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cubicle gangster posted:Most of the advice given is worded how it would be delivered by an art director on a real job - if not nicer. It's just people being pretty blunt and saying that this whole area they spent a ton of time on just isn't working and it's best done over. Being able to throw work away to make the final image better is a good habit almost nobody picks up before they're forced to. There's still some good advice and some kind people on there doing paint overs and thoughtful critiques. It's not all everything sucks, go read loomis and draw shapes for the next six months, rinse and repeat (that's only like a third of them and sometimes that advice is necessary anyways). That said, I think between the website usability stuff, and the owner's uh.. tendencies towards unscrupulous practices like taking advantage of its art instructors and not fairly paying people, it's got some problems. That said, there aren't many great alternatives atm. I'm hoping one pops up somewhere. I still have no clue what the gently caress ever happened to cghub
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Jun 7, 2015 13:30
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Parrotine posted:Can you go into detail about this? I'm curious to hear some examples Last major incident I know of was in 2013. Not gonna name names but if you really want them you can look online for them. There is still a fair amount of records on the web though some of the original posts were deleted. TheArtDepartment(TAD) which is an art school that used to be associated with CA had CA's current owner as the president of their school board and he oversaw their finances. They had an agreement to pay royalties to the artists who work for them and provide the video tutorials that they use. At some point this dude became extremely derelict in his payments. Started with late checks, then missed checks, silence, etc. The artist contacts the department to try to fix the situation, and according to him the owner of CA essentially responds in a very condescending matter and nothing gets resolved, even with threats of lawsuits. After about two years of this, the artist gets fed up and posts a big rant on DA where everyone can see it and in a short amount of time everything explodes. There's a mass exodus of pro artists and staff from CA, and TAD and CA have a pretty violent break up. TAD claimed they were unaware this was going on and that everything was because of CA's owner screwing up finances. To their credit TAD did pay the artist in question the royalties he was owed after everything came to light. I'm not sure if they compensated the other artists as well though. The people behind CA and TAD then get into an extended legal battle, since the guy who owns CA also own's TAD's domain and supposedly hijacked the site, making the e-mails and links redirect stuff to his ventures instead of the TAD people for revenge or to try to steal their business or whatever. They also claim he stole information from their servers, passwords, client info, etc. I don't know what's true or not in respect to that but it's clear that things are pretty ugly now between both parties and it's a huge mess at this point. TAD has since closed its doors cause it didn't have the funds to deal with any of this apparently, but there is still a copy of the legal petition out there if you really want details. There are all sorts of other accusations made about CA's owner as well, but some of them aren't as well documented as the royalty thing so it's hard to say. What's for sure though is he used up a lot good will and that has deeply hurt CA (in addition to server problems, being hacked like once a week, etc). There is still a community over there and some really good artists but the best years of CA are definitely behind it. It's pretty unfortunate really. JuniperCake fucked around with this message at 01:43 on Jun 8, 2015 |
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Jun 8, 2015 01:36
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I can give you a little critique if it would help. Her jaw is stretching too far back. You should be able to see a bit of her neck behind it in this kind of view. This also pushes the ear out of place in your drawing since the ear goes just behind the jaw. The hair itself isn't doing you any favors either here. Her hair looks a bit blobish in the back and is making it look like she has a weird misshaped head. I imagine you are trying to make it look like she is falling but it looks a bit off. At the very least I'd have more fraying on the ends and make the strands in the back a bit more vertical to match the ones in the front of it. Maybe some sky diving reference or something might have a picture or two that would help tackle the hair. Also her mouth is a bit odd. I get its stylized but I think it would look better if you tried to indicate how the lips are wrapping around the teeth as mouths curve slightly outward. Also lyou didn't give her a chin and I think she needs a little more forehead too, it's sunken on her right (our left) side. The angle going back is fine, it's just it would stick out a little more, this also makes her cheek look overly extended but I think if you fixed the forehead that might also fix that. As far as the pose goes, I'm not sure someone falling like that would have their head oriented as if they are looking straight ahead. Yeah her eyes are pointed down but I think you can make it a little more interesting than that. Should also probably give her a stronger expression that matches the situation and the character. It would be a good opportunity to give her a little more personality. Current expression seems kinda surprised I guess? Also the arms are just kinda hanging there. Presumably she has wind and all that flying at her face and the air is pushing up on her arms too so I don't think it looks particularly natural for them to be level off the sides like that. I'd experiment with various poses and see what looks the most interesting. I think it'll be a nice piece once you iron everything out. It might help to do some more thumbnails and just try out some additional poses, angles, etc. On a side note, it's kinda weird to use these hot pink bars to try to censor the image. I'm guessing that's in response to some of the drama in the thread but drawing the bars actually draws more attention than just not having them. Nudity is allowed in this thread (hence the NWS label in the thread title) and drawing a nude form to figure out the forms is fine and a good practice. Unless this is you making a joke and it just went completely over my head. In that case, well played sir.
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Jul 31, 2015 16:48
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windex posted:You aren't wrong. The problem I've always struggled with is that all textbook definitions of progression just lead to failure on my part, always have, and it's incredibly frustrating. Kinda curious, do you happen to have any examples from your life drawing classes that you'd feel okay with posting here? Or details about the instructor's teaching methods? It's true everyone has to find their own way as far as techniques and what not but I find it hard to believe that you wouldn't see some benefits after tackling that for 2+ years. Did you have the same instructors for that period, cause I wonder if they were adaptable enough in how they taught the material. Some people are very good artists but aren't good at teaching, so I wonder if that's what happened. Mind you if you'd prefer not discuss process at all that's fine, I just find it a fun topic. As far as having lots of throw-aways, I have lots of those too. Hell, even someone like James Gurney has them. Dude literally made a solar mirror that can burn bad paintings with the power of the sun. You just need to find an appropriately metal way to dispose of the bad ones and it's all good.
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Aug 7, 2015 09:54
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Troposphere posted:maybe do some charcoal drawings? I know this is the digital art thread, but you can draw with a really loose grip with charcoal and that might be a bit easier for you, and you can transfer that looseness into your digital stuff afterwards Yeah, this is a great idea. You can also just mass stuff in, kinda ignore contours and focus on just value which might help if you have a difficult time making stable lines. It sounds like you've been an awful lot though and that sucks. I'm glad that despite it all you are sticking with it and making art, that's real dedication. If you've not read it. I'd recommend The Art Spirit. What I like about that book is Henri focuses more on thought processes and what goes into drawings/paintings mentally. Since you've hadn't had the best luck with pure technical stuff, I think maybe something in there might help since it does approach things a little bit differently. Don't get me wrong, it might not help at all but it's a nice little book and it's worth a try I think. Also, Have you ever tried other art mediums? You mentioned an artist friend comparing your process to a sculptor working in clay so I wonder if you've tried Ceramics? You might have a knack for it. Wood is another popular material, and cold work in glass(fusing/slumping) is my personal favorite for non drawing mediums. There are even tools to help with accuracy and precise cuts so having difficulty with fine motor control shouldn't be as much of an impediment. Obviously they aren't necessarily the best mediums for 2d work (though you can paint with glass dust!) they might be worth exploring. JuniperCake fucked around with this message at 05:54 on Aug 8, 2015 |
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Aug 8, 2015 05:51
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Fangz posted:I like my Cintiq 13HD a lot, for what it's worth. Yeah, it is rather pricey, and people already used to working with tablets shouldn't expect it to be revolutionary. But trying to work with a 'normal' tablet afterwards is an absolute chore. I keep it on my desk always so I guess the cable issue doesn't matter for me. It has certainly been much more reliable for me than much of the other hardware I've used over the years. Can't comment on the DP10U but the 19 inch Yiynova is an absolutely amazing tablet (aside the occasional driver issues and almost non-existent documentation provided by the company. I'd highly recommend it if people need a decent discount cintiq-esque tablet (it's just about half the price of the 13 in cintiq). The extra size does make a difference and allows for a wider range of motion which is pretty nice. It's not at all portable, but it works great for a home set up. Though if you were making a living at digital art, you'd probably want to invest in a 22 in cintiq but I'd say its definitely worth considering over a 13 in cintiq especially if money is an issue.
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Feb 26, 2016 15:05
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zwdzk posted:
Eh that's not true across the board. If we are talking about drawing and painting here then your class is pretty much is only as good as the instructor teaching it. If your instructor is good and knows their poo poo, then the class is good and worthwhile. if it's not then yeah, you wont learn much. Basically whoever you take a class from, it's important to do research. Look at their work/CV before you take the class and make sure they actually know the skills you want to learn. Like if you see good quality work in their portfolio and a lot of years of some kind of professional illustrating experience then that's a good sign. I'm talking about mostly community college and community art center teachers, since 4 year schools are expensive enough where you'd be better off with CGMA (which is also expensive) or something. Though the best part of a good art class is the kind of community they foster, the immediate feedback and all that. Life drawing in particular is a great class to take if you can find one, even if the instructor isn't the best it's really beneficial to work and learn from a live model. Its an old link, but it mentions a lot of good resources that can be useful to you : https://noahbradley.com/dont-go-to-art-school/ JuniperCake fucked around with this message at 09:33 on Jul 22, 2016 |
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Jul 22, 2016 09:30
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zwdzk posted:I apologize for my abrasive response, by the way. I just read that and was a little... lost. Like I and others have said, though, there are definitely good college courses being offered, but they are few and far between. That's simply because of the state of the art world, unfortunately. Realism is out and has been out for the past half century, so it can be hard to find a good education in that vein. As of late, though, there seems to be some momentum building on the classical side of art again. Most likely a reaction against the reaction against realism in the first place. Yeah it can be difficult to find decent classes which is why I recommended research. I've encountered the "draw how you feel!" types who never taught anything and who did nothing but make sculptures out of tinker toys for their actual work. But I've also had an instructor who went to art center, trained under Burne Hogarth and was employed for 15+ years as a professional illustrator and happened to be the most skilled draftsman I've ever met in my life. The really cool and helpful art instructors definitely do exist out there, it's definitely worth looking.
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Jul 23, 2016 14:05
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Colon Semicolon posted:
I like the texture you get with this technique but I think you could definitely work on the overall values a lot more. All of it is a bit too dark and samey and the knight in particular is hard to see cause he's too close to the background value wise. I think you can push the overall contrast of the piece and that would help it read a little better. Did a quick paint over to show you what I mean. 
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Sep 19, 2016 01:33
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Colon Semicolon posted:well gosh guys, thanks! Yeah the contrast is much better than before, and it's good that you got some more lighting from the lamp in there. Also I wasn't trying to say you had to light it from the left or something like that, I chose that direction cause it looked like it was getting more light from there then the lantern in the original so I went with it. I just think the piece needed some more contrast somewhere. You could also do it by darkening the left side of the fish instead and downplaying the moonlight. Then you'd have it so that most of the light you are seeing is from the lantern. You'd lose detail on the fish but that might help preserve the night time feel more. There's probably some good reference out there that would help with figuring out the best way to handle that problem. Though if you are done with the piece it could just be something to look for in the next one. Also I agree, the scarf is quite nice.
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Sep 19, 2016 22:57
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mutata posted:
I just wanted to quote this cause I couldn't agree more. You don't need specialized training or ability to see that something doesn't look right. A person might be unable to say why it looks wrong or have no or even terrible ideas for fixing the problem (even other artists) but if someone says something looks off to them, then there is absolutely some problem there 99.99% of the time. You don't have to act upon every critique given to you, but you should definitely consider every critique, especially the negative ones. JuniperCake fucked around with this message at 07:49 on Oct 1, 2016 |
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Oct 1, 2016 07:47
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I need to do more studies to become less crappy at digital art. So in honor of the person who made some excellent posts that brought the thread together, have this rough movie study and/or horrible abomination.  Kraken, have you seen the self taught artist thread? the first post has lots of links of different exercises and things to try. Could always just try a bunch of techniques and see what sticks. Sometimes just exploring multiple things works better than drilling too hard in one thing at the start imo. Though as others have said, there is nothing wrong with taking a break from studies to do something fun either. JuniperCake fucked around with this message at 05:32 on Oct 7, 2016 |
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Oct 7, 2016 05:26
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Internet Kraken posted:
That's not awful, it makes a lot of sense and a lot of people go through that. It's a pretty normal reaction especially if you are just starting out. However, for that very reason I'd strongly recommend life drawing and I'll tell you why. If you are in a situation in which the model is doing very short poses, like 30 seconds, 1 min, 2 min, etc you really have no choice but to go for it. You won't be completing many drawings most likely but that's not expected. Instead you'll just be getting what information you can on some cheap disposable paper with some cheap disposable charcoal. Sometimes it'll be crap sometimes you'll like a little part of it but hate the rest and sometimes magic will happen. But the thing it will teach you, among many other things, is to be less precious and spend less time fussing over individual marks. You don't have time to hesitate. You'll make so many marks that it wont matter if even half or more are bad. With a good class, and the support of your peers (every class is different but on average people are super supportive in these environments) you'll learn to feel better about making art. If you are making art on your own, even using a website with a timer there is going to be a tendency to cheat cause you want your work to good, but one thing you should learn is that not every piece has to be awesome and you can learn as much from mistakes as you can from success. But becoming more comfortable just making art is going to be a huge boon for you. Like not even getting into the observational skills, learning techniques and anatomy which are good reasons to do it. Just do it to help you feel better about drawing itself. Either find a class or become a regular at some weekly life drawing session. Just use cheap newsprint, cheap charcoal (Generals 4B/6B is great imo but there are plenty of great options) and go for it. JuniperCake fucked around with this message at 07:44 on Oct 8, 2016 |
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Oct 8, 2016 07:37
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Scribblehatch posted:Why aren't people given the benefit of the doubt that they aren't sexist or racist, and don't see transgendered folk as lesser people? Dude. Seriously Dude. I'm gonna be serious here. That is not what you said. When you say you are taking all of the "modern nouns" like transwoman out of the statement, you imply that transpeople are a modern invention, that is you are saying that before now they did not exist. I want to believe that is not what you meant but that's what the words you string together said. There are plenty of people out there who say this and mean it 100% (and these people often say the same about gay people too) and it is indeed a very offensive statement. If you don't see how your words might be seen in that way, it might be a language issue which is why people are asking if English is your first language. Words matter, communication matters, context matters. You are an artist! Visual communication is what we do and you should understand the importance of good communication. If people take something in a way that you didn't intend that sucks but doubling down will never help. An apology and an effort to fix it will work much better. Just a little humility and a willingness to approach something from another person's point of view goes a long loving way. Also using a marginalized group as the punch line of a joke is a special kind of irredeemable awful and some lame jokes (dad jokes made by an actual dad for instance) are really endearing. So I don't know how you can put those two things in the same category. Again, context is really important.
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Oct 11, 2016 05:39
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Scribblehatch posted:Oh do not lie to people about this. Apologies put blood in the water. You should only apologize when you feel like you've made a mistake, absolutely. So if you don't understand how certain things you've said are really offensive and hurtful then yeah, don't apologize. People have made an effort here (at least originally) to try to help you see things from their point of view but if you can't see it, you can't see it. Maybe you will one day, maybe never, who knows. Also if you see apologies as "blood in the water" then I don't know man. I certainly hope you don't feel that way about real life interactions. Trying to understand other people, being kind and apologizing when you are in the wrong are pretty important for having healthy and stable relationships. I can understand you not wanting to put the effort in internet conversation but I hope you do in real life cause well, that's going to hurt you more than anyone else in the long run. Anyways, that's it for me.
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Oct 11, 2016 05:52
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TeaMaestro posted:Thanks for the advice. I was reluctant to post them at first, but now some people pointed out the problems I have, I know where to fix and how to rethink myself on improve further. So it's very helpful to be honest. If it helps with the arms there is a handy little proportional thing you can keep in mind. Your lower arm (elbow to wrist) is roughly 2/3s the length of your upper arm (shoulder to elbow) and your hand is roughly 2/3s the length of your lower arm (starting from the wrist). So each part is shorter as you go down the arm. Obviously a little measurement like that wont solve everything but at least keeping that in mind should make it easier to reign in the length a bit. For facial structure study some skulls, those kinds of studies are hugely useful and it'll give you a lot more nuance with your forms if you understand whats going on underneath. You can even start a portrait with a skull, then build the person's face on top of that which can be a nice exercise if you like.
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Oct 13, 2016 06:18
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TeaMaestro posted:
Since you regularly make art already but prefer stylized stuff, I think it might be best to identify areas where you are weak, then do lots of targeted studies to try to improve your understanding of that one thing. Then move on to the next thing, and the next thing (rinse and repeat as you need them until you retire/die). Having a very specific goal can make the study feel more relevant rather than something you just have to slog through. To give you an example of what I mean, look at how you draw noses. You draw them in almost pretty much the exact same way in every drawing you have here. Not only is there a lot of variation in noses from person to person but you also draw a 3/4s view nose like it's in profile, so you aren't really applying perspective to them either. That is something you can easily fix. Just grab like 20-30 pictures of noses off the internet and try to draw them as true to life as possible. Spend a decent amount of time on each one and go for as close to 100% accuracy as possible. Then you'd have a lot more information and practice and that will help you with your stylized noses too. Depending on how much time you have for drawing that could easily be done over something like a month or even a few weeks for some relatively immediate improvements. You don't have to do noses right now or whatever, could choose another thing but that's just an example of how you might approach it. Also as an aside. I think using the skull as a base will go much better if you draw the skull first then put your drawing over your skull drawing not a picture. Drawing it will teach you more than just using it as a template. JuniperCake fucked around with this message at 06:32 on Oct 14, 2016 |
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Oct 14, 2016 06:17
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Diabetes Forecast posted:What game is that supposed to be? It looks nice but I've no idea what the context is. Here you go https://www.youtube.com/watch?v=u17kM8oSz3k
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Jan 2, 2017 21:45
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There is also https://finji.itch.io/lost-constellation Though I wouldn't judge Night in the Woods by these, they are more like tech/art demos than something that indicates what the gameplay will be like. From what I know, It's probably closest to an adventure game, but with less emphasis on puzzles and more on exploring and finding cool things to do.
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Jan 4, 2017 00:23
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GlassLotus posted:I've had three over my years drawing digitally. Wacom has always been my preference and the preference of every artist I've ever talked to. If you're not looking for something expensive, one of wacom's older, smaller models might be good (wacom bamboo splash perhaps). It depends on how your price range is and what features you're looking for. If budget is your main concern, and you are only using it for one project then a monoprice is fine. I really wouldn't spend the extra money on a wacom. You can also check out Huion since if I remember correctly the monoprice tablets are rebranded huions anyways. That's probably the best bang for your buck you'll get. As far as what to expect, Huions (and other decent knock off brands) have comparable drawing experiences compared to a more expensive wacom but have worse build quality and more finicky drivers. Like don't get me wrong, a Wacom Cintiq is the gold standard but if you aren't going for that, there's really no reason to get a wacom with the alternatives that are out there now. There are a lot of better budget options. Additionally, whatever model you go with for either company, make sure you research it and look at the reviews so you know what to expect. Not every model is equal even similarly priced ones from the same company. JuniperCake fucked around with this message at 07:16 on Feb 17, 2017 |
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Feb 17, 2017 07:07
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a hole-y ghost posted:more finicky drivers? I have a wacom and drat do those drivers crash often I suppose there's no escape from some things. My Yiynova works fine most of the time but occasionally it'll just flip out and will be broke until I reinstall the drivers. I also get the occasional crash and sometimes it'll get weird about photoshop in addition to all that. Though there's a nice work around for the photoshop issues at least. So I guess we can both be miserable about drivers then.
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Feb 17, 2017 07:59
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Turtlicious posted:As a new artist, I can't see anything wrong with them, could you point out the problem? I'm assuming you're talking about the Flower Girl, not frog / fairy / buff dude? On this general subject. If you ever have question about what's a reasonable pose or if a limb can bend a certain way there's an easy way to find out. Just try to make the same pose and see if it's difficult/possible to do it. Unless you are double jointed you should get a good idea of what's reasonable. Don't be afraid to use reference for anything as well. Hell a lot of illustrators have mirrors in their work area (sometimes full sized) as that's a good way to test out various poses and how it looks.
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Feb 18, 2017 06:48
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a hole-y ghost posted:wait for real? thats a spicey freakin meatball lmao Seriously, Elsa is an absolute creep. Hopefully they never make it back onto the forums.
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May 13, 2017 07:00
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deathbot posted:I literally just finished a game in which the developer threatened to fire people if they didn't construct the perfect robot rear end, and it didn't bother me because the character could definitely not be reduced to just fap material without doing massive disservice to the care and thought put into her construction/design and the game's thematic interplay of sex, violence and literal objectification (which applied to both sexes.) Ehhhh. I'm extremely skeptical that your game director had pure and non-fap related reasons for wanting the "perfect robot rear end". Like how could you spin that as essential for their deep and meaningful characterization? Like if your going for sex appeal or whatever that's fine but it seems really disingenuous to claim it's anything but. At least be honest about it.
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May 14, 2017 05:56
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Diabetes Forecast posted:Let's be reminded that Skullgirls was largely directed artistically by a lady and is almost exclusively wank material as well. I think the problem here, is you are trying to defend your art in such a way that people who are uncomfortable with it or at the very least don't like it, will change their mind about it. That's not a winnable battle. The fact is, your sexy robot art does make people uncomfortable in this thread, you know this because they've told you so. Swamp waste gave you some good reasons why. That doesn't mean you are bad for making it or whatever, it just means exactly what it means, they are uncomfortable with it. You don't have to defend your work's right to exist, or that you have good reasons to make it. You gotta do you. You have a right to be happy and make the work that makes you happy but just understand that the art that means one thing for you can mean something entirely different for other people who have had different experiences. If it helps, think of it like this. As an audience, we aren't the right ones for those kinds of pieces. You can keep putting those pieces up but the reaction to them isn't going to change. Though people have responded well to your other art, so why not focus on that in here and leave those other pieces to other venues where they might be better received? JuniperCake fucked around with this message at 06:32 on May 14, 2017 |
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May 14, 2017 06:26
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Troposphere posted:inferior Agreed. As much as I love the world's angriest Italian, I have to say his version is pretty lacking. Judith isn't nearly as badass in that one as she is in Gentileschi's. Sociopastry posted:are y'all really arguing that puffy robot labia and huge robot titties are on the same artistic level as, say, Saturn Eating His Own Son or the like Saturn Eating His Own Son is the best you can do? Seriously? There are far better examples. Have some Bosch.  I also like  You hug that owl, dude! Like you can link any part of that altarpiece and get something absolutely amazing. Can we just start talking about random paintings in here? That seems like it would be fun. JuniperCake fucked around with this message at 20:43 on May 15, 2017 |
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May 15, 2017 20:38
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I would look up some references that match with what you are going for with the pose, especially for her legs. Right now it looks like she just lost her balance and is falling over to the side.
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May 15, 2017 21:12
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One of my favorite tips for painting, let alone painting quickly is to always try to have everything at the same level of "doneness" at any given time. Some paintings have less polish than others but still look finished because everything is consistent. But if you focused too much in one area, then you are going to likely spend that same amount of time in other areas before that painting looks "finished". Also the more you have on the canvas, the better you can see how the overall piece is coming together when you step back to look at it. Of course you might be after a certain effect where you want certain areas to look "unfinished" but other than that try to spread the love and don't focus too much in any one area too soon. Also as a hole-y ghost said, If you nail the composition, the values and establish your edges (decide where you want hard vs soft transitions) then that's like 80% of your work done right there.
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Jun 25, 2017 21:07
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d3c0y2 posted:
The first statue was immediately recognizable, you did a great job of nailing the likeness of it while keeping your own style. You should draw some more ancient statues!
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Jun 29, 2017 05:13
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Cuchulain posted:
Looking at your drawing I think there is one thing that might make a huge difference for you. Try to make longer more deliberate strokes instead of a lot of short ones. Ghosting your lines can help with that but it's more just getting in the habit of spending a moment to think about the line you are going to put down and the motion involved then going for it. If it's not perfectly right, that's fine. It'll still look better then a lot of short strokes that are ultimately uncommitted. That's a good way to develop confidence and will improve your linework a hundred fold. Like you have a good sense of shape and you stylized pikachu well but I think it's just your linework that's probably holding you back more than anything. That's definitely something you can easily fix with changing your approach a little and putting in some focused practice. d3c0y2 posted:
Nice!
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Jul 1, 2017 06:36
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Cuchulain posted:Thank you! I learned to do lines like that because my hands shake a lot. I struggle to draw straight lines. I wouldn't worry too much, People are rarely 100% consistent and often times artists will produce work that is below the standard they are happy with. (occasionally the opposite happens too but that's much rarer) Also as you look at and practice at making art your standards will also get better and you'll notice more than you used to. So just because you are liking your art less and less doesn't mean that you are getting worse. This is especially true if you are cherry picking your best older pieces to compare newer pieces too. Though as far as those two pieces go. You can't really compare them because you did them in very different ways. The earlier one is more like a painting style where you are shading in the planes and trying to have smoother transitions, while the other is mostly lines and just choosing a single value for the face and another for the hair. There is nothing wrong with either approach but I think you are more successful with the first then the latter. Why not try painting a portrait from reference with full shading and see how that goes?
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Jul 1, 2017 18:05
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| # ¿ Apr 29, 2024 07:06 |
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Look up some tutorials on masking that will help you a lot. One thing you can do is select an area with the magic wand tool, apply the selection as a mask to a layer then you can fill it and that'll work. If you want to separate say a character from the background, you can use the magic wand to select the area around the character, expand it by 3-5 pixels are so if you got rough lines then invert it and that works too. Masks are nice cause you can always alter them by selecting and painting them in with either black (to block out the layer) or white (to let it show). So definitely take the time to familiarize yourself with masks if you are gonna use photoshop.
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Mar 18, 2018 00:41
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