Kind of a little random (probably incorrect) guide to basic sorts of shading-
I also forgot flat shading which is no shading or highlighting at all
But here’s something to ah… look at I guess.
Folks welcomed the hand reference I posted, so here’s some foot reference.
As an artist you’ll draw A LOT of feet, especially feet that REST ON THE GROUND. Don’t be one of those artists who hides feet behind grass or mist all the time. Print these out and draw ‘em.
I included the knees because you’ll need to know how feet connect with legs; draw ‘em up to the knee.
Some more advice that I have no right to give. I’m serious about the Stephen Silver advice though- he’s the man.
holy bUTTS WHAT A GOOD IDEA??
The whole film took me altogether about 5 grueling months (usually 10-12hours a day) to do. I often felt my butt was going to grow into the chair I usually sat at.
Please note that this was simply my way of doing my film to achieve the soft-shaded style I wanted; there are many other ways of doing this and some are a lot faster with different results~! :)
- My film on DeviantArt | My film on Vimeo
- My film gifs on Tumblr
- You can see my storyboard animatic here (although the original had music, but like I mentioned, my placeholder music was by Joe Hisaishi, you know, Miyazaki’s composer, so it’s not really legal to upload it).
This tut differs a bit from my dA version, because tumblr lets me put the combination of gifs and jpegs :D.
Here’s a book that will really help you start animating:
here’s some books that are good for composition, storytelling and colours:
- Dream Worlds: Production Design for Animation
- The Art of Pixar: The Complete Color Scripts and Select Art from 25 Years of Animation
- Prepare to Board! Creating Story and Characters for Animated Features and Shorts
I hope these helped
I ask that no one removes the credit or source for this tutorial/guide please. thanks :)
And this is a keeper! No doubt about that! :)
I’m just gonna put this one on standby
for when I start my senior film!
Tuesday Tips SUPER WEEK! — Silhouette
This week only, I will post a tip everyday. Send me a personal message if you have any requests or ideas. Have a great week!
I’ve been getting a lot of asks lately about the brushes and textures I use in my work, so here’s a BIG FAT REFERENCE POST for those of you who were curious! Bear in mind that I’m really lazy and don’t know what half the settings do, so don’t be afraid to experiment to figure out what works best for you :>
I use the pencil tool with SAI’s native paper texture both for sketching and for applying opaque color with no blending. Lower opacities give it the feel of different pencil hardnesses, while full opacity makes it more like a palette knife, laying down hard-edged, heavy color for detail work or eventual blending with other brushes.
Mostly made this because I’m lazy and I didn’t want to have to keep turning my textures off/opacity up when I wanted to ink something (even though I don’t do it very often), or lay down flat colors. I find the line quality to be much more crisp than Photoshop, and you can manually adjust in-program stabilization to help smooth out hand wobbles.
The plain ol’ brush tool acts as sort of an in-between for me in terms of brush flow. It’s heavier than my usual workhorse brush, for faster color application and rough blending, but not as heavy as the pencil tool, which has no blending at all. I like to use the canvas texture on this brush to help break up the unnatural smoothness that usually accompanies digital brushes, but it works just fine without.
A brush tool set to flat bristle is by far my favorite to paint with. I don’t use any textures with it because I think the shape of the brush provides enough of that by itself. I use it for everything from rough washes to more refined shaping and polish. It’s just GREAT.
Best used for smooth blending, washes, gradients, and smoky atmospheric effects.
Basically a grittier version of the watercolor tool, because too much smoothness weird me out. Good for clouds and fog, as the name suggests, or just less boring gradient fills.
To further stave off the artificially smooth look of digital painting, I almost always overlay some sort of paper texture, and it’s almost always this one, which I scanned and edited myself. You’re all welcome to use it, no permission required!
Using overlays in SAI is just as easy as using them in Photoshop. Just paste the texture into its own layer above everything you want it to apply to, and change the layer mode to Overlay. That’s it!
Want a more prominent texture? Up the contrast. Something more subtle? Lower the contrast or reduce the layer opacity. You can also use a tinted overlay to adjust the overall palette and bring a little more color unity to an otherwise disparate piece! Just be aware that too much texture can hurt the readability of the work beneath it, so I’d err on the side of subtlety.
Hope that helps!
Here’s a quick look at what my process looks like nowadays! I really only use the default pen settings in sai and the air brush for most of my coloring. Once everything’s merged, I use this brush:
to fix up some shapes which I definitely see better once all the colors are laid out. As for color palettes/theory, that’s still something I’m figuring out for myself, but don’t be afraid to rely on photos/pre-existing color palettes to test the waters!
So you want to make an OC?: A Masterpost of Ways to Create, Develop, and Make Good OCs!
i made this masterpost in hopes that it helps you in making your own OCs ah;; it can also apply to developing RP characters i suppose! if you’d like to add more resources then go for it sugar pea (´ヮ`)!
How to Write Better OCs:
- basic tips on how to make your oc even better
- tragic backstory? learn how to write one/make yours great
- writing specific characters
- a wordier, great guide on how to develop your character
- kick out those vague descriptions and make them AWESOME
- how to actually make an OC
- Q&A (to develop characters)
- more Q&As
- giving your character a backstory
- how to write an attractive character
- adding more racial diversity
- avoiding tokenism, AKA, how to add diversity to your cast not just because you “need” it
- writing sexuality and gender expression (doesnt include non binary, if you have a good ref to that, please add on!)
- masterpost on writing more diversity into your story
- cultures of the world
- guides to drawing different ethnicities (not just a great art reference, but also really helpful in appearance descriptions!)
- villain generator
- need an evil sounding name for your evil character? bam
- villain archetypes
- what’s your villain’s motive for being a villain?
- character perceptions (What your character thinks of themselves and what others think of them)
- how to write strong relationships between two characters
- 8 ways to write better characters and develop their relationships with others
- OCxLove Interest Handbook
- develop your couple with good ol’ Q&A!
- how to write realistic relationships
- how to write relatives for your characters (this is more OC related to a canon character, but will help in writing family members in general)
- 12 common archetypes
- 8 archetypes for male/female characters
- female archetypes (goes pretty indepth from two main categories)
- a list of archetypes
- tips for better design
- basic appearance generator
- pinterest board for character design (includes NSFW and images of skeletons/exposed muscle (?) so tread carefully!)
- clothing ref masterpost
- give your character better powers
- a list of professions
- proactive vs reactive characters
- positive and negative traits
- interest generator
- skills generator
- motivation generator
- 123 ideas for character flaws
- list of phobias
again, this is to help inspire you or help establish your OCs! i hope you get a lot of info and help from this ahh ( ´ ▽ ` )ﾉ
btw If you really do want to learn to animate, don’t follow my advice just read this: http://www.scribd.com/doc/5445343/the-animators-survival-kit-richard-williams
HOLY SHITTTTT A PDF OF THE ENTIRE GODDAMN BOOK!!!! EVERYONE WHO WANTS TO LEARN TO ANIMATE SHOULD READ THIS
hello! hey! quick psa!
when mixing skin tones, always mix in lighter and darker complimentary or analogous colors (such as pinks, reds, and purples) to change value, don’t just add black or white to change a value
this way you get a real nice looking palette like
instead of a dead looking palette like
unless you’re going for dead, in which case carry on
ahh omg!! thank you!! i struggle with that a lot actually!!
loosening up is hard, but here are some tips!!
1. do some figure sketches with charcoal, or if youre using a pencil, a great way to loosen up is to hold the pencil further back from the tip, and use grander gestures, drawing with your whole arm, rather than your wrist.
2. draw the line of action in your figures first! make your figures really exaggerated in their body movement! focus on the silhouette, make sure there is good negative space in their pose, that you would be able to tell what the pose was if the whole figure was colored in black!!
3. try doing a drawing where you only use curved lines, no straight lines!
4. draw dancers! drawing ballerinas, and really actually trying to draw them in all their fluid glory really helps! the best thing i’ve ever done is study and then animate a ballerina jumping, theyre just so fluid and graceful, it imitates in your art.
5. this kind of goes with exaggeration, but try caricaturizing your people or animals or whatever you’re drawing
6. study real life and other artists that you find fluidity in!!
these are just things that work for me, if anyone else has any tips, chip in!!!
it all takes practice, but finding fluidity in your work is fun and youre gonna be great at it!!!
Trust me if you weren’t here for The Brushnger Games 2013, I tried like 50 different pencil brushes and this was the best.