Bl*nd to the truth

  1. People were requesting rebloggable Flash Inking tips


    Can I ask you a question about Flash? I was looking through your flash puppets, and I was wondering how you got the lines to look so NICE. Like…just looking at the linework on the hands of the bob puppet. Is there a pen setting you use? Because I can’t seem to get things to look so good.

    start with a round brush, size 3 or 4 (or 5, Windows and Mac have different brush sizes) with pressure turned on.

    40 smoothing

    Jut as a barometer of how smoothing works;

    The more smoothing you use, the more flash sort of corrects your hand wobble and tries to fix things out for you. But at really high smoothing it kind of over corrects things and starts to just invent things you didn’t want to draw. really low smoothing adds every little bump you make, but it makes INSANE huge files, because it’s got so much information to remember for every line you draw. It looks cool if you can make it work, though, we used it for that Assassin’s creed trailer because it has almost like a pen-on-paper look when it moves.

    Remember that no matter how much you zoom, the pen will always be the same size. This what a size three brush (Mac version) looks like if you draw at various zoom levels, and then go back to look at it at 100%

    Because of this it’s important not to zoom in and out a lot, it’s best to pick one size and stay around that like, ink at 400, don’t zoom out more than 200 or in more than 600. When we did Ugly Americans, every scene was labeled with the zoom level everything had to be inked at, and if anything was resized it had to be retraced. It’s tempting to zoom closer and closer to get little, hard to reach details, but like they said “you can’t zoom on paper, don’t do it in Flash”.

    Then there’s this Modify > Shape > Smooth option

    Basically just lets you smooth lines after the fact. A lot of people kind of give up on it because they don’t know how to use it right. Like they think it’s a magic FIX LINE ART button, then get disappointed that it doesn’t work when they select all the line art at once and say “okay smooth button GO!”.

    It works best if you get in close and just select small fragments to smooth.

    And you can kind of just polish off any little quirky bits that bug you.

    (it can be kind of hard to tell at a glance, but it adds some polish)

    I’ll also add to go slow! If you draw too fast, Flash panics and starts ad-libbing your pen strokes and making weirdly geometric lines, Just take it slow if it starts freaking out on curves and stuff.

    (via inkydonkey)


  2. rubitrightintomyeyes:


    Anon asked for some advice about eyes, and I… may have gone a bit overboard, ahahaha. I hope it turned out at least a little worthwhile!

    This is a great guide!  I’d like to make one small note though—when drawing the pupil in profile in a realistic style, it should be slightly recessed in the iris.

    But sometimes it just works to have the pupil right next to the cornea in a cartoony style, so it’s up to you for whatever you’re going for.

    (Source: fairymascot, via inkydonkey)


  3. Color and Values. A mini-guide in how you use Overlay to color a grayscale painting.(UPDATE!!)


    UPDATE: For photoshop users. Use the LAB-sliders in order to get the right value for the colors;

    I think I’ve done something like this long ago, but that tutorial is not really up to date since I didn’t 100% understood this technique back then.

    But tonight, I finally understand how it’s done.

    And I know that some people out there might be laughing or be surprised that I didn’t know this before, but hey - they never really brought up this subject in my art school (which also was aimed at comics and not really at digital art eheh.)

    This method should work in any digital art software that has layer functions, the blending mode “Overlay”, “Multiply”, “Saturation” and a filter/mode that can turn the picture into grayscale.

    First, I’ll begin with showing how saturation can fool your eye to believe it’s “lighter” than the midtone.

    Here we have two blue eggs, or something. They almost look like having the same color on the highlighted part.

    But if we turn the picture to grayscale, we can clearly see that the right egg has a lighter value than the left egg.

    The colors are different on the eggs highlighted areas. The left one has a much more saturated color. While the other one simply has a lighter value.

    However, this is more visible to the human eye if we turn it into grayscale! The contrast is much more visible in grayscale!

    What I learned from this is that more or less ALL 100% saturated colors share the same value!

    Here’s another example:

    The warm colors in this picture all have the same value.

    We can see this when we switch over to grayscale.

    Having a good and wide range of values (light and darkness) in a painting, is what makes it pleasing for the human eye. This is why black and white photography i still very popular for example. 

    That said, with a good set of values in the composition, you can make ANY kind of artwork in ANY kind of style give 10x more impact on the viewer.

    So, how do we use this knowledge when we wanna color a grayscale value painting?

    Well, first off you should take a look at how the color wheel works.

    Or more like… color triangle!

    Now, this is how the color wheel looks in Corel Painter. I removed some of the color wheel here because of reasons.

    I DO NOT know if you can get the color wheel like this in Paint Tool Sai. I know that Photoshop use a square instead (that more or less works the same way).

    The important thing here to keep in mind is that along the line where you can read “Saturation”, no matter how high or low the saturation is, it can still have the exactly same VALUE.

    Now, let’s continue to the painting.

    Here’s the value painting that I did in grayscale.

    In order to color this, I’ll add a Overlay-layer above it.

    Now this is some funky colors!

    However, what we should keep in mind here is that ALL the colors on the overlay-layer has the exact same value. And that value would more or less be 50% gray. (Meaning, in the middle of the value-range from black to white).

    Now, the purple and orange color in the background has both the same value (“lightness/darkness”). So this would mean that if we turned the painting to grayscale, the stripes should barely be visible…

    Okay, the reason why the striped still are visible, is because I used a brush that is slightly blending the colors, so the outline of the strokes turn out a bit lighter.

    However, this still proves what I told earlier.

    So, if you just make sure that the colors on the overlay layer all has the same value. You should be able to color the painting in any kind of color, but still have the same values when turned into grayscale.

    And this is why it’s so popular among Concept artists to work in grayscale when they for example do character/monster design; they can do several different versions of  one monster with different colors but still keep the same values.

    Here’s a Note to Self (I’ll write it down here in case you can’t see the picture):

    - Let the value painting) control the values - NOT the color-layer.

    - All the colors on the Overlay layer should ALL have the same value. Vary the tones by the amount of saturation instead. (The amount of saturation should not affect the values.)

    The left one is more or less the finished result. By lowering the saturation, I managed to give the skin different skintones. The one to the right is more or less the value-painting before I added color. Now let’s do a last test and check if I have messed up the values on the colored version…

    Aaaaaand as you can see, it’s more or less the same values! Yes, there’s some small areas where it’ a bit darker, I discovered that some colors do affect the values even if it’s *supposed* to have the same value. However, the difference they do is very subtle and isn’t really a major problem.

    I srsly feel so happy to finally understand how the heck this method works. This is more or less that part I never get to hear about in all those tutorials in value-painting. 


    (via inkydonkey)


  4. purplekecleon:

    General BG advice thing

    Here on dA for easier read



  6. kevinsano:

    I tried capturing my thoughts as much as possible. I may update it later.

    le epic kev face


  7. shriekydonkey:






    More scans from Fashion Design Course.



    /wagwagwagwag REFERENCE!


    This is a thing I needed

    YES! Clothing Ref!

    (Source: ainsleyyeager, via inkydonkey)



  9. foervraengd:

    I’d like to add that the first picture is more or less exactly how I start out drawing arms.

    As you can see there is NO SPHERES for the elbow or for the shoulder.

    Only quick lines that cross each other where the elbow and shoulder are located. Also note how this technique actually makes it easier to draw a foreshortening of the upper arm.

    Gosh you have no idea how many times I’ve seen people ruin their fundamental anatomy by using circles for joints and limbs that obviously doesn’t work like a Ball-joined-doll.

    Anyway, please also observe how the elbow look like on figure 2. The elbow is actually a very complex structure if you look at the bones, it more or less change shape depending on how you bend the arm.

    If you take time to actually study the shapes of the bones, you’ll end up with way more realistic and accurate elbows. Trust me, it is worth the time.

    (Source: fyeaharttips, via inkydonkey)


  10. brony-express:





    mostly reblogging this for umbre because booty shorts


    reblogging because butts

    also, its drawn nicely and stuff.


    i am bookmarking this because my girlfriend and me both draw

    and also butts

    Needs more hips

    (via noinkplease)