#tend to use blue as highlights for black

[aceissomunster]

discowing + jaybin ! press for quality

txtless + ref under the cut

ignore my horrible art please i drew this on ibis paint x with my finger and the soft felt tip pen brush. and my crappy penmanship.

[gwenpendragns]

i was asked by @matthew-macfadyens for a colouring tutorial, so here we go ! i've been making gifs for almost 4 years now and finally feel comfortable and confident in my skills to make a full tutorial on my colouring process. there are so many different ways people colour gifs, and there's no wrong way, this is just how i do it ! i learned to gif by reading so many tutorials and picking and choosing what works for me, so hopefully this can help someone out !

if this tutorial helps you, please considering supporting me ! buy me coffee ♡

TUTORIAL UNDER THE CUT

what you'll need: - photoshop ( i use ps cc 2023 & frame timeline ) - basic ps knowledge ( how to make gifs, how to sharpen gifs, general understanding of adjustment layers, layer masks and blending modes ) - a whole lot of patience

helpful resources:

the beginner's guide to channel mixer by @aubrey-plaza

giffing 101 by @cillianmurphy

gif making for beginners by @hayaosmiyazaki

colouring yellow-tinted shots by @ajusnice

becca's mega colouring tutorial by @nataliescatorccio

@usergif

PART ONE: BASE COLOURING

- step 1: curves - step 2: exposure - step 3: colour balance - step 4: selective colour - step 5: levels - step 6: brightness / contrast - step 7: gradient map

okay so, before we get started, this tutorial is for colouring only. at this point, i've already gotten my screencaps, imported them into photoshop, made the actual gif & sharpened the gif. the above image includes what my typical adjustment layer stack looks like !

STEP ONE: CURVES

a lot of people do the majority of their heavy lifting in curves...i'm not one of those people. i've never gotten the hang of curves and haven't been able to fully taken advantage of everything it can offer. i use curves to mainly brighten up my gif and to start my process.

i use the "auto" button in the curves function - this automatically corrects the curves for your gif ( mainly the brightness / contrast )

you can see that the auto curves has brightened up the gif and evened out the brightness/contrast. i just find this gives a better starting point for the colouring process.

STEP TWO: EXPOSURE

this step is for, you guessed it, brightening the gif more and evening out the contrast and blacks. i don't have any real rules for doing this, the amount i highten the exposure and contrast is different based on the scene and the show, however, i tend to stay around +1 on both exposure and gamma correction.

exposure effects the brightness of the gif and gamma correction effects the blacks and contrast. this step also effects the saturation of the gif, so it's important not to go too crazy. i often end up coming back to this step every now and again to adjust and fiddle with it.

for this gif, i put the exposure at +1.18 and the gamma correction at 0.85

you can see this step serves to add some more brightness and contrast - it also adds some more saturation, that we don't always want, but don't worry, that's what the next steps are for !

STEP THREE: COLOUR BALANCE

i use this step to do a lot of my heavy lifting - i'm a whore for colour balance. this serves to even out the colours and help neutralize the colours for an easier canvas. it's important to understand the basics of colour theory for this, i recommend checking out the channel mixer tutorial i listed above, because a lot of those steps applies to colour balance.

essentially, there's three separate profiles to edit on - highlights, midtones and shadows. in each profile, you have 3 colour sliders. the top one is your cyan to red, middle is magenta to green, and bottom is yellow to blue. the colouring of the scene will decide where to move your sliders.

for example: if your original scene has a cyan tint to it, you'll want to pull your slider to the right, towards the red to help neutralize the cyan. if your scene has a green tint, you'll want to pull it left towards the magenta. as you move the sliders, you'll notice that sometimes it brings out other colours you don't necessarily need, you can adjust the other sliders to help neutralize further.

i always do my main correction in the midtones profile.

since this scene has a heavy yellow tint, my first step was to adjust the bottom slider. i pulled the slider to the right towards blue at +22. you can see this helped get rid of a lot of the yellow, but adding in the blue warmed up the reds and made it more saturated.

to help with this, i pulled the top slider left towards cyan to help neutralize that red.

i pulled the top slider to -28 and you can see this cut out that heavy saturation and redness. it's looking a lot better, but now it's a little too green for my liking. this is where that middle slider comes in!

i pulled the middle slider to -6 towards the magenta to help counteract the green that came in. ( i ended up going back in and adjusting the bottom slider to +10 instead, as it was a little to blue )

you can see this step really did the heavy lifting, helping to neutralize the canvas so that it's easier to work with...but it's not quite perfect yet!

STEP FOUR: SELECTIVE COLOUR

a lot of the same principles around colour theory apply to selective colour! this is where i go to adjust the colours according to what my colour palette is. for this gif, the overall colour is going to be purple, so i'll adjust the individual colours with that in mind.

i only ever adjust my red, yellow, white and black profiles! sometimes i'll do the other colours, but that's only for tweaking the final colour. i normally don't touch them at all.

ps: you'll notice i prefer a cooler toned gif, and almost always go for a more magenta looking red/yellow.

i always start with my yellows:

in the yellow profile, i pull my cyan towards the left to -38 (this helps eliminate the green in the yellows) and my yellow slider to the left to -27 (this cools down the yellows. i top it off by adjusting my magenta slider to -10, to help lower the saturation of the yellows.

you'll notice this step got rid of most of the green undertones - that's because the green was nested inside the yellows, so by taking out a lot of the cyan and yellow, you're left with a warmer yellow as opposed to a cooler yellow.

next i go on to my reds. this step will mainly effect the alys's skin tone, but i'm going to do pretty much the same as above but with much less dramatic of a change. lowering your colours in your red profile too much can lead to a very saturated gif, which is not what i'm going for.

i pulled my cyan slider to -19, magenta to -9 and yellow to -15. you can see this helped add some more cooler tones to the reds.

the next profiles are your white and black profiles. i use white to brighten the lightest parts of the gif. no rhyme or reason here, i just pull the black slider towards the left...usually around -25. for the black profile, i always move the black slider towards the right. anywhere from +3 to +8, depending on the gif. for this gif, i did +8. this darkens the blacks and, in my opinion, helps the gif pop!

you can see this step got rid of the yellow tint, gave the gif a more neutral look and adjusted the reds to better compliment a purple colour scheme !

STEP FIVE: LEVELS

this adjustment has three toggles - i'm not 100% sure what each toggle really does, i just know that by pulling the leftmost toggle to the right, it darkens your gif, and pulling the rightmost toggle to the left brightens your gif.

this step is so hard to explain, but really i just pull the toggles around until it looks good...sorry !

STEP SIX: BRIGHTNESS / CONTRAST

this step is exactly what it says on the tin...it brightens your gif. this step is based on your scene and personal preference, there's no real guide to it.

i always pull my brightness slider to the right ( brighter ) and my contrast slider to the left ( less contrast ).

STEP SEVEN: GRADIENT MAP

this last step is something i learned from @nataliescatorccio ! i add a gradient map to the top of my stack, and choose a lighter colour of what i want my overall gif to be. in this case, i used a very light purple!

i then set the blending mode to "soft light" and lower the opacity to anywhere from 20-30%. for this gif, i did 30%

this step will help make your colour pop once you do your main colouring!

PART TWO: PAINTING & COLOURING

- step 1: layer 1 - step 2: layer 2 - step 3: layer 3 - step 4: final touches

okay, so my actual colouring process is based in 3 layers. for this gif, i'm using a deep purple/mauve colour !

STEP ONE: LAYER ONE

between your brightness/contrast and gradient map layers, add another blank layer. change the blending mode of this layer to "colour" and set the opacity to 40%.

then, using a soft round brush with an opacity of 100% ( size of the brush is your preference, i typically use around 108 ), colour the parts of the gif you want coloured !

you can see this helps us get the canvas to a more uniform purple colour!

STEP TWO: LAYER TWO

for layer two we're going to do the exact same thing. add a layer above your previous, set to "colour" at 40%. we're going to go over the same areas!

you can see this helped get the purple so much more vibrant and closer to what our final colour is going to be!

STEP THREE: LAYER THREE

for our final layer, add another layer above the previous 2, set your blending mode to "multiply" and your opacity to anything from 60%-100%. for this gif, i did 60% !

now, our colouring is pretty much done but you can see that, now that our colour is down, alys's face is still a little too blue/green/yellow for the background purple. the next step, we're going to adjust and add final touches!

STEP FOUR: FINAL TOUCHES

at this point, i went back into my selective colour layer and adjusted my yellows & reds and went back into my colour balance layer to adjust everything overall.

at this point, i'm going to go in and add some adjustments layers above everything - i usually add some brightness/contrast, and a selective colour layer to darken the blacks.

which brings us to our final result:

[leidensygdom]

hello!! i love your art so much, your colors are beautiful and your characters are just so 👁️👁️ and i adore seeing them on my dash :)

i had a question about how you do the details on your fabrics: how do you keep the patterns on clothes on a body looking so,,, clean and readable while also making it make sense on the form under it?

like the cape/sleeve(? idk what it is but it looks cool as hell) on the magnolia commission pattern looks so cool and it's still readable on the fabric (like, if i wanted i could probably do a silly sketch of it) BUT ALSO it seems to make sense with the folds so it doesn't just look unnatural and stiff?

i'm so sorry this is kind of a long ask but like. would you be down to talk about your process for patterns on clothing? it's cool if you're not, that's totally fair, just figured i'd ask

have a wonderful day!!

OOOH Thank you so much for the ask!! I wanna do a more in depth tutorial, but I tend to make patterns in two different ways, with one being fully hand-drawn and the other playing with mesh transforms or the... Uh, liquify CSP tool? Let me find examples

This is an example of a fully hand-drawn pattern. No trickery here- Only trying to eyeball everything. It's kinda a lot of work to draw it manually, but it's the more convenient option if the character I'm drawing doesn't have files for the patterns, or if the files are a bit too different from my usual style, as they could potentially not look great with my linearted or painted style

And then- For cases such as Nolia's cloak, I did the entire pattern as a separate file, then placed it using Photoshop's mesh transform!

Here's a WIP file from when I placed all the patterns after finishing the lineart, where you can see them in full contrast. I tend to keep my patterns in different files- The black parts here are not joined with the base color of the cloth, so I can bring nice highlights and texturing when they're meant to be golden inlays, for example. Now, the Photoshop mesh transform is a bit finnicky to use, and I don't have any proper step by step of it- I could potentially record how I do it someday. But let's take the humble cylinder and demonstrate it quickly:

So, the mesh warp tool is the one on the right- You can see these sort of blue lines creating a mesh. I'm sure CSP has it in it's pro level or something? Correct me if I'm wrong. You play around with the different sections, move it to the right place, and put it on the cylinder. This is a very simplified form. You can make many subsections to your meshes (that's 3x3- you can have stuff such as 20x20) for when you have multiple folds.

And then you can just shade your pattern accordingly so it fits the volume of the drawing, and- ta-daa!

This is by no means an easy method. Sometimes you can get away with the Liquify tool (which CSP has and it's very decent), which I've used when the pattern in question was over a simpler surface with few folds. It takes some practise to use that well, and it isn't gonna be the best for complex ones, but it's also an option. Let me do a lil compilation of some patterns I've done and which tools I used for each!

The tool I use highly depends on the time I have, the level of finish for the drawing, and so on. CSP's liquify is probably the fastest but gives simpler results, drawing them manually works better with some styles and more organic/less geometrical patterns, the mesh tool takes a bunch of time but it's great for small repeating patterns that are meant to be very precise or geometrical.

If people would be interested in it, I may someday do a video tutorial of me doing a pattern and then putting it over a folded cloth. I do hope this can help a bit tho!!

[spockandawe]

It's time! for! 2ha!!!!!!! I've had 'the husky and his white cat shizun' on my radar as a bookbinding project basically from the very start, back when I thought it was impossible that any of these danmei novels would ever be licensed for english translations. But this book is so long, and besides, the translation wasn't complete, so it went onto the backest of back burners. Until now! So, the book has been licensed. It's started releasing! As usual, please support these authors, they have a passionate english-speaking fanbase, and I very much want them to enjoy that success in a practical sense and not just an abstract one. And I also want more of these novels translated, haha. But the nature of licensing means I've also gotten a lot more interested in preserving prior translations in formats that can't casually be yoinked from the internet.

Now, this is a big novel. This was 1.1 million words. The stack of pressed text quarto blocks was over 15 inches, and once I added covers (very thick, for reasons I'm about to cover) and boxes, this thing was 22 inches long. Oh my god. This sustained effort naturally overlapped with an international trip and two crucially Important work presentations. I almost died. I had to split it into multiple boxes because I wasn't sure I could laminate boards thick enough to support so much weight at so much length and still cut it with any precision, lmao

And those covers? I took inspiration from notebooks I've sent with cover flaps like these, and also decided to see if I could incorporate the strip magnets I bought for peller box experiments and barely used. The downside that didn't make itself apparent until late in the construction process was that laminating boards to match this depth made the covers REAL thick, and difficult to cover with a crisp finish. Duo bookcloth can get wrinkly and fragile when it's wet, so it didn't entirely take me by surprise, but it's something I'll be accounting for next time I try this construction!

I tried to stick to a black and blue and silver color scheme, because it matches the book, but I also accepted some gold highlights on the endpapers. The duo bookcloth tends to photograph with a bit more brown in the color shift than I see in person, but I think it plays out well in person or in photos! The endpapers make for a nice striking pop when the book opens and don't blend into the cover fabric, which was something I definitely wanted to avoid.

And, speaking of thematically appropriate, I found this image for chapter headers that was almost perfect, but the wrong kind of flowers. So I did change those to haitang blosoms, haha. That happened early in the typesetting process, but I did also have that on my mind as I worked out decorations for the boxes! Mostly, I just titled what book of the novel it was on the top and left it there, but the very last detail I added was a pair of foil flowers done in pink and silver, on the outside edges of the boxes for book 1 and the extras. I finished that last night and then went to bed SO excited to take pictures in the morning. I really had an incredible time with this book, and the whole adventure reminded me just how much I love 2ha. I'm so happy I did this, I really had just an incredible time!!!!!

[secondbeatsongs]

how to make neon signs in inkscape!

I lost my mind and spent a large amount of hours yesterday perfecting my methods and figuring out how to do this, so if you're interested in making something like this:

here's how to do that!

step 1: cover your workspace in a dark grey rectangle, and lock that layer down.

I've been using 80% or 90% grey - you want this so you can see your neon effect, but you don't want it entirely black at this stage, or you won't be able to see your shadow layer.

step 2: create some text!

pro tip: rounder sans-serif fonts look the best for this, because think about what a neon sign is made of - it's tubes, bent into shapes! so if your font or design looks too sharp and pointy, it'll feel unrealistic when you make it neon.

(this is, of course, a perfectionism thing on my end, so feel free to ignore any and all rules in order to make the thing that you want to make. as with all art, you can do whatever you want forever!)

bonus pro tip: if you, like me, have over 1400 fonts installed and programs tend to lag when you browse through all of them, nexusfont is a great free software that lets you sort your fonts into categories, search them, and preview what any text looks like in different fonts! I love it. it is my best friend

now I'm going to do this with a few different fonts, so that you can see how it works with them. so today, I'm picking Futura Round, Harlow Solid Italic, and then to challenge myself, Beauty School Dropout and Block

make the text white, and also select the text and go to Paths -> Object to Path, because some things don't work right if they're not paths.

let's start off easy with Futura Round!

Step 3: duplicate your text layer

now bear with me here. but you need to take the text you're working with, and either right-click duplicate or copy/paste the layer until you have seven total copies of the text you're working with.

arrange them like this, making sure the top one is the first layer on the list (and so on), and then in the layers tab, label them like so:

pro tip: if you don't have the layers tab open, go to Objects -> Objects and Layers, and that'll pop it right up

Step 4: blur time!

switch to the Fill and Stroke tab, and make these changes to the paths:

glow small: 15% blur, 100% opacity

glow medium: 20% blur, 90% opacity

glow large: 50% blur, 70% opacity

glow xlarge: 70% blur, 70% opacity

your workspace should now look like this:

this is good!

pro tip: these numbers are just loose guidelines! at the end, mess around with everything to make sure that the glow looks right to you! nothing is an exact science

Step 5: shadow and outline

for the shadow layer, make it solid black, and then change the opacity to 50%

for the outline layer, we're doing something fun and weird. so right now it's a fill object, but we want it to be an outline instead! so let's hit the X in the lower left to make it empty, and then shift-click on...for the sake of this, let's say blue. to make our nice blue outline.

now's the weird part

now. use the align tool (Objects -> Align and Distribute), select the outline layer and the main layer, and align them so the outline text is exactly centered on the main one.

then go to Paths -> Path Effects, and when the tab opens, select just the outline layer, then click the drop-down arrow in the Path Effects tab and select Offset

here's our goal right now:

we want to offset the outline until it fits inside the text underneath it, and also mess with the stroke layer settings until you have a nice thick outline that doesn't overlap itself.

mess around with the plus and minus buttons. there are no exact numbers here; you just have to know when it looks good! but for me, the settings were a -0.34mm offset, with a stroke width of 0.700mm

this is roughly what you want it to look like:

now, with the outline layer still selected, blur it out just a bit until it looks fuzzy, and like the white center is a highlight rather than a separate layer. for me, the right number was about 8.3% of blur, to get a result like this:

Step 6: layering and changing colors

okay! at this point your work should look something like this:

you now want to select every layer except the shadow layer, and use Align to center them all on top of each other.

pro tip: make sure to untoggle "move/align selection as a group", otherwise this will not work.

you should now have something that looks like this, with the shadow layer sitting all by itself somewhere off to the side

now's the fun part: colors!

since we've decided that this neon light is going to be blue, it's time to change the glow to reflect that!

here's what it looks like when you change all of the glow layers to be that same, #0000FF blue as the outline layer

and here's what it looks like when you take the glow small layer and make it just a bit lighter (#4343FF) using the stroke and fill tab

in general, mess around with the layer colors until you like how they look! I find that it generally looks better if the glow small layer is a bit lighter, and the glow medium layer is as dark as the original color. everything else is fair game.

also the main layer can stay white (if you want it to seem very bright), or you can make it a very very light blue if you want it to be a bit more subdued.

Step 7: final steps

take your sad, neglected shadow layer, and move it slightly up and to the right of your main layer, so that it works...well, basically like a drop shadow.

then take your original rectangle, and switch it to 100% black.

now. gaze upon your masterpiece

that's a good neon sign if I've ever seen one.

but now. now's when we lose our minds

Steps 8-??: perfectionism and nonsense

so let's move the Futura one aside (and hide it! inkscape lags if there are too many blurry layers visible at once, so hide anything you're not using!), set the rectangle back to grey, and move on to Harlow Solid Italic.

I've sped through a few of the steps here (out of order) so you can see what I'm doing. I've added outlines to the large glow and xlarge glow, and bumped them up a bit so they'll have a larger glow area in general

this time I've made the large glow a little bit lighter than the xlarge glow and medium glow, and made the main layer a very pale pink instead of just white. I also blurred the outline layer just a bit more, because this font needed a bit more fuzz to make it look good.

hell yeah. this rocks.

now, one detail for perfectionism: in neon signs IRL, if you look closely, there are wires attaching them in the back, often connecting each letter to the next. so...let's do that!

get your pen tool, set it to spiro path, and then make little droopy lines connecting each letter.

make these thin, 100% opacity, and a very light (almost white) grey color. then group all of them together, and move this group under the small glow layer

pro tip: some of the cords might go mostly through the shadow layer. if this is the case, just put the cord group one layer above the shadow layer instead, and then it'll be fine. but you might make the cord color a pale-greyish pink to make it look like there's glow hitting it.

ultra advanced technique: duplicate the cord group, make it black and 50% opacity, position it slightly up and to the right of the original, and then move it one layer below it. you've got cord shadows babey!

lookit that. stare at that beautiful perfection. I love it. this brings me joy.

and now: the one that will be the most work

let's gooo Beauty School Dropout!

this one I'm using as an example for what to do with a font that's a bit too pointy to look realistic

this font is really fun and bendy, but the ends of the letters are flat instead of rounded, and the corners are a bit too sharp. so...let's fix that!

now, there are several ways we can do this (after doing Object to Path ofc).

one way is to edit the path yourself, going slowly, and making sure everything is perfect, editing the nodes individually.

or, you could select the text layer using the node tool, then click the button in the top bar labeled Add Corners LPE, and then drag the little circles and triangles around to smooth out the corners

I've decided to do the LPE method, but the problem here is that if you apply the LPE effect before making sure all of the corners look good nodes-wise, it's hell to try and fix it. so before LPE-ing, look at all the spots that you're going to apply the effect, and make sure each has one point at each sharp corner, with no weird overlapping bits. okay? okay.

also for the line beneath the text, it looks like it's made up of a bunch of different segments

and since I want to keep this line because I think it looks cool, we're going to have to deal with that, and make sure that it's all one solid piece, otherwise the outlining won't work. so I've gotta delete all the extra segments, and then move the points on just one of those segments until it's the full original line width, before rounding those corners as well.

basically I've got my work cut out for me here, this will all take a bit.

...aaand an episode and a half of Supernatural later, here's this!

look at how nice and round that is! perfect for the rest of the neon process

and with cords, shadows, layering, etc

hell yeah.

more things: it's block font time

let's make an outline-style neon sign!

my seven layers:

for all but the last two, I've not used the fill option with them at all - I have simply used the stroke outline.

now don't be worried! the stroke-to-path still works just the same way even using an outline to begin with! so it's easy to get an outline of an outline, and do the offset thing just like you did before

however, because this font is more complex-looking, there will probably be some errors when you offset it

for example, it didn't fully outline the second half of the Os, so I just copied the left halves, mirrored them, and replaced the right half with the complete left half

pro tip: keep in mind that you have to re-apply the offset to any bits that you add to the outline layer!

doing the same steps as last time, editing the glow blurs as I see fit, once again we end up with beauty and perfection.

another thing you can do: turn off the lights!

I'm going to use Beauty School Dropout and Harlow for this, but after making your beautiful neon signs, here's how to make it look like a turned-off sign, for if you want to make...idk, a gif of a light turning on and off, or a burned-out sign, or something like that.

so start with (ideally, duplicated copies of) your neon signs:

and then simply delete every glow layer, change the outline layer to 90% grey and your main layer to 70% grey, change the cords' color to a darker shade of grey than whatever it already is, and lower the opacity of the shadows by about 10-15%.

doing that, you end up with this

bam! lights turned off!

last thing: logos and other stuff

you can make neon signs with images as well as with text! the steps are essentially the same, though you may have to do more editing to make it look good, and use simplify on the path if it's too detailed.

and if you're using anything besides an .svg, you first go to Paths -> Trace Bitmap to turn your image into a vector! but unfortunately I've already used 29 images in this post, so here, just look at this Keith Haring thing I made as an example:

is it messier than the text? yeah for sure. does it have some pointy bits I could smooth out more? definitely. but, I've watched three episodes of Supernatural today, and that is more than enough time spent on this. so this is what you get.

but yeah, that's how I make neon signs in inkscape! I used to do it in GIMP, but this works much better, and looks so nice and clean! <3

(man, graphic design really is my passion)

[dreaminginthedeepsouth]

1939 MSG Nazi rally

+

LETTERS FROM AN AMERICAN

October 27, 2024

Heather Cox Richardson

Oct 28, 2024

I stand corrected. I thought this year’s October surprise was the reality that Trump’s mental state had slipped so badly he could not campaign in any coherent way. 

It turns out that the 2024 October surprise was the Trump campaign’s fascist rally at Madison Square Garden, a rally so extreme that Republicans running for office have been denouncing it all over social media tonight. 

There was never any question that this rally was going to be anything but an attempt to inflame Trump’s base. The plan for a rally at Madison Square Garden itself deliberately evoked its predecessor: a Nazi rally at the old Madison Square Garden on February 20, 1939. About 18,000 people showed up for that “true Americanism” event, held on a stage that featured a huge portrait of George Washington in his Continental Army uniform flanked by swastikas. 

Like that earlier event, Trump’s rally was supposed to demonstrate power and inspire his base to violence.  

Apparently in anticipation of the rally, Trump on Friday night replaced his signature blue suit and red tie with the black and gold of the neofascist Proud Boys. That extremist group was central to the January 6, 2021, attack on the U.S. Capitol and has been rebuilding to support Trump again in 2024. 

On Saturday the Trump campaign released a list of 29 people set to be on the stage at the rally. Notably, the list was all MAGA Republicans, including vice presidential nominee Ohio senator J.D. Vance, House speaker Mike Johnson (LA), Representative Elise Stefanik (NY), Representative Byron Donalds (FL), Trump backer Elon Musk, Trump ally Rudy Giuliani, Robert F. Kennedy Jr., right-wing host Tucker Carlson, Trump sons Don Jr. and Eric, and Eric’s wife, Republican National Committee co-chair Lara Trump. 

Libbey Dean of NewsNation noted that none of the seven Republicans running in New York’s competitive House races were on the list. When asked why not, according to Dean, Trump senior advisor Jason Miller said: “The demand, the request for people to speak, is quite extensive.” Asked if the campaign had turned down anyone who asked to speak, Miller said no.  

Meanwhile, the decision of the owners of the Los Angeles Times and the Washington Post not to endorse Democratic presidential candidate Vice President Kamala Harris seems to have sparked a backlash. As Will Bunch of the Philadelphia Inquirer noted, “in a strange way the papers did perform a public service: showing American voters what life under a dictator would feel like.”

Early on October 26, the Washington Post itself went after Trump backer billionaire Elon Musk with a major story highlighting the information that Musk, an immigrant from South Africa, had worked illegally when he started his career in the U.S. Musk “did not have the legal right to work” in the U.S. when he started his first successful company. As part of the Trump campaign, Musk has emphasized his opposition to undocumented immigrants.

The New York Times has tended to downplay Trump’s outrageous statements, but on Saturday it ran a round-up of Trump’s threats in the center of the front page, above the fold. It noted that Trump has vowed to expand presidential power, prosecute his political opponents, and crack down on immigration with mass deportations and detention camps. It went on to list his determination to undermine the North Atlantic Treaty Organization (NATO), use the U.S. military against Mexican drug cartels “in potential violation of international law,” and use federal troops against U.S. citizens. It added that he plans to “upend trade” with sweeping new tariffs that will raise consumer prices, and to rein in regulatory agencies. 

“To help achieve these and other goals,” the paper concluded, “his advisers are vetting lawyers seen as more likely to embrace aggressive legal theories about the scope of his power.” 

On Sunday the front page of the New York Times opinion section read, in giant capital letters: “DONALD TRUMP/ SAYS HE WILL PROSECUTE HIS ENEMIES/ ORDER MASS DEPORTATIONS/ USE SOLDIERS AGAINST CITIZENS/ ABANDON ALLIES/ PLAY POLITICS WITH DISASTERS/ BELIEVE HIM.” And then, inside the section, the paper provided the receipts: Trump’s own words outlining his fascist plans. “BELIEVE HIM,” the paper said. 

On CNN’s State of the Union this morning, host Jake Tapper refused to permit Trump’s running mate, Ohio senator J.D. Vance, to gaslight viewers. Vance angrily denied that Trump has repeatedly called for using the U.S. military against Americans, but Tapper came with receipts that proved the very things Vance denied. 

Trump’s rally at Madison Square Garden began in the early afternoon. The hateful performances of the early participants set the tone for the rally. Early on, comedian Tony Hinchcliffe, who goes by Kill Tony, delivered a steamingly racist set. He said, for example: “There’s literally a floating island of garbage in the middle of the ocean right now. I think it’s called Puerto Rico.” He went on: “And these Latinos, they love making babies too. Just know that. They do. They do. There’s no pulling out. They don’t do that. They come inside. Just like they did to our country.” Hinchcliffe also talked about Black people carving watermelons instead of pumpkins. 

The speakers who followed Hinchcliffe called Vice President Kamala Harris “the Antichrist” and “the devil.” They called former secretary of state Hillary Clinton “a sick son of a b*tch,” and they railed against “f*cking illegals.” They insulted Latinos generally, Black Americans, Palestinians and Jews. Trump advisor Stephen Miller’s claim that “America is for Americans and Americans only” directly echoed the statement of Adolf Hitler that "Germany is for Germans and Germans only.” 

Trump took the stage about two hours late, prompting people to stream toward the exits before he finished speaking. He hit his usual highlights, notably undermining Vance’s argument from earlier in the day by saying that, indeed, he believes fellow Americans are “the enemy within.”  

But Trump perhaps gave away the game with his inflammatory language and with an aside, seemingly aimed at House speaker Johnson. “I think with our little secret we are gonna do really well with the House, right? Our little secret is having a big impact, he and I have a secret, we will tell you what it is when the race is over,” Trump said. 

It seems possible—probable, even—that Trump was alluding to putting in play the plan his people tried in 2020. That plan was to create enough chaos over the certification of electoral votes in the states to throw the election into the House of Representatives. There, each state delegation gets a single vote, so if the Republicans have control of more states than the Democrats, Trump could pull out a victory even if he had dramatically lost the popular vote.

Since he has made virtually no effort to win votes in 2024, this seems his likely plan. 

But to do that, he needs at least a plausibly close election, or at least to convince his supporters that the election has been stolen from him. Tonight’s rally badly hurt that plan. 

As Hinchcliffe was talking about Puerto Rico as a floating island of garbage, Democratic presidential nominee Vice President Kamala Harris was at a Puerto Rican restaurant in Philadelphia talking about her plan to spread her opportunity economy to Puerto Rico. She has called for strengthening Puerto Rico’s energy grid and making it easier to get permits to build there. 

After the “floating island of garbage” comment, Puerto Rican superstar musician Bad Bunny, who has more than 45 million followers on Instagram, posted Harris’s plan for Puerto Rico, and his spokesperson said he is endorsing Harris. 

Puerto Rican singer and actor Ricky Martin shared a clip from Hinchcliffe’s set with his 16 million followers. His caption read: “This is what they think of us.” Singer and actress Jennifer Lopez, who has 250 million Instagram followers, posted Harris’s plan. Later, singer-songwriter and actress Ariana Grande posted that she had voted for Harris. Grande has 376 million followers on Instagram. Singer Luis Fonsi, who has 16 million followers, also called out the “constant hate.”

The headlines were brutal. “MAGA speakers unleash ugly rhetoric at Trump's MSG rally,” read Axios. Politico wrote: “Trump’s New York homecoming sparks backlash over racist and vulgar remarks.” “Racist Remarks and Insults Mark Trump’s Madison Square Garden Rally,” the New York Times announced. “Speakers at Trump rally make racist comments, hurl insults,” read CNN.

But the biggest sign of the damage the rally did was the frantic backpedaling from Republicans in tight elections, who distanced themselves as fast as they could from the insults against Puerto Ricans, especially. The Trump campaign itself tried to distance itself from the “floating island of garbage” quotation, only to be met with comments pointing out that Hinchcliffe’s set had been vetted and uploaded to the teleprompters. 

As the clips spread like wildfire, political writer Charlotte Clymer pointed out that almost 6 million Puerto Ricans live in the states—about a million in Florida, half a million in Pennsylvania, 100,000 in Georgia, 100,000 in Michigan, 100,000 in North Carolina, 45,000 in Arizona, and 40,000 in Nevada—and that over half of them voted in 2020. 

In 1939, as about 18,000 American Nazis rallied inside Madison Square Garden, newspapers reported that a crowd of about 100,000 anti-Nazis gathered outside to protest. It took 1,700 police officers, the largest number of officers ever before detailed for a single event, to hold them back from storming the venue.

LETTERS FROM AN AMERICAN

HEATHER COX RICHARDSON

[respectthepetty]

Semantic (Color) Error

Sang Woo and Jae Young are color-coded boys in love.

So what are their colors?

If you thought red and blue, you'd be WRONG!

The opening credits and scenes declare what they are:

Their colors are blue and green.

Sang Woo is a blue boy. He is confident, stable, and intelligent.

Jae Young is a green guy. He is lively, hopeful, and easygoing.

He even draws Sang Woo in his color on the wanted posters.

The only reason Jae Young wears red is to bother Sang Woo.

Jae Young borrows most of the red items from his friends.

He begins wearing red when looking for Sang Woo before he is aware Sang Woo hates the color *the "SINNER" jacket*

When they first meet, they both wear black, but Jae Young is backed up by his fake red. *the "DIE BITCH" jacket*

Black tends to be their neutral color.

When they're hiding out in the clothes, they are neutral in black with their colors behind them until the red light comes on, referring to Jae Young's fake red that bothers Sang Woo.

Exchanging colors

While at the bar, Jae Young is upset at Sang Woo for ignoring him, so he plays darts with his fake red and Sang Woo's blue.

He rescues Sang Woo, and they have a tender moment. The next day, Sang Woo tries on red.

And Jae Young picks up blue even though there is a red outfit he could wear.

But Sang Woo doesn't like this (because he has the fake red), and retreats into a dark blue while Jae Young remains neutral black. *see the barrier that divides them demonstrated by the wall behind them: Sang Woo in the darker color (wants to remain in the dark about his feelings) and Jae Young in the lighter color (because he is aware of his feelings)*

However, Sang Woo can't truly let Jae Young go and continues to use Jae Young's fake red when he usually uses black. *remember Jae Young placed a red pen on Sang Woo's shelf after the bar incident*

Sang Woo realizes he made a mistake and goes to see Jae Young at the restaurant. He is still in his blue, but now he is surrounded by Jae Young's real color, green.

Jae Young rejects him, but Sang Woo tries again, this time fully understanding how important Jae Young is, so he wears Jae Young's green to reflect that.

After this, Jae Young incorporates Sang Woo's blue into his wardrobe.

The two become closer, and eventually kiss.

Each is highlighted by the other's color: Sang Woo in Jae Young's green, and Jae Young in Sang Woo's blue.

But, per usual, Sang Woo is confused and goes to Jae Young's studio in Jae Young's fake red while Jae Young is in neutral black.

Jae Young makes Sang Woo realize what he has been feeling (no fake red anymore, but pure green). EDIT: @grapejuicegay spotted that when Sang Woo agrees to the two-week trial period, he does so in a blue and green thumbs up sweater.

Sang Woo decides to be honest in the same shirt he wore the first time he yelled at Jae Young and showed him emotion - the merged green and blue flannel shirt.

After that, Sang Woo is in love and in Jae Young's green

Until Jae Young tells Sang Woo he got accepted into an oversees program, then both boys are struggling with their feelings and retreat back to their colors *Sang Woo's beloved blue bike*

But all ends well, and they merge their colors and love together with a hint of fake red (blue bedding with green pillows)

And the Semantic (Color) Error was fixed!

[steelsartcorner]

If you wouldn’t mind sharing your secrets, can you drop a quick tutorial for the hades art style? You seem to capture it very well!

Hey anon! Thanks so much, I’m flattered you think so!

To be honest there's really no secret, just a lot of trial and error. I am an amateur, but I’ll point out a few of my observations of the amazing Hades team’s work that I attempted to incorporate into this Astarion drawing, especially SuperGiant Games art director Jen Zee. Everything below is just my layman’s observation of her much, MUCH better work. You should check her out yourself!

First off, here’s a simple split out of the whole process (this will be long, more below the cut:)

POSE & PERSONALITY

Hades art is full of personality so the first challenge was to pick a pose that illustrates just one or two aspects of the character. For example, Dionysus from Hades 1 below has a languid, draping pose that reflects his chill-guy party vibes. Just looking at him you get an immediate idea of his personality.

And as much as I love the later wet-cat version of Astarion as he matures as a person, for the purposes of illustration in this style I chose a pose and expression that leaned into his early, less complex, more wily self. The dagger, wink, jaunty hips and head tilt are meant to communicate, without additional context, that he’s both trying to be appealing and is not trustworthy. 

LINEWORK & SHADING

Next is the linework and blocking! The Hades art team tends to use a combination of near-mono-thickness black lines, where exterior lines are thicker and interior lines are thinner or have no lines at all. They will often forgo an interior line to communicate form via color blocking instead. The style also makes heavy use of absolute black for the deepest shades, especially on more sinister characters or spooky aspects of a characters design. (See: Zagreus’ three dog head skulls and his red eye perpetually cast in deep shadow.)

It took some back and forth to find the right balance of black shading for Astarion. Too much and he looked too sinister and not approachable enough. Too little and he looked too innocent. 

Picking a strong light source helped with determining the direction and placement of the shadows so that just enough was obscured/revealed. It also helps in differentiating forms from each other so that, for example, the arm doesn’t disappear into the chest and become unreadable.

Using heavy black shading was a particularly useful trick in Astarion’s case, because his camp clothes color palette is fairly monochromatic between his light hair, pale skin, and white/cream shirt. That much light color can easily blend in too much and become boring: the flats I used were slight variations of white, from a warm reddish-peach to a yellowy cream to a cool light gray for the dagger.

COLOR & LIGHTING

Last is color! In Hades 1 and even more so in Hades 2, the lighting schemes are deceptively complex. There are often multiple light sources and use of bounce lighting to add a lot of visual interest. For example, check out this lighting on Polyphemus from Hades 2:

Not only does he have a cool moonlight hitting him from above, he also has a warm orange rimlight lighting him from the left, AND cool lavender bounce light bouncing off the ground and hitting him from below. All these combine and layer on top of one another to help emphasize the forms of the cyclop’s musculature and the textures of his sheep wool coat. 

I don’t think I was as successful in my own lighting scheme, because I’m an amateur, but I determined that the scene in which I was placing Astarion has a high sun and was outdoors. This means that the light hitting him from above would be a light, warm yellow and the bounce light hitting him from the left would reflect the nearby water and blue sky of the environment. 

To achieve this, I made use of different layer modes in my art program (Clip Studio Paint) to apply purple shadows (via the Multiply layer mode) and highlights (via the Soft Light layer mode) in a light sky blue and a light yellow for the primary and secondary light sources.

I ran into trouble with the blade, because it was also a light metal in an already light-color-heavy color scheme. At first, it was blending in too much and hard to read. So I decided to give it a bit of a magic teal glow to help it stand out, which meant adding a few specks of magic light reflecting back onto the face and clothes as well. 

INTEREST & DETAILS

Speaking of, Hades style art makes extensive use of adding little speckles of high-saturation color to add visual interest and cohesion. See this Zagreus portrait which is primarily made of grays, a tan bone-color, and reds: 

But sprinkled in are neon teal and magenta that don’t relate to the lighting at all. It’s just there to break up the blocks of color, bring unique colors like his green eye into the rest of the portrait, and direct the viewer’s eye. These highlights are slightly less bright in Hades 2, but still there, such as in this depiction of Apollo, who mostly glows with a warm sunlight but also has random pops of sky blue and green flecking his armor and hair.

The pops of color are often placed more centrally on the figure to keep your eye on the important parts of the portrait, like near Apollo’s face and on his armor. The color pops aren’t as frequent at the extremities; too much on the arm and your eye would be drawn away from his face.

I took a similar approach where I grabbed some of the brighter colors (like Astarion’s red eye, and the teal glow of the dagger), to add dabs of color that normally would not “make sense” from a lighting perspective, but add a little visual interest:

Also I totally studied their approach to Apollo’s curly hair to create the impression of Astarion’s curls!

Anyway, I think that's all I got for now, I hope this helps! There's more but this is already REALLY long so I'll stop here. In the end, it's really just a process of observation and replication of things you love in artwork you admire. Give it a try, it's a lot of fun :)

[tangledinink]

I love your style and how you utilize halftones and textures and colours. It’s just so tasty! I’m curious if you’d be willing to show a bit of your process on how a comic page comes together?

Ah, thank you! ; w ; And sure, I can try, at least! Usually I start with some kind of a script. Sometimes it's a bit more detailed, like this:

... And other times they look more like this.

It just depends on my mood! But either way, I typically have a pretty good idea in my mind's eye of what the comic is generally going to look like. Once I know what I'm making, I do all the rough sketch pages.

... And then I line it!. For Gemini, I go for a dark blue rather than black 'cause I like the way it feels, and it lends to the overall 'papery' vibe. I usually lay down a grid pattern at this stage, which helps a lot with keeping panels and dialogue straight, and with perspective. I always do the gutters and the words first, then the figures and backgrounds. I been leaning a lot into really heavy shadows recently-- one of my professors in college told me once that a black-and-white comic page should be about 50% black and 50% white, and I've been trying to bring that to the table, lol.

I can ditch the grid at this point, and I put down a really light, pale-gray 'wash' on all the panels. It's a pretty subtle effect, but helps separate the panels from the 'background' of the gutters/negative space, and also just adds texture.

I lay down all the color next. Flat colors first, then a second pass over some parts to add depth/shadow, and then all the spot-colors like Leo's red stripes, light gray eyes, etc.

I use a pretty fine-grain half-tone brush for the background, and then a slightly more defined one (layer set to overlay) on the characters.

Once that's done I go back in and add highlights and such (white shine to eyes, hair, etc.) and go and add light outlines to any areas that need a little help being defined-- like Big Mama's arms and hands, for example.

And then the absolute last step is adding paper grain textures and gradient overlay over the top of everything!

(A lot of the brushes I'm using for this comic I got from True Grit Texture Supply, just by the by for anyone who's curious.)

... With Swanatello I kinda tend to just. Go for it. I (sometimes) start with a vague script and then I just draw it. 🤷🏻‍♂️ No thumbnails, no sketches, no heroes, no gods--

Just Swanatello.

[prismdrive]

As promised, a render tutorial!! (Featuring Donnie as our model, because of course)

Reminding the process can vary from piece to piece and it's usually really messy, but this is just the general workflow.

Let's start with the sketch: it's an absolute mess, but it's just to get the idea down. There isn't any real science or pressure in it tbh, but i'd recommend looking for references either for poses or inspo (palettes, styles, aesthetics etc.) REMEMBER TO FLIP THE SKETCH BEFORE JUMPING TO LINEART! If you use liquify or transform afterwards it can look blurry and weird.

Once you got that done, it's lineart time: I tend to keep my linearts raw and crisp, meaning i don't usually erase lines that stick out. Note that i use a medium/big sized brush + high pressure sensibility, making the lines very variable

Add a base: A solid color will do, it's just so we don't go out of line!

Colorful tint: On a clipping layer on top of the base we'll put some colors (1-3) that match the theme/environment, this will give the actual colors some variation and depth

Painting down: The color picker will be your best friend in this process. In the same layer with a soft blending brush you'll gently add your character's colors, trying to avoid using small brushes. If you need to fix something grab the color in that specific area with the color picker, since most probably it's a different color than the one in the ref. Make a mess, basically

Shadow makes a big difference: On a different layer you'll block down the shading, the color will vary on your environment/style but i'd recommend not using pure black or just purple on all drawings. Put layer in multiply and lower opacity to liking.

If there's shadow there's light: Same as shadow, the color will vary depending on enviroment/style. I went the easy way and picked a light yellow in a lower opacity.

Bounce light: Basically the same thing, just this time it isn't a single color. You'll pick the nearest color for bounce light on a lower opacity.

My favorite part, texture: I love this because i can experiment with different brushes! I put all the color layers together into a single one, but that's optional. I'd just say go nuts, see what seems right. Usually i don't add much texture to skin, but did for Donnie's goggles, plastron and bandages! (+ changed the lineart to an off-black color)

Finishing touches: I'll go with some warm/light color with an airbrush and highlight some important parts like the face and chest, overlay and lower opacity.

I'll also add random noise, overlay and a really low opacity.

Now, since i use Krita and it doesn't have the color aberration option i do it manually, but if your program does have it then go ahead and use it on the lineart!

The way i do it is cloning the lineart three times and paint them in red, blue and green, moving them just a little to different sides, overlay and lower opacity

In the end i suffer my way through the background and crop the drawing! And done!

Hope anything of this is at least a tiny bit coherent xD like i said, my process is a mess and i just do what feels right

[midnighthazee]

Greenridge ABO Series

Series Masterlist Masterlist

Characters:

I just kinda made things up for them/their personalities. Sorry if it's weird or cringe. Also.... sorry to be another "Alpha I.N." story as well but I like the idea lol

Omega Y/N L/N

- Bought at a young age by the Nyko pack. 

- Abused by them (mostly the alpha) and forced submission (almost died from a sub drop once).

- Lived with them for nearly ten years.

- Convinced you that the neighboring packs are worse than he is....they would kill her just for being on their property unwelcomed.

GREENRIDGE PACK

Alpha Chan

Leader of the Greenridge Pack

Amber eyes, black hair

True Alpha known to be ruthless

Rumour is he killed his older brother to be Alpha (did not, was there when he was murdered and got blamed)

Protective of his own 

Secretly a softie for those he holds dear - barely sleeps worrying over his pack

Doesn’t do well with disobedience/defiance

Usually with Jisung or Seungmin during his ruts

Alpha Minho

Second to Chan

Menace

Brown hair, dark eyes

Doesn’t open up to people easily

Refuses to submit to anyone but Chan

Helps guide Jeongin and teach him how to control his Alpha urges

House chef

Favors Jisung to help with his rut

Gets aggressive leading up to and during his ruts if he doesn’t get what he wants

Beta Changbin

Head Beta

Dark hair, dark eyes

Keeps the other Betas in check

In charge of training to keep everyone in shape and fight ready

Also does interrogation with Minho and tortures if needed

Intimidating but softie

Gets babyish and pouty leading up to his rut (and during)

Pouts and begs for Hyunjin to help with his rut (eventually Hyunjin reluctantly caves)

Beta Hyunjin

Quiet, keeps to himself

Best tracker and hunter

Black hair, dark eyes

Tech savvy and good at reading people

Becomes clingy and touchy leading up to and on his rut, slightly aggressive during it. Very jealous

Prefers Felix or Changbin during his ruts

Beta Jisung

Loud and boisterous

Brown hair, dark eyes

Impulsive and acts without thinking a lot

Has the messiest room

Gets aggressive leading up to his ruts and Only minho gets thru to him.

Prefers Minho during his ruts

Beta Felix

Sweet and kind

Blonde hair, blue eyes

VERY Sensitive to emotions

Trusts too easily

Usually helps Minho with cooking

Training to be pack medic with Doc Quinn

Prefers Minho or Seungmin during ruts (likes it rough)

Very emotional leading up to and during his ruts and exhausts himself worrying about everything.

Beta Seungmin

Laid back and even tempered. Takes awhile to get a rise out of him.

Light hair, dark eyes

Reads often and likes photography

Leading up to his rut, his tolerance is shorter and he gets lazier. 

Usually gets help from Minho or Felix with his rut

Alpha Jeongin

Newly presented alpha

Was thought to be a beta originally

Dark eyes, dark hair with highlights

Eager to learn from Minho

Does well with just the boys - only an occasional loss of temper

Still training and practice with Omegas, pheromone control, and urges

Gets antsy and quick tempered leading up to and during ruts

Usually has Chan or hyunjin help him

They are all mates with each other so yeah LOL

I'm VERY OT8 for SKZ but I do have a bias....hopefully I don't make it obvious :)

Doctor Quinn

Pack medic

Also helps with a few other ally packs but priority is Greenridge

35 years old

Been tending to injured since she was 15

Rogue Beta

NYKO PACK

Alpha Lewis

Leader of the Nyko Pack

Has 2 little brothers in the pack: Hayes and Milo

Pack also contains 4 other betas and 3 omegas (including y/n)

Used y/n for his own needs and couldn’t care less about her 

Keeps her locked in the basement until he’s ready to use her.

Ruthless and feared by most the neighboring packs. No one dares to cross him

Took over 2 neighboring packs and expanded his territory, gaining their numbers as well

Alpha Hayes

Little brother of Lewis

Alpha in training

Older than Milo by 1 year

Beta Milo

Little brother of Hayes and Lewis

With Hayes always doing the alpha’s bidding

Other Betas:

Samuel

Triston

Frankie

Mallory

Omegas:

Y/n

Asher

Harper

[zephyrine-gale]

Your art is so pretty!!!!!!! How do you pick colors and color!!!! All your works are so vibrant yet cohesive hhhh so nice to look at <33

thank you!! I made a little guide :> it's mostly about hair color picks but this is how I choose my colors in general!

i tend to stick to a similar value with all my colors! the only colors that get a higher saturation tend to be the highlights

and a way to make your colors pop is contrasting your warm and cool tones :> with yaoyao, I have a warm-tone base with a cool-tone shadow and kazuha's is a little more messy, but the bright teal pops in contrast with the red and warm tones.

this chart is helpful too if you're stuck on what kind of color scheme you'd like to go with!

I tend not to use pure white/black in my base color or lineart either my whites will either be warm/cool grays depending on the character! and I tend to have cool blue/purple blacks color has so much personality so I love adding lots of it :>

I'm physically incapable of base coloring as a solid color to save my life... it takes a while and most of it is intuitive at this point so it's a bit difficult to explain for bigger pieces, but I hope this helps!!

[otaku553]

Hi! Do you use a filter or gradient map to get such pretty and muted colors?

I tend to naturally use muted colors for a lot of my pieces! Case in point, here are a few examples of flat colors on some of my recent pieces:

But you’re right, I do also have a small trick with gradient maps! The key to the sort of muted effect is, I think, texture. If you have texture, there’s often a subconscious feeling of groundedness, like you’re observing something on paper instead of through a screen. It helps also to darken the colors a bit!

First, using a bunch of texture brushes, on a new layer on top of your flats, I add a few loose strokes in gray or black here and there where I plan on darkening the color, usually following along the shadows a bit! I have a folder of crunchy brushes specifically dedicated to this step, including procreate’s nikko rull brush, the medium nozzle airbrush, and the burnt tree brush:

Then, fill any blank area with white and apply a gradient map! Usually this is a good stage to play around with hues over the value range, since these will subtly affect the color later! I usually prefer to use warm maps with a bit of blue or cool gray tossed in here and there, or gray maps with a bit of red! There’s a lot of options here if you play around with making your own gradient maps :)

Then, change the layer mode to linear burn and turn down the opacity until it looks subtle!

I learned this trick last year from a YouTube video studying another artist’s style, and it really is a nice quick way to give large blocks of color a bit of visual complexity and break up the monotony! Here’s the video for anyone interested: https://www.youtube.com/watch?v=FgqpVKzuiXM

Occasionally I’ll also use this slightly in reverse and use a contrasting bright color with a texture brush to give a velvety feeling! This is most notable in my Taranza piece, I think:

Without the green highlighting bits, the green is so dark it could almost be mistaken as black, but with the green highlights it becomes a lot more readable! Also note the texture between the green highlights and the base dark green!

This is definitely one of my favorite shortcuts for getting deeper colors and subtle hue variance on my pieces :D I hope this helped!

[38sr]

Hi! I really love the way you color, and I was wondering If you could make a tutorial about it, I of course completely understand if you Can't/don't want to do it thanks in advance If you decided to do it and have a good day/night.

Hello hello! Ooooh, a color tutorial! I've never done one before so I'm not sure if I'll be any good at it haha. But I don't mind sharing my thinking process when it comes to coloring my works. So when it comes to color, I very much have a traditional painter's approach since that's how I learned color in art college. My painting professor never allowed us to use black or white paint, we could only use other colors to create darker colors or new colors altogether. And you're probably thinking, "What the hell? That's insane." And I wouldn't blame you haha. But this approach helped me a lot to not rely on tints (colors mixed with white) and shades (colors mixed with black) when I color. For the most part, I purely thinking about value and hues when I'm coloring.

Finding the right values:

So for this drawing, I did two different takes (one with direct harsh lighting and one without). The reason why I'm showing this is because when it comes to color it's very important that your values aren't clashing with each other. When I started out, all my coloring felt flat because I was using colors with the same values so there was little to no depth. A lot of people don't realize this but color does have value!

If we put the primary colors on greyscale, you notice how each color has its own value. Blue tends to be a dark value, red has a mid to dark value , and yellow is a much lighter value. This is why if you ever look at my work, the color I use for shadows lean into blue/purple tones. You can also have warm shadows since red does have a deeper value compared to yellow. But these values are when the primary colors are at the highest saturation. What would happen if we knocked down the saturation levels?

The values start to become more similar. Since we're not always using the most saturated colors, it's important to understand the values behind the colors you'll use. Once you unlock that, you can pretty much do whatever you want with color haha. That's why I hardly ever use black or white in my digital art when mixing (also I don't mix color with a brush, I just pick from the color wheel which might be insane).

While it's not wrong to use white or black to create darker/lighter colors, color in real life doesn't always act that way. Shadows and highlights can have color. For myself, letting go of white and black has opened a world of color combinations that I didn't think of before taking my first ever traditional painting class. Now, I can freely pick colors and experiment with palettes since I've blocked out what values I need (like the image below).

Even if I'm using blending modes like in the next image, I'm always thinking about making clear value separations. If I can't understand the image in black and white, then I'll have a hard time seeing it in color.

And when you get very comfortable, you can start placing characters in different color environments and match them (which essentially is the job of a color designer in TV animation).

The right image is the official color palette for my character which already uses a lot of blue/purple for the shadows. But on the left side, she's in a night-time environment so I leaned even more into the cool colors to the point that the white T-shirt is actually a very very light purple/pink color haha.

Or like this example where the left drawing gives a more sunset/golden hour lighting while the right one is more blue hour/night time lighting. But you can read the colors clearly 'cause the values are clear to begin with. While that wasn't really a tutorial this is pretty much my thought process when I'm coloring my digital works. ^^; I very much do follow an academic approach to color theory but even then I think it's okay to break the rules. As long as you have understanding of colors' value, I think you'll be able to unlock any color style you want! I hope that answered your question and was helpful!

[finnfrei]

Hey there, i love your art very much!! Especially the recent BG3 portraits. As someone who's switching to digital art and works with colour for the first time, could i ask: how do you figure out the right colours for your drawings? Do you premake a pallete, or pick one colour and then work from there or something else? Any tips would be welcome, keep drawing ❤️

Hey! Ah, thank you so much, I really appreciate it!

That’s a tough question to be honest. I find myself struggling with colors almost every time.

As I start an illustration I mostly have a rough idea what I want it to look like colorwise. Basically there’re two ways for me when it comes to coloring.

1. If it’s something more simple like a portrait or a character design, I tend to pick one base color and paint the whole object. From there I adjust each separate part such as hair, clothes, etc by moving slightly along the color wheel and changing the darkness and saturation depending on whether for example hair should be darker or lighter. For me personally in that case I prefer using analogous (picture below) colors and maybe add some complimentary (on the opposite side of the wheel) colors for highlights or backgrounds.

2. If I get too lost in the color choices, I scroll through illustrations of other artists I like and choose some that would suit the general mood best. Procreate and, I believe, CSP have a function where you can create a color pallet from a picture. I’m sure you could find some similar web or app, if your software doesn’t have the feature. Then I just use the colors from the pallet and build up on them, adjust according to what seems to work best for me.

Although if I had to give some basic tips based on personal preferences:

1. Never use black, avoid using white. I prefer using dark and saturated blue, purple, red instead of black. Light and less saturated base color instead of white.

2. In general I prefer working with more saturated colors, but got to be careful, not to overdo it, not to create crazy colorful mess. But again that’s my personal preference.

3. Avoid using too much different colors. I mostly try to stick to three, max four colors in one illustration and just use their adjusted versions (darker/lighter, more/less saturated) for shadows and highlights.

4. Contrast is more important than colors.

Guess, that’s what comes to mind first, hope it makes sense at least a little. In general I’m really chaotic when it comes to colors, so I’m probably not the best person to give advices. However, if you have any questions, I’ll be happy to try and help as much as I can.

Good luck on your creative journey!

[thefreelanceangel]

Tagged: Character Details

Imayo Mikomori

BASICS:

Nicknames: N/A Age: She believes she's roughly twenty-five Nameday: 15th Sun, 4th Umbral Moon Race: Raen Au Ra Gender: Cis Female Orientation: Pansexual (in theory -- she's never had a partner) Profession: Tattoo artist (specializing in irezumi) - herbalist/alchemist - exorcist

PHYSICAL ASPECTS:

Hair: Inky black, with dark blue highlights Eyes: Crystalline white with black limbal rings, no discernable pupils Skin: Deathly, ghostly white with blue undertones, with a disproportionately large percentage of her body covered with reptilian dull black scales Tattoos/Scars: A thin, ragged line across her throat, now concealed by the scales which grew over her throat when an alchemical tonic caused a physical reaction. Notably, Imayo no longer has horns. The same tonic that caused excessive scale growth also caused her horn material to die and slough off. She now must rely on a linkpearl to hear most high-frequency sounds, and keeps a linkpearl embedded into a scale where her right horn used to be.

FAMILY:

Parents: Hisako Mikomori (M) [Deceased] / Tomoki Koizumi (F) [Deceased] Hisako Mikomori, the last living Mikomori of a declining samurai family, volunteered as a miko to serve at an isolated shrine in order to provide her ancestors with the proper homage. While serving, she was introduced to the Koizumi family who wished a 'ghost marriage' made to placate the restless spirit of their eldest son, Tomoki. Hisako agreed to perform the ceremony and was cast out of the shrine five months later when it became evident she was pregnant. No one believed her tale of Tomoki possessing a pilgrim to the shrine to have a proper wedding night and she was forced to live on the Koizumi family's sufferance. Siblings: N/A Grandparents: The Koizumi patriarch, Takamori, returned Imayo to the shrine her mother had served at and died shortly after Hisako Mikomori's suicide. In-Laws & Others: N/A As a "shadowborn" (the product of a ghost marriage) Imayo is considered bad luck [at best] and shunned by the majority of Kugane's populace. Only the desperate come to her small herbalist shop for aid during daylight hours. Her closest affiliates are criminals who come to her for irezumi tattoo work. They provide protection on a "tit for tat" basis, including guarding her shop when Imayo's called away by the priests of her mother's shrine to perform exorcisms.

SKILLS:

Abilities: As a 'shadowborn,' Imayo has a particularly strong affinity for the dead and serves as a reibai (medium) or exorcist when needed. She is able to see, hear, and speak to the dead. She is also capable of creating ofuda for protection, banishing spirits, and can sense yokai. Years of careful study have given her a wide range of knowledge about the spirit world she interacts with daily. She is also knowlegable about herbalism and alchemy, concocting tonics and potions to sell as they're requested. Hobbies: With … a lot of time on her hands, Imayo practices calligraphy, sewing, herbalism, the tea ceremony, Doman mahjong… She also reads excessively and studies cookbooks, curious about cuisines in other lands.

TRAITS:

Most Positive: Imayo is resilient. Despite her precarious start in life, her precarious position in society, and her lack of… basic human connections, she still finds beauty in the world and is determined to create a life for herself in which she can find a measure of contentment. Most Negative: Imayo expects to be rejected and will often read rejection where perhaps none was extended. She's reluctant to open up about her birth, her health, her life in general as she's received poor responses in the past and just… doesn't want to get her hopes up again.

LIKES:

Colors: Vibrant sunset colors are Imayo's favorites. Rich, warm colors seem so out of place in her life (she tends to wear black and grey as she feels that beautiful colors are wasted on her particular coloration) that she appreciates them whenever and wherever she encounters them. Smells: Pine (which she loves the scent of, but also can't smell without feeling a pang of sadness) and roses Textures: High quality silk, worn tatami mats, book pages, warm living skin beneath her hands when she's creating a tattoo Drinks: Green tea, hibiscus tea, sakura tea, sake, fresh well water

OTHER DETAILS:

Smokes: Never. Imayo's health is particularly fragile and she can't risk anything that might cause her chronic illness, such as smoke-damaged lungs. Drinks: Rarely. She will very occasionally have a small cup of sake. Drugs: Only medicinal herbs. Mount Issuance: Animals dislike Imayo's presence, becoming unruly and edgy when she's nearby, so she's never sought to purchase her own mount. If she needs to travel, she's made arrangements with a fellow merchant who has an elderly chocobo that is… as accustomed to her presence as an animal can be. Been Arrested: No.

Tagged By: @gatheredfates

Tagging: @luck-and-larceny; @dumb-hat; @otherworldseekers; @chainsofaether; @sealrock; @ungrateful-cyborg; @iron-sparrow; @ahollowgrave; @shroudkeeper; @pettyeti and I think Sea and I will overlap if I'm not careful, so if you see it, YOU'RE TAGGED.