Saturday, January 15, 2011

Kinda interesting from a technical standpoint

All photoshop. Not even any Manga Studio sharp-brush stuff this time around. Abandoning my pencil work base was a good piece of advice, at least until I learn to color properly. The background thing was a last minute inspiration, I kinda like it more than the figure itself now, heh.

It's difficult to let survive any 'artistric' quality to the brush strokes after blending. Experienced color-work artists have an amazing knack for this, I hope to develop something half-way passable in this respect.

I need to make time to draw the last ZX chapter too. Busy busy busy.

But reasonably content!


Griffith said...

the flattened planes remind me of bramantino's "risen christ". personally, reducing parts of the face into planar surfaces is something that i always find visually interesting. (although that could just be nostalgia for early 3d video games coloring my judgement.)


i've also been trying to figure out how other artists manage to embed vibrance and character in their color work. as far as i can tell, the most basic techniques boil down to reducing opacity and flow of the brush (often while using a custom brush). another method that seems popular is putting a texture (e.g., a photo of wood, metal, dirt, etc...) underneath your main layer, then reducing the main layer's opacity.

you probably already knew all that... but that's where my research is right now, so it's all i have to offer.

Helm said...

Thanks for the thoughts and pointers!

I set my main brush to no-width-variation-due-to-pressure, which seems counter-intuitive but it really is not (for me at least).

I assign pen pressure instead to be relative to opacity and/or flow.

Griffith said...

dang, that's a good idea. i'm going to have to try that.