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FunkyAl posted:You got any pen recs? Whats a good solid technical pen. Anyone like nibs? I love em but cannot always give them the ritualistic care they require to live I really like nibs myself. Speedball's Crow Quill 102 and the 512 are nice to use. If you like technical pens then I'd recommend looking at Koh-i-noor's rapidograph line. They used to be the gold standard for stuff like medical illustration back in the day. They cost a little but if you take care of them they'll last eternally. Just make sure to only use their ink with it, or an ink you know is fine enough that it wont cause a problem (most others will clog, sometimes something like walnut ink is okay though) and you pretty much have to break it apart and clean it up every single time. Though for comics I think the variety of marks you can get from a nib tends to be more useful than the very limited range a tech pen gives you. Unless you are okay with going over the same area multiple times to thicken a line with the technical pen. Nibs are also massively cheaper even if they do wear out eventually.
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Jun 23, 2018 20:44
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The pentel pocket brush pen is a very good brush pen for starting out. Then later if you really like working with brushes you can get a kolinsky round brush if you like which is the more traditional option. Though there are plenty of artists who just use brush pens so you don't have to move onto a regular brush if you don't want to.
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Jul 10, 2018 13:58
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Internet Kraken posted:I'm trying to understand colour theory and running into a pretty big issue. Don't think of it as light and shadow as being opposite in color. Think of it more in terms of any light source is usually going to have some color associated with it, even if its subtle (completely neutral lighting is rare). The areas that are most strongly lit by that particular light, will have the most of that light's color on it. Then you get progressively less of that color as you get closer to the shadow. So if you have a very warm light, your shadow will be cooler, yes, but also the highlights will be especially "hot" when compared to the surrounding light areas as well. The shadow then is going to be more of the local color (the actual color of the object) because it's not being influenced by that light directly. But it looks cooler because that area is next to a warm lit area and its that contrast which makes it cooler. Every color works in relation to the other colors in the piece, so it helps to keep that in mind as you are figuring out how warm or cool a surface should be. Reflected light in the shadow area works the same way, if you put a grey ball on a piece of warm red paper, the reflected light will be warmer compared to the rest of the shadow, if you put a grey ball on a piece of cool blue paper then the reflected light will be cooler. A fun exercise is to take some digital paintings that you think have good color then examine them very closely with the color picker. Try to figure out their value range, and if the colors match up to how you expect. Try to find the warmest area of the painting, the coolest, lightest, darkest. Is there any area in the shadow that's lighter than the darkest part of the light? etc. Just spend a lot of time looking closely at a painting. The picker is great cause it lets you isolate colors, while then taking note of how that color looks when surrounded by all the other colors in the painting. It'll give you an idea of how far you'll have to go to get a certain kind of contrast or effect and might give your own ideas of experiments you can try. If you do a copy of the painting though, don't use the picker to choose your colors for you. Study it first, then when you go to paint choose your colors by eye based on what you've learned about the painting.
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Aug 12, 2018 13:50
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