The Histoire de Curbes, Pulp Fashion Week Show(lle-de-France, France)
it’s nice to see people who look more like me on my dash.
My friends and I occasionally have this problem so I’ve taught them this simple method that takes less than a minute as opposed to waiting several for your computer to restart(especially if it’s slow).
What’s great about this method is that sometimes restarting your computer wont fix the problem, but this usually will.
MAKE SURE YOU CLOSE ALL YOUR ART APPS.
This is important, otherwise the changes wont take effect. If it doesn’t work the first time, try again, sometimes it takes restarting it more than once.
For Windows 8, search for “services.msc” in your apps and click on the result. Continue from there!
Now go draw, babies!
THANK YOU DEAR LORD THANK YOU
GOD BLESS U TUMBLR USER VANOTY
Alternatively for Windows 7, click on your task bar and go to “Star Task Manager”, then tab over to Services and click on the “Services…” button at the bottom right.
or if you have a bamboo, hit the button to open the bamboo dock, close it, and instant success.
Dan Fessler’s HD Index Painting Technique let’s you paint pixel art in Photoshop in a non-destructive manner, and lets you use pretty much every tool in a perfectly pixel-gradient fashion!
The article gives you everything you need to try it out for yourself.It’s easy to set up and use, and the results are so fucking cool.
Prepare to flip out, digital art friends …
Coming this week: Real Variegated Wash brushes for Photoshop. No joke. Please reblog, so other people can freak out.
A mouth-watering fuck-ton of hand references.
[From various sources]
First image credit goes to nk-chan.
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!
photo by Elena Morelli
awwhyiss body type variation.
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