Reference & Tutorials

vickomakesamess:

fan-troll:

fox-orian:

luniara:

ctchrysler:

Sorry for the lack of WIPs on this pic.  Here are jpg’s of all the steps (with not-so-very-clear notes).

All the work was done in GIMP.

Wait what? A grayscale shade layer??? What layer option do you use though, let alone change the color successfully?

This is a really effective way to color, actually. I do it all the time. When you make shade layer, make sure you’re ONLY shading SHADOWS and basic diffusion — NOT object/material color values (like, just because the socks should be a dark color, you’re going to completely ignore that in the shading layer.) There are two ways to mix the shading afterward. You can place the shading layer over the flats layer then set the shading to Multiply, OR put the flats over the shading and set the flats to “Color” blending. Then, you just paint some small variances in hue to whichever layer you’ve set blending mode to.

This is a great way to color because it eliminates the need to mix new colors as you pass from one flat to another. It gets less of a painterly look, but in this type of art you’re not going for that anyway. Excellent for comics.

r

Def need things like this for ref.

(via coffeeandcockatiels)

simonist:

Forest Interior tutorial by dpaint

Here is a way to organize the complex information of an interior forest. This will work no matter what your rendering style happens to be. Whether you are an impressionist painter like me or a realist, the basic building blocks for the picture are the same the only difference is how far you want to carry the finish. This photoshop demo is based on a traditional painting I did a while back.

The challenge is to arrange the information to give you the illusion of space where no horizon is apparent. Forest scenes work best when you use clearings to establish a foreground or middle ground to help divide space in the scene. It doesn’t matter if you are painting jungle or alpine forests the abstract qualities of design still apply.

It helps to visualize the anchor points of the composition first. These objects will have the most detail and can be flagged or spotlighted for greater effect. They will give your eye a place to go in the image allowing you to use areas of less detail as counterpoints.

I always start with large areas of color keyed to the average for that mass this helps to unify the shape. I set up the different layers and work between them to balance color value and shape. Once these are established to my liking I begin to develop and refine the painting adding interest as I go.

(via sams-resources)