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#color and light
bpnguyenart · 7 months
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✨️Encounter✨️
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bellanoche-oxo · 3 months
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I'm sorry this isn't a commission, but I just have a question about your art. Feel free to ignore this, of course. I was really amazed by your Miku drawing from December 16th. Seeing such a high-level piece, I wanted to achieve something similar, but no matter how much I try, I can't replicate your shading and highlights. I was so genuinely curious that I couldn't sleep. Could you possibly give me any hints or advice?
Hey, sorry for making you wait so much for this answer, i've been finishing some projects and i barely had free time. Anyways i'll try to do my best on explaing my coloring and lighting methos and you also asked me to explain how i create the folings of the clothes. Please take in consideration that 1 i am not native in english so it's a bit difficult for me to explain myself sometimes in this language and i may have some misspelings, sorry about that, and also 2 i am not great at explaing my drawing process bc i kind of turn off my brain when i draw lol, but i can explain the fundamentals that i know and help me create! Last thing i want to let you know is that i've started glazing my art, this is a metho to protect the images for AI images generators and it leaves a kind of pattern /effect on the image that i did not put there during the drawing process.
with all of this said let me start explaining things!
Learn the basics:
This may come as a cliche i guess, but yes my first ever advise to anyone is learn the basic theory on lighting and colors (on anything related to art tbh). You don't really need to spend a lot of money on books and such as there are lots of resources online like videos and documents you can read for free. It's not necesary to be an expert and even the smallest mount of knoledge is enought to inpruve your art a lot! , i find it very interesting to learn the way things work too so don't think you'll get bored of it!
To be frank, i am actually not very good at lighting lol. My lights and shadows are not very correct, but since i do have a lot o control over my colors and i know very well how to used them it kind of compensates and creates a very recognisable (i think) style.
just u know basic shitty advise that everyone is going to give you but it works! if you have free time try watching some videos or reading some documents about color theory shadow and lighting!
Your working space:
So this is something that works FOR ME not everyone likes it, you can try it see if you like it and if you do, cool! if you don't … that's cool too! When drawing on digital i prefer it when my base layer is grey instead of white. It helps with my headaches too but it's more about the fact that starting in a middle tone when coloring (in my opinion) makes the process of briging out both shadows and lights easier, let me give you an example:
Drawing from complete light (white) to compplete darkness (black) may condicion you to actually lose control in the contrast betwen these areas, i prefer staring in a middle place (grey) and that way is i want to show darkness i'll use a darkr color and if i want to show light i'll use a lighter color, but if i start on white i can't use anything lighter. I think i did a HORRIBLE job explaing myself there, but yeah it just helps me control my color valius a bit more lol.
this is the color that i used:
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Another inportant thing about your woking space is you brushes, in my case i prefer using textured brushes that mix well, and i prefer using very thick strokes, if it's too think i'll just color pick the transparent color and ease it! I work in CSP i don't know what you use, but just in case i'll give you the setiings of the brushes i use the most with their codes so you can find them
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Sculpting with lights and shadows
As i said before, i am not very good with light yet, so this is something that i do to help me with the process. When you think about it, lighting is used in art to give volume to the piece, not in every case bc rules in art are not there to be followed but to asist us when we need to take a creative decision. The way that we can start with our Sculpting is by creating a very easy first guide othe the shadows and lights and to do it with very big block, so that we get the general shape first,we don't neet to get lost in the detailds yet
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The actual coloring
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When drawing my process is divided in three stages. I first create the doodle/lineart, that doesn't neet to be super neat as i will fix it during the rendering. The basic colors, and the rendering.
During the preparation for the rendering when doing the base colors i recomend that you give special atention to the focal points of your illustration, in this case for example that's her face and the top of the hair, that's why i gave so much more atention for this part in comparation to the shirt, that it's literally not shadowed yet. Then another step that i use normally before rendering and that i can NOT RECOMEND ENOUGHT!!!! GO WILD WITH THE COLOR CURVES!!!! OMG!!!! THAT STUPID LITTLE TOOL IS SO FUCKING COOL!!!!!!!!! like for real, it gives effects that i have not been able to achive in any other way and omggggggg use the fucking color curves pleaaaaaaseeeeee
ok i'm notmal again , lets continue.
For the rendering i usually convine all the layers of the drawing on one layer, then use a textured brush that has low opacity of mixes very well fot the actual work. Tbh here is very i can't really help you a lot, bc i have no idea what i'm doing when i render i just don't know, the only thing i recognise is that i try to esare or clean the lines from the doodle/lineart, and i focus a lot on creating volume in the places that are more important.
Skins
An specific thing that i do a lot when it comes to coloring skin is using an undertone in red (literally) I will put the basi color, use the brush to mark where i want shadows to be in a very vibrant red and then use a blue / green / pruple (depends on the skin) to finish the shadowing. Thios metho is nice for lots of occasions, but take in consideration that it doesnt work for example for very dark scenarios where the character is suppoused to be in the shadows, as that red tone works as a outline for the light. It just depends on the situation.
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Clothes foldings:
Ok so here the only thing i can give you an advise with is to remember that the way that clothes fold dependes on gravity and that gravity works in curves most of the time that have two (or more) attachment points that are going to determinate theit trajectory. Example:
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And remeber that this creates (again) a volume, that there is an inside part, that it's probably going to be draker, and an outside part, that it's going to be lightter. With this info you can start practicing with images of clothes.
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this is as much information as i am able to recolect on my coloring process bc i am horrible explaining , spacially on text and in english, and i am also not very much aware when i draw, i kind of disconect. I still hope this is enough to help you a bit on your learning journy.
I may try doing a video at some point if i ever have the time so i can explain my coloring while i actually do it bc if not in that situation i'm not sure i'll be able to remeber what it is that i did.
My last piece of advise is to watch speedpaints and livestreams of artists you like during their drawing process and maybe even tray to imitate them while they are drawing to see what it is that they do exccly.
hope you have a good day and lot of lucks ! be proud of being able to create and be proud of being an artist!
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reynkiart · 3 months
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A nature study turned into Blue Eye Samurai fan art...
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victoriashifke · 1 year
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Some of the backgrounds I painted for Inside Job Part 2! Art direction by Jeffrey Thompson. Color Supervision by Jules Itzkoff.
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awehaven · 7 months
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Pencils & Zinnias.
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sylph-anru · 9 months
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Mudkip!!!
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analoglostpages · 6 months
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Two different days surrounded by the same flowers When I was walking alone, visiting a new city, I found some flowers alone on this wall. I just started wondering how they get in there, now withering by the minute. Did someone forget them?
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lilithasdreams · 5 months
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Exploring feelings with color and shape today
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marywoodartdept · 8 months
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Artist Inspiration
This week Ryan shares about one of his main artistic influences in the realm of fine art painting, contemporary painter, James Gurney, who is best known for his Dinotopia series. Read "Artist Inspiration" to discover more #MarywoodArt #Painting #FineArt
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View On WordPress
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gureiti · 7 months
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Same room, different times of day
Homework from Kat Tsai’s color and light class
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roadtrippinlilly · 7 months
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Good morning, everyone 😊
Source Me laf@ilyF ❤️
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yuniverjo · 25 days
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reynkiart · 4 months
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Tanada rice fields inspired by Blue Eye Samurai art style
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victoriashifke · 1 year
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Some backgrounds I’ve painted for We Baby Bears. Art Direction by Valerie Schwarz and Color Supervision by Melissa King.
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aphroditestummyrolls · 9 months
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Color and Light! :D
HELLO! ❤️ so much of Color and Light is written, but the middle section has been a hell scape of overthinking and misery. This, though? This was so easy to write.
He woke in a state of blissful ignorance— Yusuf didn’t know a single damned thing. What a gift. It was too dark to gage the time, his surroundings were too peacefully quiet for him to wonder where he was, and he was far too comfortable to care. He couldn’t parse a single thing from the ebb and flow of his own thoughts, and he was happy to let them pass.
Reluctantly, he came back to himself in increments.
His body was sore— deliciously, wonderfully tender. Soft and bruised like a sweet summer fruit.
Tentatively, he stretched his legs out of their loose curl and relished the pull of the stiff muscles in his thighs. He was warm and lush, with a bed under him and a heavy mound of blankets over top. But his cheek wasn’t resting on a pillow.
There was a steady thump of a heartbeat under his ear.
He flexed his hand and felt the soft brush of hair, the slight rise and fall of a strong body laying by his side.
Fuck.
The night flooded back to him in a wave of heat that felt like a swallow of whiskey— the shocking burn of it, the tingle of it settling in his bloodstream, the way it lingered.
He had kissed Nicolò. He kissed him and kissed him until there was no air left in his lungs, greedy and desperate for it. Every inch of his body was mapped out under Yusuf’s hands. Nicolò had been pressed him down into a nest of blankets in front of the hearth, and Yusuf felt himself spark, burn, and glow until the two of them were nothing but embers together.
His palm stroked over Nicolò’s chest now, relishing the soft focus of the memory as he felt the dips of his ribs, down to his hip.
The soft flesh just below his navel had been so charmingly sensitive— Yusuf had pressed the flat of his palm to it to hold his hips still as he kissed along his inner thighs. And the sound he’d made when Yusuf scraped his beard along the juncture of his hipbone and his strong, thick thigh. He could live in that moment. In that feeling. There was a buzzing in his chest, radiating and hot.
Slow with sleep, and unwilling to move a single second faster than he needed to, he nuzzled into the skin under his cheek and kissed the heartbeat there.
Nicolò hummed, rumbling against his lips. “Bongiorno.”
“Bongiorno, Habibi.” There was an arm around his back, stroking the divots of Yusuf’s spine, and he melted into his chest just that little bit further. “What time is it?”
If he was going to get back to the palace before fajr— before he was missed— he’d have to go soon.
The idea made him want to burrow into his gardener’s side until his father had to come out there himself and pry Yusuf away like a barnacle from a ship—
His father.
The palace.
Remembering how he came to be in the wooded glen, in the gardener’s cottage, in from the damned storm— it all hit him less like the drugging warmth of whiskey, and more like an ice bath.
Thanks for playing ❤️ ONE DAY THIS STORY WILL BE FINISHED. 2023 IS THE YEAR OF COMPLETING FICS.
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sylph-anru · 9 months
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The sunset and the night sky
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