#playing with gradients and textures

[helloitssunshine]

Another peemo post

Version without shadow layer over v

[paintingskyblutf2]

tried making a wallpaper in sfm

unedited version below ↓

i'll make another one in vertical format for mobile too, someday. feel free to use with credit.

i am not very good at it but if anyone has sfm poster/image requests(or usual doodle requests), my ask box is open!

[pocketscribbs]

Made another fan cover feat. Rotunda

[blue-reimu]

i am running on 0 sleep and half-assery so this came out poorly but i spent way too long on it so have it anyway. was experimenting with brushes and trying to learn how to make certain textures

god the anatomy on the arms is so bad but something something art is about having fun and i had fun grrrrr

[xitsensunmoon]

HOW TO GLAZE YOUR WORK WITHOUT A GOOD PC(or on mobile)/TIPS TO MAKE IT LESS VISIBLE

Glaze your work online on:

Cara app. It requires you to sign up but it is actually a good place for your portfolio. Glazing takes 3 minutes per image and doesn't require anything but an internet connection compared to 20-30 minutes if your pc doesn't have a good graphic card. There IS a daily limit of 9 pictures tho. Glazed art will be sent to you after it's done, by email. It took me 30 minutes to glaze 9 images on a default setting. Cara app is also a space SPECIFICALLY for human artists and the team does everything in their power to ensure it stays that way.

WebGlaze. This one is a little bit more complicated, as you will need to get approval from the Glaze team themselves, to ensure you're not another AI tech bro(which, go fuck yourself if you are). You can do it through their twitter, through the same Cara app(the easiest way) or send them an email(takes the longest). For more details read on their website.

Unfortunately there are no ways that I know of to use Nightshade YET, as it's quite new. Cara.app definitely works on implementing it into their posting system tho!

Now for the tips to make it less visible(the examples contain only nightshade's rendering, sorry for that!):

Heavy textures. My biggest tip by far. Noise, textured brushes or just an overlay layer, everything works well. Preferably, choose the ones that are "crispy" and aren't blurred. It won't really help to hide rough edges of glaze/nightshade if you blur it. You can use more traditional textures too, like watercolor, canvas, paper etc. Play with it.

Colour variety. Some brushes and settings allow you to change the colour you use just slightly with every stroke you make(colour jitter I believe?). If you dislike the process of it while drawing, you can clip a new layer to your colour art and just add it on top. Saves from the "rainbow-y" texture that glaze/nightshade overlays.

Gradients(in combination with textures work very well). Glaze/nightshade is more visible on low contrast/very light/very dark artworks. Try implementing a simple routine of adding more contrast to your art, even to the doodles. Just adding a neutral-coloured bg with a darker textured gradient already is going to look better than just plain, sterile digital colour.

And finally, if you dislike how glaze did the job, just try to glaze/shade it again. Sometimes it's more visible, sometimes it's more subtle, it's just luck. Try again, compare, and choose the one you like the most. REMEMBER TO GLAZE/SHADE AFTER YOU MADE ALL THE CHANGES, NOT BEFORE!!

If you have any more info feel free to add to this post!!

[alfheimr]

My Favorite Cheap Art Trick: Gradient Maps and Blending Modes

i get questions on occasion regarding my coloring process, so i thought i would do a bit of a write up on my "secret technique." i don't think it really is that much of a secret, but i hope it can be helpful to someone. to that end:

this is one of my favorite tags ive ever gotten on my art. i think of it often. the pieces in question are all monochrome - sort of.

the left version is the final version, the right version is technically the original. in the final version, to me, the blues are pretty stark, while the greens and magentas are less so. there is some color theory thing going on here that i dont have a good cerebral understanding of and i wont pretend otherwise. i think i watched a youtube video on it once but it went in one ear and out the other. i just pick whatever colors look nicest based on whatever vibe im going for.

this one is more subtle, i think. can you tell the difference? there's nothing wrong with 100% greyscale art, but i like the depth that adding just a hint of color can bring.

i'll note that the examples i'll be using in this post all began as purely greyscale, but this is a process i use for just about every piece of art i make, including the full color ones. i'll use the recent mithrun art i made to demonstrate. additionally, i use clip studio paint, but the general concept should be transferable to other art programs.

for fun let's just start with Making The Picture. i've been thinking of making this writeup for a while and had it in mind while drawing this piece. beyond that, i didn't really have much of a plan for this outside of "mithrun looks down and hair goes woosh." i also really like all of the vertical lines in the canary uniform so i wanted to include those too but like. gone a little hog wild. that is the extent of my "concept." i do not remember why i had the thought of integrating a shattered mirror type of theme. i think i wanted to distract a bit from the awkward pose and cover it up some LOL but anyway. this lack of planning or thought will come into play later.

note 1: the textured marker brush i specifically use is the "bordered light marker" from daub. it is one of my favorite brushes in the history of forever and the daub mega brush pack is one of the best purchases ive ever made. highly recommend!!!

note 2: "what do you mean by exclusion and difference?" they are layer blending modes and not important to the overall lesson of this post but for transparency i wanted to say how i got these "effects." anyway!

with the background figured out, this is the point at which i generally merge all of my layers, duplicate said merged layer, and Then i begin experimenting with gradient maps. what are gradient maps?

the basic gist is that gradient maps replace the colors of an image based on their value.

so, with this particular gradient map, black will be replaced with that orangey red tone, white will be replaced with the seafoamy green tone, etc. this particular gradient map i'm using as an example is very bright and saturated, but the colors can be literally anything.

these two sets are the ones i use most. they can be downloaded for free here and here if you have csp. there are many gradient map sets out there. and you can make your own!

you can apply a gradient map directly onto a specific layer in csp by going to edit>tonal correction>gradient map. to apply one indirectly, you can use a correction layer through layer>new correction layer>gradient map. honestly, correction layers are probably the better way to go, because you can adjust your gradient map whenever you want after creating the layer, whereas if you directly apply a gradient map to a layer thats like. it. it's done. if you want to make changes to the applied gradient map, you have to undo it and then reapply it. i don't use correction layers because i am old and stuck in my ways, but it's good to know what your options are.

this is what a correction layer looks like. it sits on top and applies the gradient map to the layers underneath it, so you can also change the layers beneath however and whenever you want. you can adjust the gradient map by double clicking the layer. there are also correction layers for tone curves, brightness/contrast, etc. many such useful things in this program.

let's see how mithrun looks when we apply that first gradient map we looked at.

gadzooks. apologies for eyestrain. we have turned mithrun into a neon hellscape, which might work for some pieces, but not this one. we can fix that by changing the layer blending mode, aka this laundry list of words:

some of them are self explanatory, like darken and lighten, while some of them i genuinely don't understand how they are meant to work and couldn't explain them to you, even if i do use them. i'm sure someone out there has written out an explanation for each and every one of them, but i've learned primarily by clicking on them to see what they do.

for the topic of this post, the blending mode of interest is soft light. so let's take hotline miamithrun and change the layer blending mode to soft light.

here it is at 100% opacity. this is the point at which i'd like to explain why i like using textured brushes so much - it makes it very easy to get subtle color variation when i use this Secret Technique. look at the striation in the upper right background! so tasty. however, to me, these colors are still a bit "much." so let's lower the opacity.

i think thats a lot nicer to look at, personally, but i dont really like these colors together. how about we try some other ones?

i like both of these a lot more. the palettes give the piece different vibes, at which point i have to ask myself: What Are The Vibes, Actually? well, to be honest i didn't really have a great answer because again, i didn't plan this out very much at all. however. i knew in my heart that there was too much color contrast going on and it was detracting from the two other contrasts in here: the light and dark values and the sharp and soft shapes. i wanted mithrun's head to be the main focal point. for a different illustration, colors like this might work great, but this is not that hypothetical illustration, so let's bring the opacity down again.

yippee!! that's getting closer to what my heart wants. for fun, let's see what this looks like if we change the blending mode to color.

i do like how these look but in the end they do not align with my heart. oh well. fun to experiment with though! good to keep in mind for a different piece, maybe! i often change blending modes just to see what happens, and sometimes it works, sometimes it doesn't. i very much cannot stress enough that much of my artistic process is clicking buttons i only sort of understand. for fun.

i ended up choosing the gradient map on the right because i liked that it was close to the actual canary uniform colors (sorta). it's at an even lower opacity though because there was Still too much color for my dear heart.

the actual process for this looks like me setting my merged layer to soft light at around 20% opacity and then clicking every single gradient map in my collection and seeing which one Works. sometimes i will do this multiple times and have multiple soft light and/or color layers combined.

typically at this point i merge everything again and do minor contrast adjustments using tone curves, which is another tool i find very fun to play around with. then for this piece in particular i did some finishing touches and decided that the white border was distracting so i cropped it. and then it's done!!! yay!!!!!

this process is a very simple and "fast" way to add more depth and visual interest to a piece without being overbearing. well, it's fast if you aren't indecisive like me, or if you are better at planning.

let's do another comparison. personally i feel that the hint of color on the left version makes mithrun look just a bit more unwell (this is a positive thing) and it makes the contrast on his arm a lot more pleasing to look at. someone who understands color theory better than i do might have more to say on the specifics, but that's honestly all i got.

just dont look at my layers too hard. ok?

[datcravat]

HI HELLO I love your art So much,,, do you have any tutorials on how you render your stuff? For example, the colors you use & how you pick them, how you get that pink tone around the Lineart (I think) (it's just rly cool). I would love to see stuff like that, cuz your art is Such visual candy (⁠◍⁠•⁠ᴗ⁠•⁠◍⁠)

Hey! Thank you so much, I'm glad you like my art, I worked hard to make it what it is!! Means a lot you appreciate it!!!!!!

I've had no professional art training, I seriously don't know what I'm doing and struggle making tutorials. But will try here!!

For me the colour work is really situational on the drawing! I find myself experimentally attempting to weaponize colour theory and there's a lot of instinct involved that I can't figure out how to verbalise yet. Here's an example of some thought process I have:

My main advice is to play with sliders a lot and really experiment (that's what I do for every drawing)!

To get the pink glow around your lineart, copy your lineart layer, fill the copy in with a pink of your choice (sometimes I do a gradient), blur the layer (experiment with how much blur you'd like), put it directly below the lineart layer, and set the layer to multiply (or any mode you think looks pretty)!

You may want to adjust your piece's brightness/colours after applying it and sharpen the image after exporting.

A lot of colour gradients are involved and on their own they can eventually compromise the gritty/punchy style, especially the ones that are between extreme and subtle. A good way to combat this is with screentones/haftones!! You can use them to diversify colours and imply shading/texture.

I recommend going nuts and having a lot of fun with it to find what works for you!

I often add a lot of small lens flares as they satisfyingly cut through the piece, imply flash photography (which goes well with the strong black shading), add visual noise to areas you don't want to be your main point of focus, are a great way to show speculars, and idk man sparkles are just pretty haha.

Go nuts with them and have fun!! When you get them to look good, think to yourself why that is.

I made a tutorial ~1 year ago on how I shade with black. This simple trick will really help it look good, 3D and rendered - it just requires a lot of knowledge about shadows to start with. I have a lot of experience rendering "normally" which helped me learn how to use black in an experimental way.

Minor correction that the shadows labelled "ambient occlusion" in the tutorial are actually just normal shadows, ambient occlusion is total lack of light.

I hope this is useful to you!! You have a knack for art, your work is very inspired. Please keep drawing!! I am still learning too, let's keep going baby.

-Cravat x

[nwarrior777]

making Hamlet fanart in 2024, slapping Juicy (main hero of Fat Ham, a modern play, Hamlet version, played by black fat queer person) on char design i saw in old b&w film while listening MCR playlist was an experience

highly recommend. also pls watch/read Fat Ham upd: image description added! (in alt text, but also under the cut)

(Image Description: List of sketches with 3 drawings. The textures used here are elegant looks-like photo silk (for clothes), soft shades and gradients. Shapes are sinking in each other depth. No color, black and white

It's fanart depicting Hamlet character being combination of different versions of him from different media: fat black queer masculine person being elegant, wearing mascara and lipstick (took from modern play Fat Ham) wearing vintage royal clothes (took from old classic film). The narrative of sketches also mixed of modern play (Fat Ham) and classic one

There are 3 sketches:

First one. It's the character described above (TC in text further) sitting in side view. His eyes is closed and face has melancholic emotion. TC is holding a scull. There is a simple-shaped silhouette of crown above his head. This image represent classic play melancholic vibes of character fused with modern play appearance

Second sketch. It's TC singing, while holding white pigeon in hands. It had previous classic-modern fusion vibes + a little vibe of disney princess song (because of bird and emotion expression similar to disney musicals). By left side of this sketch is stylized speech babble with music notes symbols and deformed text, visualization of singing. The text saying: "I want a perfect body", quoting singing of TC from modern play. By the right side of sketch there is arrow pointing at character with text "has most perfect body ever".

Sketch Three. It's dynamic sketch of TC in a duel (opponent is out of the frame), waving a thin sword (idk how it in eng, in my first it's шпага, a sword but specific type of it). From the chest of TC it's going steam, like character is heated mechanism pushed to limits. The face of TC is strong and determined, with mouth wide open trying to catch breath. Near this sketch is text: (text starts here) "He is fat and scant of breath" - original play quote. i know Fat Ham message. this one [the sketch with duel] here for slay jpeg reason (text ends here).

End of Image description)

[mays-simping-for-leona]

headcanons about leona's nature as a lion

ok sooo..let's talk more about leona's appearance and body because i want to do this so bad

leona's design is really really beautiful because there's alot of things that are basically in the real life lions, such as how his lashes are very long and him having this mascara around his eyes i guess? just like real lions

and there is really lions wich have mane in gradient color, leona has some red hairs if you didn't notice, lions have gradient hair just like that!

and about his lazines, if you actually search you will find that lions in general are very lazy and just sit around and sleep until the lionesses bring them food, it is in his nature man (beside having trauma and not giving a shit to try and do something in his life) 😭☝🏻

Also, I've always wondered, animals have a tail to help them walk and balance, so if we cut off his tail or if Leona's tail is injured, will he be unable to properly walk anymore (not just him but all the beastmen in general)? Or is it just for design's sake, as you know the human body is designed to be able to balance and walk without a tail

I think no one noticed, but his hair is exactly like lions mane, he has long strands and shorter strands like lions, and his smile (obviously) like cat's mouth

and i believe that leona can see in the dark like cats, and if he saw something nice or pretty or he feel danger, his pupils will dilate, maann i want to see this so badd i think he will look super cuteeee🥹

He also has a very strong sense of hearing and very sensitive ears. I can see Leona acting very violent if anyone touches his ears

another funny information, lions sleep 21 hours a day, leona is just being so accurate to his species

Also regarding Leona's combative nature, lions like to fight in general to prove strength and control so I can see why Leona decided to become dorm leader, He also doesn't mind students fighting in the dormitory as long as they don't cause annoyance to his ears and he is able to sleep

and the so obviously one, he likes meat soo much, i don't think i need to explain it

In addition, lions are animals that have methods of physical communication that are considered developed in the animal world, through licking, rubbing their heads, smelling, and nuzzling or whatever, i can see leona being very physically active around his partner (if he has one) and showing love and affection by licking their ears or face or wrapping his tail around their waist or arms or whatever, trying to be as much close as possible to their body, leona will melt if you pat his head and play with his hair, don't question it

leona will be extremely happy if he saw you coming to see him while carrying food, Cats in general always look expectantly at those around them and have a hunting instinct. They will always expect you to come carrying a good meal or a trophy, this will make them trust you and respects you more

cats in general will die to smell their scent on their partner, Leona will not mind stealing his clothes by his partner because he will enjoy smelling his scent on you. He will even become more intimate and say that he wants to sleep with you or take a nap as an excuse just to be close to you and smell his scent on your body

I imagine Leona has a rough tongue, I mean, not exactly like a cat, but a little rough texture, not like a human tongue

i also believe that he has a barbbed d-*shut up*

done, i might write part two of this if i have ideas, give me your opinion on this✨

[frenchkisstheabyss]

♡ Somewhere Only We Know ♡

♡ Pairings: artist!boyfriend!hyunjin x fem!reader

♡ Genre: fluff

♡ Summary: Things have been hard for you lately so you retreat to your boyfriend's apartment where you find all of the love and reassurance a girl could ask for.

♡ Word Count: 1.2k-ish

♡ Warnings: None really but reader's been going through a lot so she is indeed a little sad tonight.

♡ A/N: This is a request from @jehhskz who I promised to write a literary hug for so I really hope I lived up to my promise. Thanks so much for the request you beautiful human.

The night hangs quietly over Hyunjin’s loft, the fresh earthy post rain air gradually filling the space. Seated at his desk facing the open window, Hyunjin hums along to the music flowing from the record player tucked in a nearby corner. Before him on the desk sits an open sketchbook, textured canvas paper coated in a gradient of pastels that mirror the night sky.

And seated on the floor between his legs, wrapped up cozy and warm in his favorite blanket, is you. Working with his pastels typically dictates that Hyunjin use two hands but tonight he makes due with one, the other preoccupied with more important things like playing with your hair or tracing the contours of your face.

With your head resting against his inner thigh he can only reach one side of your face but that’s more than enough room for him to silently praise those beautiful features that take up more space in his mind than you know. The tips of his fingers are delicate, each brush of them across your skin so deliberate that it’s almost as if you’re one of his paintings. 

Lately it seems that the whole world’s caving in on you. The pressures of life have begun to take their toll and it’s all so much…too much. What you’ve needed more than anything is a safe place to be, somewhere to get away from it all, and Hyunjin couldn’t be happier to be that for you. “Jinnie…” you say—the first thing you’ve said in at least an hour—and the scratching of a midnight blue pastel against paper comes to a halt. In an instant everything around him disappears. There’s only you.

Hyunjin reaches around, cupping your chin, and tilts your head up towards him. You lock eyes, him looking down and you looking up. His eyes are the moon, yours are the sea, and, oh, how he moves you. “Need something, sweetie?” he asks, strands of dark hair falling loose from the hair band keeping it out of his face. You shake your head, the tiny hairs on your arm standing up as he strokes the side of your neck. “No, it’s just…do you ever wanna…I don’t know, run away?”

Hyunjin gasps, pretending to be on the verge of tears, “She said I’m so boring I make her wanna run away.”

“You’re such a drama queen” you giggle, rolling your eyes, “It’s not that. I mean, I do want to run away but not from you. From…” Your chest tightens at the thought of what troubles you, stopping your words short.

Hyunjin leans down to kiss you on the forehead, grounding you in this moment with him. His way of reminding you that you are safe here. “From everything else? Just drop it all and run as fast as you can to escape it? I feel that way all the time. Way more than I’d like to honestly.” 

“So how do you get over it?” you ask, relieved to finally have someone who gets it. “Hmm,” he sighs, glancing out at the endless night and back down at you, “Someone once told me that when we feel bad things that’s just our hearts telling us that something’s not right. So we shouldn’t just get over it. We should pay attention to it.”

You shudder at the concept, paying more attention to what you’re feeling is the last thing you want to do. “But every time I think about it I get so upset. I feel weak.”

Hyunjin’s expression sours the second the word “weak” leaves your lips. Sitting back in his chair, he holds his arms out to you, “Come sit.” Staying snug in your blanket burrito, you make your way onto his lap, quickly adjusting to your new spot. Hyunjin laces his arms around you, holding you close to him like something too valuable to let sit unprotected.

“Never say that again” he says, empathetic but unwilling to let you doubt yourself, “You are not weak. You’re human. Life sucks sometimes and you don’t have to force yourself to be okay with it. Not for anyone.”

Fidgeting with a loose thread in the blanket’s stitching, you fight your hardest to choke back the tears that inevitably come streaming down your cheeks. Life may be overwhelming but this—being loved by him even when you’re falling apart—is overwhelming in its own way.

Hyunjin pulls the sleeves down on his sweatshirt, using the smooth cotton to wipe away your tears as they fall. “So, where are we running to?”

“What do you mean?” you sniffle, blinking through the tears. 

Hyunjin looks at you like his reasoning’s the most obvious thing in the world. “You wanna go so let’s go. Right now. We don’t even have to tell anyone. Let’s just…fuck it…let’s go.” 

“You can’t just go, Jinnie. You have that thing tomorrow and—” 

Hyunjin kisses you, wiping your brain clean of any thoughts of pushing him away. His lips play a game of catch and release with yours. Drowning you in their soft embrace, letting you come up for air, and dragging you back down again. “What’d I say to you when I asked you to be my girlfriend?” 

“You said, ‘It’s me and you’” you recall, as if you could ever forget. 

“Me and you and you and me and me and you” Hyunjin says faster each time until you’re giggling through what’s left of your tears, “We’re in this together. You’re stuck with me.” 

He lingers closely enough to your face that you could steal a kiss of your own if you wanted to and you do. Your body rushes with so much heat that you let the blanket fall away, exposing you to a light breeze. Hyunjin pulls you over so that you’re stadling him, his arms locking around your waist.

“Take me wherever you want,” you whisper, “As long as I’m with you I don’t care.” It gives him butterflies to hear you say that and you notice his cheeks begin to go all rosy on you. It’s the cutest thing. Hyunjin plants his feet firmly on the ground, lifting you up without warning, and carrying you towards the bed. You cling to him for dear life, only letting go once he has you safely on the bed. Even then the two of you can’t quite untangle from each other. Not that either of you try. 

“Cuddle tonight and prison break in the morning, deal?” he asks, lit up with all the possibilities of where you could escape to together.

You yawn, settling into the fluffy mattress, eyelids growing heavy, “Deal.”

Hyunjin pulls you in, your head nestled against his chest, and strokes your hair as he hums along to the music once more. You drift off to sleep in no time. Comforted, loved, protected, and safe in the knowledge that tomorrow won’t be like the others have been because you’ve finally let him in. Finally let yourself trust that it truly is you and him. 

And him and you and you and him and…

[mikelogan]

gif tutorial

i was asked to make a tutorial for this set i made, so let's get right into it!

first things first, i downloaded the music videos from youtube in 1080p using 4k video downloader. unfortunately, the quality of youtube videos always seems... not great, to put it simply. plus these music videos are from the 90s, so they've been upscaled to 1080p after the fact. all of this works against us, but i've definitely worked with videos of lesser quality than these, so at least there's that!

when i gif, i import video frames to layers rather than screencapping. this comes down to personal preference. after everything has loaded, i group all my layers together and set the frame delay to 0.05. i then cropped my gif to 540x500.

the next step in my process is sharpening. i did play around with my settings a bit given the quality of the footage and the dimensions of the gif. i compared both @hellboys low-quality video gif tutorial to my regular sharpening action and my vivid sharpening action and in this case, i preferred my normal vivid sharpening action. i used this tutorial to create the action for myself, and you can find other sharpening tutorials here. this action converts my frames to video timeline and applies sharpening.

once my gif is sharpened and i'm in timeline, i begin coloring. i wanted to simplify the amount of colors used in these gifs, again because of the video quality -- i knew it wasn't going to have the crispness i would normally like for my gifs. here are my coloring adjustment layers and their settings (not pictured: my first layer is a brightness/contrast layer set to screen) (explanation in alt text):

all of these layers and their settings will vary depending on your footage and its coloring (and obviously, feel free to make the gradient map whatever colors you like if you aren't going for this exact look).

pretty basic coloring, especially with just slapping a gradient map on top (my beloved), but at this point, i still didn't like the quality of the gif, so i added a couple textures/overlays.

i put the left one down first and set the blending mode to soft light and the opacity to 8%. depending on what look you're going for, you could increase or decrease the opacity or play around with different blending modes. i like using this texture with lower quality footage because even when it's sized up a bit, it adds some crispness and makes things feel more defined. for the second texture, i set it to overlay and 75% opacity. we love and respect film grain in this house.

now for the typography! sometimes i really enjoy typography and other times it's the bane of my existence for the sole reason of just how many fonts i have installed. anyway, here are the settings i used for this set:

make sure the color of your font is white and then set the blending mode to either difference or exclusion. i can almost never see a difference between the two, but for this set, i used exclusion. below are the blending options (double click on your text layer to bring up this menu or right click and select blending options).

now we have to add the warp effect. with your text tool still selected, click this icon at the top of your screen:

from the dropdown menu, select twist. these were my settings, but feel free to play around with different warp options and their settings. the ones i use most often are flag, fish, and twist.

this last step is completely optional, but it's an effect i use in most of my sets with typography. duplicate your text layer (select the layer and ctrl+j), turn off the layer effects (click the eye icon next to effects), and set the blending mode to normal. right click on the layer and select rasterize type. right click on the layer icon itself and choose select pixels.

at this point, you should see the moving black and white dotted line showing that only your text is selected. then go to edit > stroke. here are the settings i almost exclusively use.

this is what your text should look like now:

using ctrl+T, move the layer off the canvas so you can't see any of the text anymore. you should be left with only your outline. click anywhere on your canvas to de-select the text we just moved. use ctrl+T again as well as your arrow keys to nudge the outline over to the left 2px and up 2px. this is personal preference as far as the positioning, but i almost never move it any other way. you can leave it like this, which i sometimes do, or you can set the blending mode to soft light like i did for a more subtle effect.

and that's it! rinse and repeat for each gif in your set or use a different warp effect on each gif to switch it up! if you have any questions about this tutorial or would like me to make one for anything else, please feel free to ask any time!

[girlboyburger]

How do you get that grainy texture on your art? It’s very nice!

thank you!! i love art that's soft and fuzzy...

i generally do it a handful of different ways, but i tend to bounce between a color noise filter layer in soft light mode, between 30% and 50% opacity,

... or i use something from my wide array of paper textures, and usually set the layer to overlay and play with opacity till i'm happy with it

......oooorr i do a combination of the two! which i did in the final version of this piece, which i Also added a gradient map to to make the colors a lil more ✨Dramatic✨

here's where i got (most of) my paper textures and here's a rainbow color noise texture (that i don't personally use but looks rlly similar!)

[darckxlady]

could you please do a tutorial of your game of thrones 'so much for stardust' gifs where it has the ripped paper textures? it's so pretty, and i'd like to learn how to do one with just the texture in the middle and two gifs on either side, like half and half and just having a rip in the middle. it's so cool how you did a gif in the middle though so i wanted to ask as well! all of them are so cool looking. you are extremely talented. if you don't want to though i understand :) thank you

TORN PAPER EFFECT + BLENDING TUTORIAL

thank you so much for your sweet words, dearest anon and i'm sorry it took so long to answer but it's here now so i'll try my best to explain <3 disclamer: this is the first tutorial i ever made, it's very screenshot heavy and it assumes the basic knowledge of ps and gifmaking. if there's something you don't understand, don't hesitate to ask <3 so, let's get to it!

1. PREPARING THE BASE As you can see in this shot there's a lot of space between Rhaenyra and Alicent and that makes it perfect for the ripped paper overlay without hiding much of the base gif. So the first thing i did was to crop it like this:

Also you want to make sure that the highlighted box (delete cropped pixels) is unchecked! After taking the usual steps for the animation (creating frames from layers, reversing the frames, setting frame delay) you continue with the video timeline and convert your frames into a smart object. psa: if you don't have the motivation or the time to play around with coloring here are some psds i recommend: 1, 2; as for the sharpening i think this one is the best.

now that you have your smart object sharpened and colored what you want to do next is drag it to the end of the canvas and duplicate it. after that you move the copy on the other end like the original and make sure it's under the coloring layers, like this:

After that you have to create layer masks (the highlighted icon above) for both smart object and the copy and change the blending option of the copy to screen or lighten (whatever looks best!). So this is how it looks now:

pls ignore that there are no layer masks on the smart objects i just added them after changing the blending rip </3 Now, as you see both gifs are like fighting eachother for their rightful place on the canvas. (fgfgfdf) To fix that you have to use a soft round brush to delete the parts you don't want. (feel free to play around with the brush however you want to get the result you want!) Here's my result:

2. THE OVERLAY

Now for the both gifs you want to use for the ripped paper effect you pretty much apply the same steps as the ones you did with the gifs for the base. Here are the two gifs i chose:

Before blending both gifs however you want to create a clipping mask for each of the smart objects coloring layers, like this:

And now you're ready to blend both gifs together! You choose the group with one of the gifs and change the blending again to screen or lighten and place the said group on top of the other. So this is how it looks now:

optional: if you feel like the base gif doesn't pop out enough you can always add a gradient map on one of both gifs and play around with the opacity and the color you think fits best.

Then you add a layer mask on the overlay gif group and again play around with the brush to delete what you don't want. So this is the final result:

ps - don't repeat my mistake by placing the group with the layer mask under the other group. it should be on top and the blending option should be lighten or screen.

After blending both gifs together, you're ready to place them on the base. So first thing you want to do first is place both groups of each gif in one single group together. Then you duplicate the said group in the psd of the base gif and create a layer mask. This is how it should looks:

Now, in order to create the ripped paper effect, you'll have to download a ripped paper brush pack. This is the one i use. After loading the brushes in ps (if you don't know how here is explained) you're ready to begin! Change the size and angle however you'd like to make it look how you want. And if you want you can move the overlay gif by choosing both groups in case you aren't happy with the adjustment. This is how it looks like so far:

We're almost done! Now you have to find a paper texture, (i got mine from google) place it between both groups of your gifs and create a layer mask, like so:

What you have to do here is pretty much the same thing you did with the overlay gifs. Still, make sure there's enough space for the text you want to write in. However, if you think that the space isn't enough you can just delete a bit more of the overlay gifs. Here's mine:

3. THE TEXT

You're finally ready to type out the text you want! If you're having troubles with choosing the right font and size, here are my text settings:

You can always play around with the angle and if your text is too small, zoom in so you can place it just how you like it. And since i'm a bit lazy to deal with it later, i choose to add the highlight color while it's still zoomed. You just have to add an layer above the text and use a soft round brush with opacity from 70-75% and flow from 15-18%.

For the repeated text you want to make sure you create a big space for writing so it can contain the whole space of the torn paper. Also, write where the text will be seen only and use the tab button to skip the space where the gif is. This is how it looks:

Once you're done with writing the repeated text, you want to select all the character layers and the highlight layer and move them under the overlay gif and on top of the paper, like this:

With the layers still selected and in order to contain the text within the paper the last thing you want to do is create a clipping mask. And that's It. You're done! This is the final result:

[loverofpiggies]

IT’S POWER, EVERYONE!!!

Check out my etsy shop

If you want to see how I made this piece, check out the extended stuff below!

Okay, the story behind this piece is nuts, but. I’ve known I’ve needed to work on improving my art for a while, so as you can tell from all the newest pieces, I’ve been trying to push myself. It started like this:

This was actually the fourth sketch I made. I knew I wanted Power to be looking down at us (you know, what she does with everyone), and I wanted to have her swinging a blood scythe in one way or another. I set up composition lines, but the more I looked at the sketch, the more frustrated I got. I finally just had to accept my anatomy and my 3d understanding of the body is very much lacking, and If I wanted to improve I had to work on something.

I watched a bunch of tutorial videos, and decided to try out the 3D model in Clip Studio paint. It didn’t take too long to learn how to manipulate the model, and I came up with this:

From here, I decided to do my quick sketch with Power

While I was experimenting with Clip studio’s art stuff, I decided to try playing around with their new “Shade Assist”. I figured it could give me some more ideas to make my shadows feel more ‘real’ or have me look at my art in a different way. Once I finished the lineart, got the color in there, and drew in Meowy, this is what I tried.

I really loved how the ‘evening’ mode of shade assist looked, even after playing around with my own colors, but I liked how it gave her a slightly more ‘yellow’ tone, and how the shadows were actually just lavender and light pink. So I took those colors, and worked on the shadows.

From there, I made the background layer. I used one of the Clip Studio gradient pre-sets, the ‘evening’ one, and painted a texture on top of it to have it match more with the textured painting style I went with. I added blood splatters, and ‘rectangles’ in the background, just to have more things visually going on.

On top of all of that, I added another layer on top of Power herself, with a very slight tone color of the gradient behind her, to make her and the background feel like they’re supposed to be together. And that’s it!!

I’m really happy with this so I wanted to explain my process. Looking around at tutorials on youtube, talking to artist friends who- tbh, are WAY more knowledgeable then me, helped a ton. And using the 3d model helped visualize the body, and different angles, WAY better then anything else I could find.

So uhhh thank you, and enjoy!

[beatriceportinari]

Another year, another outfit to die in! Happy birthday again Izuna!!!!!!

Like last year, I played with someone else's lines for these charming patterns, thank you so much Lena @elhnrt ! I had a ton of fun :D

Check the readmore for pattern references and explanations, there are some easter eggs in there :)

(x,x,x,x)

My goal for this piece, in addition to playing with patterns and textures and adding some Naruto references, was to add as many death flags as possible.

The idea of having Izuna in a fireman's coat is obviously not from me. I've always like the idea of Uchihas in fire resistant clothes, and the opportunity for a thick texture alongside a reversible double pattern is very appealing. I used the image of the second reference as a base, with skulls on one side and stylized lightning patterns on the other (visible inside the sleeves and collar). Both were common immagery of firemen coats.

The actual skull pattern is taken from the third reference. I'd seen this one before and before even learning anything abt it it was too beautiful to pass up. Those white and navy gradients are absolutely delightful and I enjoyed using my gel pens for them very much.... This particular type of imagery with skulls and bones in a field is called Nozarashi, inspired by Buddhist representation of death and transience.

The lightning pattern itself is a reference to water and lightning dragons :) Like Tobirama's iconic jutsu, it's one of the hints of what's abt to happen to our little guy. The scabbard is also decorated with dragon motifs for the same reason.

The background pattern is taken from the first reference, another fireman's coat with an illustration of Raijin, the thunder god. He is often representated with drums decorated with tomoes. It works nicely as a standard looking sharingan illustration, with a reference to Tobirama's hiraishingiris with the thunder imagery, like the thunder patterns inside the coat.

If you're interested in this I recommend the book linked in the second reference! It is entirely about skeleton motifs in japanese clothing of the early 20th century.

[pyrosomatic-metamorphosis]

rough art tips to learn and then break at your leisure.

the distance between your eyes is roughly one eye. the corners of your mouth dont extend past the middle of each eye. ears are roughly in the middle of the tip of the nose and the eyebrow. the eyes are in the very centre of the head. the neck is just a Little slimmer than the width of the head (varies with fat distribution, but fat tends to build up under the chin). hair is easier to draw when you plot out the hairline and then where it parts. leaving appropriate distance on the side of the face (cheekbone area and back to ear) contributes to making characters look more realistic/hot as hell. i dont know specific tips for that so use reference. an amazing reference/study site is lineofaction.com . if you think of the face in planes it makes it easier to construct (look up tutorials). if you draw a spiral like a tornado it can help you figure out awkward perspective for extended limbs (look up foreshortening coil technique). tangent lines are when two lines intersect and cause visual confusion (when it looks like a line that defines an arm is part of the line that defines a building, for example) and avoiding them makes your art way easier to comprehend. quick trick to good composition: choose a focal point (where you want your viewer to focus), detail that area the most, and make sure various elements of the piece are pointing to that focal point. you can use colours to contrast hue, saturation, and brightness and make certain elements of your drawing stand out. drawing in greyscale can help you figure out values. using black in a piece isn't illegal but you should know what you're doing when you do use it- it desaturates a piece and if used as a shading colour can desaturate and dull whatever youre shading too. if you use almost-black lineart and then add black to darken the very darkest areas it will do a lot to add some nice depth. the tip of your thumb ends just above the start of your index finger- your thumb also has two knuckles and all your other fingers have three. if you see an artist doing something you like (the way they draw noses or eyes or hair or anything else) you can try to copy that and see if you want to incorporate it in your style <- this is ENCOURAGED and how a lot of us learned and developed our styles. there are ways to add wrinkles to faces and bodies without making the character look a million years old, you just have to keep experimenting with it. The smile wrinkles around your muzzle dont connect to your mouth or to your nose; there should be a small space in between smile or nose and the wrinkle line. eyes when viewed in profile are like < aka a little triangle shape. think of the pupil like a disk and apply foreshortening to it (it looks like a line when seen from the side instead of a full round dot). subtle gradients can add a LOT to a piece. texture can also add a LOT. look up Tommy Arnold's work (his murderbot pieces are some of my FAVOURITE) and zoom in. find those random little circles he added and try to figure out why he added them there. light bounces. there's lots of way light bounces. sometimes it even spreads through the skin. i do not know these light tricks yet but i want you to know that they exist. draw a circle to indicate hand placement, draw a straight line between that circle and the shoulder, and then (normally at a right angle) draw a straight line on top of that line to find the placement of the elbow. elbows are normally placed Just above the hip when standing and your arm is at rest. there are no bad colour combos if you're brave enough about it, just fuck with the saturation and brightness until it works. keep playing. try new things. add your own tips to this post if you want or even expand on some ive mentioned here. good luck go ham etc