustration that I will stream, then can be turned into a 3D model that will either be for videogame production or 3D printing, or just for view and render. Those are just different branches of the same tree, in my chain of production. Plus, if things go this far, I will have the means to hire someone to help me. Maybe one of you guys, héhé...

It's not for nothing than I only propose illustrations and art classes at the moment. 3D stuff and video game making demands more money and time to do than illustrations and streams. Only your participation and feedback will tell me if we can get further in this project...

I don't want to participate. What's in stock for the non-patrons? Is everything going to be behind a paywall?

On Discord, you can view the FAQ and have view-only access to the inspiration board, view-only of science talk, mental illness talk, video games talk and the radio.

Some of the illustrations and sketches done for Patreon will be released for free, after a time, but it won't be much and maybe not what you want to see the most.

I realize what I am asking for. I am so, so grateful for every bit of support you're giving me. I cannot repeat enough how much this means to me.

As most artists, I believe in free sharing; but capitalism doesn't agree with me on that, folks. My hope is that I can finance my creations via Patreon so that they could be released for free out there; but for more complex, time-consuming stuff, it is simply not possible. Patreon is the only plateform, with kickstarter, that gets projects funded with people giving such a small amount of money by individuals.

As I said earlier, having a Patreon seems the most fair thing to do. At the end, it's your choice of course. But bare in mind that I will go that much slower without you.

I would love to read what you have to say about this project, even if you already feel like you won't be participating. Do you find all of this interesting? Do you already have a favorite theme you would like me to focus on? Is there some part of what I offer that interests you more than another?

Are you intereste by an by month subscribtion or would you prefer to pay by products?

Let me know with a comment and see you very soon!

With love and respect,

Black_Berry

[brendagilliam2]

Draw a bad-ass geisha

In this geisha illustration I wanted to capture a grungy, dark, urban vibe, laced with elegant traditional Japanese elements. The idea that kept coming up again and again was to make her ‘bad-ass’. That’s the core essence of Geiko – she’s a geisha turned self-serving samurai, a vigilante within a dangerous cyberpunk universe. I got the idea from a competition to design a geisha or samurai character.

Here, I’ll explain how I developed this Geiko illustration, and my whole thought process and approach to the design. You’ll pick up tips on how to push your ideas forward and craft the final details. I want to leave you with concepts and methods you can adapt and use in your own work. So let’s start with the most crucial bit…

How to draw and paint – 100 pro tips and tutorials

1. Visualise the big idea

Geiko is a young geisha doll, driven by anger and revenge, roaming the streets as she takes down all the bad men that hurt people like her (Click the icon in the top-right of the image to enlarge the picture)

The very first step is deciding the look and feel of the character and capturing it all with a rough sketch. The most important thing is knowing exactly how you want your audience to feel about your character, because this will drive your whole thought process from start to finish. My core idea was to design Geiko so that people’s gut reaction to seeing her is: “That’s bad-ass!”

2. Generate thumbnails

Develop initial rough ideas that fit in with the big idea (Click the icon in the top-right of the image to enlarge the picture)

With that clear goal in mind, I jump into SketchBook Pro and use the Triangle brush to sketch my ideas out, exploring and pushing them further while staying true to the original Geiko essence. I keep it loose and gestural at this point, making notes on the ideas that I’d like to take forward. Throughout this process I keep asking myself, “Is she bad-ass enough?”

3. Finalise the idea

Play with your favourite ideas to try out variations (Click the icon in the top-right of the image to enlarge the picture)

This is where I take all my favourite ideas that came out of the thumbnail process and explore how they can better capture Geiko’s essence. I duplicate my favourite thumbnail several times and try out those ideas, mixing more Japanese cultural elements back in with an urban cyberpunk twist. Don’t add too many details just yet. All you want to do here is finalise your big idea.

4. Polish and craft the design

Refine the final character more (Click the icon in the top-right of the image to enlarge the picture)

Everything from this point on is just polishing up. You’ll still be making some design choices, but the core essence shouldn’t change. I usually start with the face, because it’s the most important part of any character. If I get it right, the rest falls into place. There are no secrets here. I sketch with the Triangle brush and Eraser, pressing S to quickly flip between the two brushes.

5. Refine the clothing

Use references to draw realistic clothes (Click the icon in the top-right of the image to enlarge the picture)

The next major element to get right is her kimono. I start by grabbing some references. (But remember: references are just guides, so don’t feel bound by them.) Then I create a new layer and make a rough sketch, focusing on the design and flow of the wrinkles. For the final look, I use the Eraser to follow my initial line work on the black kimono and create the white-on-black effect.

6. Accessories and props

You can build the character’s personality through accessories (Click the icon in the top-right of the image to enlarge the picture)

Using references, I work on the swords on her back, making a quick sketch in red to explore the function of the strap, while also playing with the idea of adding kunai knives. I also try to add clues about her personality, like a Totoro charm at the end of one of her swords. It’s subtle, but it helps make the character seem more well-rounded.

7. Bring in detail on her boots

White highlights create the impression of glossy leather-like fabric (Click the icon in the top-right of the image to enlarge the picture)

Next I start cleaning up Geiko’s boots. In a similar way to how I did the clothing, I use the Eraser to create the line work, which is consistent with the style of the image. Her footwear is inspired by a mixture of high-heeled boots with a sporty twist and Japanese ninja sandals. I want to create a glossy type of material for her legs, so I add white highlights to achieve that look.

8. Create the mechanical gauntlet

Tweaking details like this can bring them to life (Click the icon in the top-right of the image to enlarge the picture)

I want to keep the essence of my sketch, so I use the base silhouette of the gauntlet and start cleaning it up, erasing panel lines in, and drawing exposed wires to make it feel more customised instead of being built in a factory. I flick back and forth with the S key throughout, drawing lines in and erasing where necessary. I realise that the silhouetted gauntlet is blending in too much with her kimono, so I opt for a lighter version that helps to create a better read.

9. Stop… it’s paintover time!

A quick paintover puts the character in context (Click the icon in the top-right of the image to enlarge the picture)

Now that I’m almost done with the design, I take a step back and look for any bits I can push further. A quick paintover enables me to explore how I can exaggerate Geiko’s bad-assery. I add a more well-rounded toolset of weapons including samurai gun-swords and a traditional Japanese umbrella. Then I push the storytelling with dripping blood and bullet holes, along with a smoke trail that adds movement, mystery and depth.

10. Detail Geiko’s primary weapon

Build up details that add to the character’s story (Click the icon in the top-right of the image to enlarge the picture)

From the loose sketch done in the paintover stage, I begin to finalise the main sword design. I don’t want her weapon to be elegant or well-crafted, but to feel more imposing and threatening, so I choose to go with an exaggerated butcher’s knife. I use the Ruler and Lazy Mouse features in SketchBook Pro to create the long, sweeping arcs in the blade, ensuring the line work feels rough and grungy.

11. Add the finishing touches

Even discreet Japanese writing needs to be accurate (Click the icon in the top-right of the image to enlarge the picture)

Before finishing up the design, I take the time to polish it up. I decide to add more details to her mask and sword, tweak the design of her cross-body strap and give her some branding and tattoos, making sure I use the correct Japanese phrases. Details like these count. I also include a shadow pass to add more depth, as well as the juxtaposition of her red demon eyes and rosy red cheeks.

12. Establish the background

The story becomes more believable with a background for your character (Click the icon in the top-right of the image to enlarge the picture)

With the character done, I jump into Photoshop to create the background and atmosphere to round off the piece. I imagine Geiko in a back alley, fresh from a fight. So I add a floor and wall pattern, making these more sci-fi and grungy looking to enhance the cyberpunk feel. I add a quick gradient to them, which helps pop the character from the background and add more depth to the image.

13. Build background details

Custom brushes and textures push the realism (Click the icon in the top-right of the image to enlarge the picture)

I now add extra details and textures to the environment. Bullet holes, dust particles and dripping blood help tell more of Geiko’s story and push the final illustration. I use masks to blend some of the line work out, and use texture on the background and character with custom brushes to help it appear less digital.

14. Bring in action cues to push the mood

Use quick movements to draw puffs of smoke (Click the icon in the top-right of the image to enlarge the picture)

For even more depth and mood, I add action cues like smoke at Geiko’s feet. I use the Lasso tool to create the shape of the smoke, taking into account the wind direction that may tilt it slightly. I do this quickly to capture the motion, instead of lingering on it too long and making it too refined. Once I fill in my selection, to make it appear more like smoke I reduce the Opacity and use a mask to blend out specific parts even more, letting the background elements pop through.

15. Add a brand to your work

Identify your work as yours (Click the icon in the top-right of the image to enlarge the picture)

Branding, like your logo or signature and website URL, helps make your illustration yours wherever it ends up. People will always know whom to credit and future clients can contact you easily. Don’t forget to give it a title, too. It’ll help finish it off and make the piece feel more considered and complete.

This article originally appeared in ImagineFX issue 149. Buy it here!

Related articles:

How to create a comic page

How to draw manga

Draw a figure in under five minutes

This post comes from the RSS feed of CreativeBlog, you can find more here!

The post Draw a bad-ass geisha appeared first on Brenda Gilliam.

from Brenda Gilliam http://brendagilliam.com/draw-a-bad-ass-geisha/

[carlgoodmannua]

BA3a: Evaluation

Through this unit I developed my programming skills in two game engines and designed multiple games. 

Admittedly, I spent a lot of time working on the tasks - far more than I should have. I found an idea I liked with Task 1 and spent a lot of time developing the idea. I struggle a lot with blueprints in Unreal Engine 4, and so it took a while to create the pushable doors and crouch mechanics. I was able to get a death and checkpoint system working, but only for the first sliding door and crouch area. Blueprinting the other areas was a little complicated, and so I ended up not implementing death areas past these parts. I could improve on the gameplay a lot - there are no ‘puzzles’ and traversing through the level is mainly timing based. If I had more time I would have included shadow enemies that the player had to avoid. I realise that this task was not about gameplay, but immersing the player. I implemented sounds and tried to block out the level effectively, but I feel that it could be improved by adding more NPC interaction with the clones. For example, one was supposed to appear at the start and walk into the light, but that wasn’t implemented. Additionally, the game was going to be 2D. I did a rough paintover but decided it would take too much time to do all of them, so opted for a 2.5D game for the prototype. Ultimately, I spent too much time on this task when I should have focused more on the creative project. 

Exposure rough paintover

Task 2 was really enjoyable. I decided to make my weapon an ordinary banana because I found the idea funny. Through this task I learnt about projectile properties in UE4. I created a throwable weapon with the ability to peel the banana and throw the skin on the groun, and created respawnable ammo to refill the ammunition. I feel like I was successful with this task, but there were a few problems, such as the banana not disappearing when the player runs out. To improve I would add damage blueprints to the banana so it could be used to cause damage to health. 

After task 2, I switched to GameMaker to make games. Learning the coding language took a while, but I was able to create a few games with it, and I now feel more confident creating games using this program. I created the background for the treasure game in Marmoset Hexels 2.5. The coding proved a little difficult, but I was able to create a weighted randomness system, with the gems appearing at different frequencies. This is the task I am most proud of, and there isn’t much I would do to improve it. 

Weighted Randomness code. The code chooses a number between 1 and 100. Green gems have the highest chance of appearing, and Orange gems have the least chance of appearing. 

Task 3 Treasure game 

For Task 4 I created twitter accounts for myself and the game Atelo, but I am yet to use them regularly as I haven’t got very far in developing Atelo. I will be using these accounts more in the future when I get further in the development stage. 

https://twitter.com/carlgdmn

https://twitter.com/AteloGame

For the creative project, I began designing the game in UE4. I spent some time figuring out how to implement scoreboards and the mechanics I failed to programme the first time I did a prototype for the game. The blueprints were much easier to understand this time, and I’m surprised I didn’t figure them out in BA2a. On the other hand, I wanted to switch to a different engine as I found the visual scripting can get messy, and in my opinion Unreal Engine isn’t suited too well for 2D games. I switched to Game maker in December and began learning to code games. I created an Asteroids and Helicopter game to help me understand the basic code functions, and was able to implement most of them into my game prototype. 

However, the lot of things I could improve on. At the moment, the gliding mechanics feel clunky. I will need to work on the code more to perfect them. Furthermore, I failed to do the level art iterations or programme a cutscene. I will need to do these in the future. I will begin by spending a week or so improving on the prototype and ensuring all the mechanics are in place, and then I will work on designing the levels for the game. 

In addition, I wasn’t very consistent in updating my blog. I should have taken time to at least reflect on what I had done that week, and planned out what I was going to do the week after. 

Overall, this project has been really fun and I’ve enjoyed making and designing different games. Although I decided to switch to GameMaker, I’m sure the blueprints knowledge will come in handy in the future if I decide to make a 3D game. I will continue learning GameMaker and working towards creating Atelo in it.