#so shading differs depending on what brush i use

[nylilcosmos]

themis

[deesseshesca]

PAC : First time feeling *that* chemistry with him. (Dual POV)

(SINGLE SINCE BIRTH - ERA ~2 )

My soul craves some slow love song...

PILE 1

Is actually not going to be the first time you feel this chemistry.

You always felt it but always find a away to resist. Fighting the connection on both side.

His mom died. Maybe one of he challenges you will be facing together before you both commit to surrender to this love after months of playing cat and mouse is the death of his mother.

Both of you have a fear of being vulnerable which dramatically slowed this relationship.

Her POV The air was thick with the scent of roses, heady and intoxicating, blooming wildly around the edges of the garden. Evening had settled, painting the sky in dusky shades of lavender and gold, and the world felt quieter here softer. I stood by the fountain, my fingertips brushing the cool marble edge as I stared at the rippling water. Reflections danced on the surface, fractured and shifting, much like the emotions stirring inside me.

<<I didn’t expect to feel this.>>

Not after everything. Not after the walls I built so carefully, protecting the parts of me that once gave too much and received too little. I had walked away from him before more than once not because I didn’t care, but because I needed to know who I was without him. I needed to find the version of myself that wouldn’t settle for half-hearted promises and restless nights filled with questions.

But I wasn’t that woman anymore.

<<I see it now — he’s different.>>

His edges have softened, the fire that once burned too hot, tempered now with something richer, something steadier. His ego no longer fills the space between us, and I know deep in my bones that he’s ready. His family knows it too. I see it in their eyes when they look at me. Acceptance. Warmth. They see me as his future, even before I’ve fully allowed myself to step into that role.

But the truth was I had been fighting this. Fighting us.

<<And I’m so tired of running.>>

The moon hung low in the sky, her quiet light washing over the garden, whispering secrets only I could hear. I wasn’t afraid anymore. The unknown didn’t scare me the way it once had. Because this time, I wasn’t standing on shaky ground. I was standing on the edge of something solid.

And when I turned to look at him, standing a few feet away, watching me with that quiet intensity I had come to know so well…

<<I knew it was time to stop fighting.>>

His Mother’s POV The evening air carried the faintest breeze, enough to rustle the leaves but not disturb the peace that had settled over the garden. I stood near the patio, half-listening to the murmured conversations behind me, but my eyes were fixed on them.

My son. And her.

<<I’ve seen this look before.>>

Not on him. Never on him. But I’ve seen it in the eyes of men who have found something rare something worth holding onto.

He’s watching her like he’s afraid to blink, like she might disappear if he does. But it’s not desperation in his eyes. It’s reverence.

<<My boy learned the hard way.>>

I remember how stubborn he used to be so caught up in his pride, in proving himself. He didn’t know how to bend, and love requires a man who can bend without breaking. But something changed. I see it in the way his shoulders aren’t as rigid, in how he stands beside her, not in front of her.

He’s quiet now. Not because he’s holding back, but because he’s listening.

And her?

<<She’s not running anymore.>>

I’ve watched her for a long time, watched the way her guard would rise and fall depending on his mood. But tonight? I don’t see the woman who once held herself apart, protecting what was left of her heart. I see a woman who’s ready. Her eyes don’t hold doubt anymore. There’s only knowing.

She’s fought this love. I could feel it every time she stepped back, every time she hesitated, weighing her heart against her fears. But now…

<<She’s choosing him.>>

And he knows it.

The way they move unconsciously mirroring each other, as if their souls had already learned the steps to a dance they hadn’t even realized they were performing it’s breathtaking.

He’s ready to give her everything. And for once, he’s not afraid to show it.

<<This is love.>>

Not the easy kind. The kind forged through fire and time. The kind that bends but never breaks.

And as I watched them standing in the glow of a fading sun, their future stretched out before them I knew.

<<They’ve found their way.>>

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PILE 2

Her POV The air smelled of jasmine and warm spice, the kind that lingers long after the sun dips beneath the horizon. The soft hum of conversation filled the courtyard, where fairy lights twisted through ivy-covered trellises, casting a golden glow on the polished stone beneath my heels. I felt the heat of the summer night cling to my skin, a sensual reminder that life was ripe and full of promise.

I stood with ease, spine straight, head high but not from pride. I was light in a way that only comes after shedding burdens I once thought were stitched into my bones. I was whole now, and love no longer felt like a battlefield. It felt like home waiting to be built. And as my eyes landed on him, across the crowded space, something shifted.

<<I see him before he notices me a presence that pulses against the noise, commanding without trying.>> He looked unsure, though. A flicker of tension in the line of his jaw, a restless energy in the way his fingers grazed the edge of his glass. I could feel it that uncertainty, that hesitation and it only made me more aware of how steady I had become.

When his eyes finally found mine, I didn’t look away. I let him see. All of it. The woman who had rebuilt herself. The woman who no longer needed to be saved but was ready to be chosen. His gaze sharpened, and I felt the heat coil low in my belly.

<<I know he feels it too.>> The spark. The unspoken question hanging between us, thick and sweet as the summer air. I took a step forward, feeling a quiet power hum through me.

I was ready.

His POV The night was too still. Too perfect. The kind of night where everything feels suspended in time where decisions can’t be undone once made. The courtyard was a masterpiece of intimacy, tucked away from the noise of the city. Lanterns swayed gently in the breeze, throwing patterns across the stone floor, but my focus was caught elsewhere.

<<I see her.>> And the world narrows.

She moved like certainty, her presence cutting through the crowd like silk through air. I had been restless all night, the weight of everything I carried pressing against my ribs, but when her gaze caught mine I forgot how to breathe.

She was unreadable, and that terrified me. I could feel the space she had carved for herself, the freedom she had fought for. I had laid everything out, no walls, no illusions. Just me. Wanting her.

<<I know she has choices.>> I had seen it in her eyes, the quiet acknowledgment that she wasn’t bound by anyone’s expectations. She could walk away and not look back. But damn, I didn’t want her to.

My heart pounded, each beat a plea I couldn’t voice. The fear gnawed at me, but beneath it was something else. Something stronger.

<<I would give her everything.>> And I wasn’t sure if that would be enough.

But as she stepped toward me, I felt the ground shift beneath my feet. She wasn’t walking away. She was walking toward me. And in that moment, I knew...

I was ready to risk it all.

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2. PAC (FREE) : What's your kinky archetype ?

3. POP SHOP : 30 MINUTES FOR 15$ (TIP KO-FI) RECORDED AUDIO READING ABOUT ANYTHING.

PILE 3

Her POV The night was alive, pulsing with an undercurrent of something electric. Music drifted through the crowded rooftop bar, a low bass that thrummed beneath my skin. City lights stretched out around us, glittering like promises that never quite delivered. But I wasn’t thinking about promises.

<<I was thinking about him.>>

He stood across the room, effortlessly charming as always, his laughter spilling into the air like a melody I couldn’t escape. My pulse quickened not with nerves, but with something far more dangerous. Obsession.

<<And I wasn’t even trying to hide it.>>

My eyes found him without meaning to, drawn like a magnet, and I knew he felt it. Felt me. Even when he wasn’t looking, he knew. It was in the way his body angled slightly toward mine, like gravity itself was conspiring to pull us together. But beneath all that wanting, there was a quiet war raging in me.

I didn’t trust this feeling.

<<I’ve played this game before.>>

The spark. The pull. The endless chase that left me burned when I finally caught what I thought I wanted. He was different, though. Too different. And that scared me more than anything. Because if I let myself believe he was the one, I’d be giving him a power I swore I’d never hand over again.

But damn…

<<He makes it so easy to forget my own rules.>>

Every glance, every touch, every low murmur of my name lured me deeper into this mess I swore I wouldn’t make. And yet here I was. Caught in the web. The worst part?

<<I didn’t even want to escape.>>

His POV The night stretched out like a canvas, painted with the warm glow of city lights and the buzz of possibility. Laughter echoed around us, but my world had narrowed to one point of focus.

Her.

<<I could feel her eyes on me.>>

Even when she thought she was subtle, her gaze was a weight I carried like a secret. And I liked it. No I loved it. There was no hiding how she felt. The way her lips parted slightly when she looked at me. The way her body leaned in, even when her mind tried to pull her back.

<<She was obsessed, and I knew it.>>

But she was fighting it. Fighting me. And I didn’t blame her. I wasn’t some polished dream I was chaos wrapped in charm, adventure wrapped in uncertainty. And she… she liked control.

But love? Love didn’t play by her rules.

<<I wasn’t here to play it safe.>>

I wasn’t looking for guarantees or carefully laid plans. I wanted the ride the messy, unpredictable, breathtaking ride that came with loving a woman who didn’t know how to surrender. And damn, was she worth the risk.

Her fear didn’t scare me. If anything, it made me want her more. She was standing at the edge, and I could feel her heart pounding just as loudly as mine. She was so close to giving in, to letting go of all the walls she’d built around herself.

<<And I wasn’t going to push her.>>

No. I was going to let her come to me.

Because I knew, deep down, she couldn’t resist this.

<<Not me.>>

I wasn’t a destination. I was the journey. And I could feel her soul even if her mind was fighting it ready to take that leap.

So, I stood there, steady and sure, letting her chase her own thoughts, knowing they’d always lead back to me.

<<This wasn’t about winning.>>

It was about us. About feeling every twist and turn, every high and low. I wasn’t offering her a perfect ending. I was offering her a story worth living.

And when her eyes met mine again wide, hungry, and just a little afraid I knew.

<<She was already falling.>>

And I was ready to catch her.

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[asphaltwhims]

Edit this screenie with me!

This is an unused screenie of Penny Pizzazz and Marcus Flex. Feel free to save the screenshot (Dropbox link below) and follow along with the instructions, or play around with it and do your own thing! I’m going to keep the instructions as simple as possible; hopefully they make sense.

Note: My process is kinda involved, but it’s a relaxing hobby for me. You do not need to do all of these steps! If the process doesn’t bring you joy, don’t bother!

I’m using procreate, but I’m also a photoshop user. You can use any software that has layers and blend modes :)

Instructions and downloads under the cut!

Dropbox link to the screenshot, and overlays!

1. Let’s start with shadows. The first step is to create a new layer. Put the blend mode to “multiply” (this darkens anything you draw on the layer). Then select a soft brush. We’ll start with Penny’s face. Use the eyedropper tool to choose a shadowy color of her skin (hold your finger on the color you want).

2. Decide where the light will be coming from (we’ll be placing it behind them on the top left). Deepen the shadows already made by the game, and add some shadows opposite to where the light will be. Choose a darker color to match each area you’re drawing on (Penny’s hair, her shirt, Marcus’ skin, his sweater).

When you’re finished drawing the shadows, go into your layer and lower the opacity. Less is more!

3. Choose the eraser (set it to soft brush). With a light hand, soften any shaded areas that are too harsh. Basically you want to blend the shadow with the skin using the eraser. You can also use Gaussian blur!

4. Let’s add some background lighting. This will also be our guide as we add bolder highlights in the next steps. Make a new layer and set the blend mode to “add.” Take your soft brush and a yellowy-orange color, and draw some glowy light coming from the top left.

Lower the opacity and take the eraser and erase much of the light on the right side of Marcus, and erase a bit of the light on their skin/ hair/ etc (like we did with the shadows). You can use Gaussian blur here too!

Note about lighting and highlights: experiment with the color of light, because some will look better depending on the environment and the sims skin tones. Because Penny and Marcus have dark skin, a bolder or darker yellow/orange will look much better than a pale yellow.

5. Let’s start adding more highlights! Make another new layer and change the blend mode to “add.” Choose a yellow-orange and paint some highlights on Penny’s hair, her left shoulder, her chest, cheekbone, and the left side of Marcus’ face. I made the image on the left a different color so you can see where I put the highlights.

Lower the opacity, and use the eraser or Gaussian blur to blend.

6. More highlights! Make a new layer and set the blend mode to “overlay.” Overlay lightens while adding color. I use “light pen” for any outlined highlights (the outer left of Penny’s hair, Penny’s shoulder, the left side of Marcus’ face), and I use a soft brush for the rest. Lower with the opacity, and use the eraser to blend.

This is a great time to play around with other highlight colors! I’m sticking with yellows, so I chose a peach color. Note: the red is to show what I drew.

7. We’re going to import a light leak overlay, and set the layer to “screen.” Then take your eraser, and erase any areas where you don’t want there to be too much light (red areas).

Finally, I’ll merge the layers together and bump up the highlights by going to adjustments > curves. Then I’ll add noise, and a vintage dust overlay. Sometimes I do more than this, sometimes less. I also like to draw hair strands and stuff, but that’s a whole second tutorial.

[sillyzlaurr]

SOMEONE ASKED ME FOR COLOURING TIPS AND I DELETED MY ANSWER DRAFT BY ACCIDENT IM SORYYYY

But i still wanna try to give some tips that i use (i hope you'll see this post, anon!!!!). Im not really good at explaining things and im not a professional artist but ill try ma best💥

Before I start a new painting, I make a few sketches of exactly what I want to draw. This helps me to find the right composition and color scheme

The environment an object or character is in has a great effect on its color. In the first pic, Spammy looks ok, but if we warm up the colors a bit, it looks like he's really standing in that room. You can also experiment with layer modes to achieve the color u need. Sometimes I crop the main background color over the character and poke layer modes until Im like "this shit looks good, lets go". But ofс you'd better find the colors yourself, it's useful for learning color theory

I also swept the main background color into the reflexes and shadows on the object. Like on this pipis

Buuut you can also use bright contrasting colors. This gives a funky, stylized look to the artwork

And about white color in my arts. I think that there is no pure white color in nature . White color and close to it will always have its unique shade depending on the lighting. So, I prefer to mute the white color in my works.

You can also try filling the area with some color and over paint it with light color, mixing colors together. This is a new technique for me, I usually put colors on the bare sketch, but I like it<)

And also coloring on the sketch layer. I'm not trying to lighten it or anything. It gives a kind of dirty look to the work and a kind of unfinished feeling. I don't like to lick my drawings to a shine. Plus bc of the brush I use, it gives me extra shadows. I prefer to use the standard marker brushes and some brushes I found on clip studio paint assets. These are mostly brushes that mix colors so i use them to add different strokes to my work

I guess that's all, hope it would help someone!!

Remember, you can do whatever you want to your art, the main thing is that it makes you hapi💋

[ohno-the-sun]

Oh uh forgot to ask in the previous ask (the one with the digital piece of candy and scurrying and stuff)

How do you draw art so good

Like

Is there a method you use or is that just the style you've gotten over time?

you've activated my trap card

I'm just gonna preface that this tutorial is from someone who was not professionally trained and didn't have a lot of free time for art, so a lot of the tips I have is short cuts I use to get the best results quickly

If you genuinely want to get better at art then please look at references and practice that is always the best

However if you are like me and only really do art for fun but want to go faster then these are for you pfppt

Overall I'd say my style is influenced by speedpaints I would watch when I was younger, I like analyzing how people do things and what makes something look "good" to me

I always recommend watching them because they will often have techniques you've never seen before or do things a certain way that you can try out yourself

I consume good art, it feeds me

but seriously it can be super helpful when developing your own methodology, or just generally trying something new

Usually it starts with me pulling some references from artists I really admire and sort of sketching out how they do the things I like

For example 8um8le has like super good anatomy and poses so I focused on trying to replicate how they do that

venemous-qwille is super good at color and pulling focus so that's what I focused on in my study of them

In general I'd say my process is sketch -> silhouette -> color -> shading -> render

I really don't like doing lineart lol

I'd say for the sketch the most important part is using references and just kind of fudging it until it looks correct anatomically/physically

General rule of thumb is spend time on areas of interest, and keep non important areas light (like the stitching on his pants)

I don't do lineart because I think its unnecessary for most paintings I do

I naturally tend to put more time and focus on areas of interest (like hands and feet) and if you use a brush with opacity for the sketch, those areas are naturally going to be darker in the final sketch

Of course this is gonna be different for everyone but it's what works for me

Sometimes I do a really really sketchy layer underneath my sketch/lineart, just so I know where everything is going

Use thumbnails! They are great to help figure out the general layout of things and what pose I wanna do

Next is what I call the "silhouette" layer

This is super important for me cause it helps me refine the figure and make sure the pose/anatomy looks correct, also depending on what color I choose for the silhouette helps guide what colors I'm going to use on top

This piece is a good example of how it works. The silhouette shows me how the figure interacts with the background, how the pose looks and if its any good

The silhouette layer doesn't have to be super clean, as long as it follows the sketch decently well and shows where the figure is then its fine

I also sometimes make the silhouette layer multiple colors to help guide shading and vibe

Next is the coloring layer. I usually make this a clipping layer on top of the silhouette layer, or I change the silhouette layer to alpha lock, either way it saves me time on coloring everything in

Sometimes I am super rough with the coloring too, using like an airbrush or my fav watercolor brush just to generically block in color where I want it

Works out cause most objects have like a bounce light to them from surrounding objects, so this is sort of a cheat I use to get that effect without all the work lol

Also don't be afraid to have the lower silhouette layer shining through, having multiple colors sort of subtly shining through the piece helps lots

Next is the shading layer, this is usually another clipping layer, usually set to "multiply"

The colors I pick here is usually within this range, any color works, just depends on the piece and vibes.

Since this piece is set in a sunset forest I choose a more desaturated orange for the shading layer

I know there's a whole thing about multiply layer being a crutch (and it kind of it) but it is a useful tool when you just want some darker values across the piece but don't want to go through the process of color picking every single darker shade

Also in my opinion it looks better than picking a darker color and setting it to a lower opacity, idk I just think the color has more "depth"

Next is the hardest to explain, sort of the vibes layer

Usually its just a layer of more concentrated color on top of the normal color and I fudge with the settings and values until I get a result I like

Next is the longest step, is the "extra" or the render stage.

Usually I add a background before this step so that if I need to merge the figure better with the background I can

If I render with a white background but he's supposed to be in a dark forest, its going to mess with the lighting severely

Also this is when I add more "vibe" layers on top to get the figure to match the background better

Backgrounds in general I recommend checking out @/derekdomnicdsouza on instagram he's got lots of great tutorials for breaking down backgrounds simply

I'd say general rule for the rendering layer is to focus on the areas of interest and spend less time on areas you don't care about

I even blur stuff out on the edges I don't want people to see, partially to save time on fixing mistakes in areas I dont care about (oop), but mainly to help draw the eye to the areas I do want people to focus on

Theoretically parts of the background should like mesh with the characters, parrallel lines are a no no unless they are directing a viewer to look somewhere, things that are perpendicular help bring things together

tbh I'm still not the best at layout and probably need more practice, but overall this is what I like doing

Overall this is what my layer set up ends up being

Sort of a sandwich with the lineart/sketch as the "meat" lol

Color and basic shading below the sketch, clean-up and rendering on top

I like this method cause it's super flexible if I ever want to try something different or try to replicate someone's style

I can make each step less or more messy depending on the end result and can add a lineart layer if need be. Also if there's a part that is straight up not working or needs to be removed its super easy to do cause I can just paint over it on the "extras" layer, color picking from the surrounding area to get the same vibe

Generally rule of thumb for my style is: get the initial layout of colors, form and shading to look good, then the rendering should be smooth sailing

Really the best advice I can give to get better at art is to enjoy what you're doing and become very very obsessed with drawing a silly little guy

You'll eventually get very good at drawing them pfptpf

[heirhonkful]

Commission Info!

This post is going to go over my commission information. Mostly for character illustrations, but there will be other kinds of commissions included. I'll be breaking up the information and prices into chunks based on: - Art Style - Pose - Additional Elements (i.e. backgrounds, props, additional characters...) - Experimental Commissions (i.e. comics, animations, etc...) - Terms of Service. There will be example images provided and a short paragraph explaining the information. Should be a long post so it will all be under the read-more.

Art Style

The style decides the base price of your commission. Sketch: $15

The sketch style means I only do a sketch of the character. I generally will keep it clean but they will often have a rough feeling to them still. I am generally okay with the inclusion of one, somewhat sparse color in a sketch commission used for occasional detailing. Colored Doodle: $20

With a colored doodle, you get a rough and sketchy drawing but with some simple coloring. The amount of detail and complexity depends on additional commission add-ons. However, I get a lot more say in how the end result looks with these, meaning the general "roughness," presence/amount of shading, etc are all at my own discretion. Flat Colors: $30

This style means I keep it to flat colors only. The line art will be cleaner than the sketch or colored doodle. However, there will be no shading whatsoever. Rendered: $50

A fully rendered commission includes full color and shading. I will often use textured brushes in these, but if you want something smoother then you can ask for that. I include Disco Elysium styled portraits here and not in "style imitation" (further down) generally because I feel better attempting that style as I've had attempts with it in the past.

Pose

From here on, prices are considered "add-ons" meaning they are added on to the base price from the selected commission style. Bust: +$0 A bust commission includes the head, shoulders, and sometimes chest of a character. Half Body: +$10 Half body commissions can include hips and above on a character. If you want a bust commission but also wanted to include a character's hands in the pose, it is considered a half body commission. Full Body: +$20 Generally includes anything beyond the hips. If you can see the whole body, it feels self explanatory that a full body commission is what you are looking for.

Additional Elements

Backgrounds Transparent/Single Color: +$0 If nothing is specified for the background, the commission will simply have whatever color my default "paper" layer current is set to as the background. If you want something different feel free to ask, you can even send a specific hex code if you'd like. A transparent background is available to all commission levels, just ask me to also send a version without a background. Simple Design: +$5 This generally includes things like simple shapes or more complex multiple color backgrounds. Complex Background: +$20 A simple background can include a few objects/background elements. Generally if you want you character sitting in a chair, at a table, under a tree, leaning against a wall, etc, you'd be asking for a simple background. Scene: +$50 If you would like a whole scene, covering the entire background with many complex and sometimes intricate elements then would like a Scene background. This would also include whatever props your character would have, so if you get a Scene commission, you can ignore the next "Props" section. Props (Price covers one to three props) Simple Prop: +$5 A simple prop often just includes something the character is perhaps holding or a larger prop with a simple design. Complex Prop: +$10 If the design for the prop is more intricate then the price is increased. Additional Characters: +$15 Any additional character is another $15.

Experimental Commissions

Experimental commissions are commissions I would like to start doing, but don't have much experience doing for other people. As such, they generally include a few additional caveats when compared to a normal commission.

Style Imitation: +$20

I can attempt to imitate a style, the "Style" base price is dependent on the style I will be imitating. This is just something I'd like more practice with to be honest. I also really only would consider imitating the styles from famous cartoonists or the styles of certain games, comics, or animated shows. I won't imitate another random online illustrator's style. Simply because it feels a little rude lol. Examples provided include: Peanuts and The Far Side (both showing scenes from the Maia Kobabe memoir, Gender Queer), Deathloop, Darkest Dungeon II, and Sweet Bro and Hella Jeff. Comics: $20

The styles are limited to Sketch, Colored Doodle, and Flat colors for the time being. They are also intended to be more like a comedic webcomic, and not something like a comic book or graphic novel. I may include stuff like that in the future though, priced per page. For now, the base $20 includes up to 4 panels and another $10 per additional panel. Animations: $35 per ten frames I am still somewhat new to animating, so the style for these are limited to only the Sketch style. Since this is a skill I am learning you should keep the request somewhat simple. (For now there are no example to show because my only animations are NSFW in nature. When I have more SFW examples to show off here, I will add them. For now, you will just have to look for the animations I have already done in my #animation tag) PNGtubers:

The price for these can vary. The style is limited to Flat Colors and the poses are limited to Bust or Half Body. Those decide the base price. Additional expressions (blinking, open mouth, etc) are +$5 because these are often simple and easily made changes just on the face. Additional poses (hands up, additional props, etc) are +$10 The backgrounds are of course Transparent.

Terms of Service

I am fine drawing most anything (so NSFW is allowed), just ask to be sure.

I can refuse a commission for any reason

Please have references for me. - If you are having me design a character with no official design be sure to bring reference of examples of what you want your character to look like (like hair and facial features).

Delivery time - Commissions will be done in the order they were received. - For especially complex commissions, expect a few months for completion simply because of my schedule. I do these in my free time. - Simpler commissions can take a few days or maybe weeks. - Please be aware, just because I upload a personal drawing does not mean I am not working on commission.

Revisions - I will check in with you on occasion to ask for input or desired changes. - Please keep bigger changes towards the early parts of the process. As the commission progresses I will be less willing to do larger changes to the commission.

Payment - I only accept payment via Paypal Invoice (you don't need a Paypal account, it will be sent to you via email and you can pay in the link sent) and Ko-fi. - Also, if you are especially happy with you commission, you can even leave a tip on Ko-fi ;3

[otaku553]

do you have any tips for thin (anime-style) lineart? I always tend to end up with much thicker lines unintentionally X-x

It depends a lot on what exactly you’d like to achieve, but my biggest recommendation would be to change brushes if your lines are naturally coming out too thick. Not just because of brush size, but because the kind of brush you use will change how you line things, technique-wise.

As an example I’ve tried lining a sketch using two different brushes here:

Though they’re both from the same sketch, in the first I used a thin brush with high stablization and almost no pressure sensitivity. As a result, I’m forced to line slightly slower, and it looks slightly stiff but achieves the sort of clean anime look you usually expect to see— almost no line breaks! This is the standard for anime I think because you have to have clean and closed line boundaries so that coloring and shading can go quickly.

On the other hand, on the right, I’ve used one I’m a bit more accustomed to, a round textured brush with a lot of pressure sensitivity. It’s also got lower stabilization, meaning I work quicker, my strokes are a lot more spontaneous, and you see a lot more natural variation in line width. That’s what I mean also by it depends on what you want to achieve— though this is also an anime style you wouldn’t find it as a screenshot anywhere because that line width variance would probably look really inconsistent in animation.

I als only switched to this round brush relatively recently, about half a year ago now??? Previously most of my lineart was done with a rectangular brush which also tended to yield thicker lineart than expected.

I would suggest playing around with different brush shapes and settings, especially in stabilization and pressure sensitivity, since I think those are often what affects my drawing style the most! You can do a similar exercise to this and try lining the same sketch multiple times with different brushes to test which feels best for you. Hope this helps!

[mischiefmaker615]

Use Me (Loki Love Story) Ch.5

Summary: Loki shows up at your brothel with an offer. What could go wrong?

Requested song inspiration: Use Me by Johnny Blue Skies & Dove Cameron & Diplo

You weren’t sure who was the first to wake up- quite frankly, Loki still might be asleep. His hands just slowly roamed all over the place yet his breathing behind you indicated he may still be in a deep slumber.

You were laying on your stomach, warm and comfortable other than waking with a heart attack with the feeling of the prince’s slender hands beginning to roam and knead at your skin. You didn’t dare move though, you needed to make sure you behaved in order to earn your keep and get out. he seemed to fully understand that so there was a type of thoroughness to his movements that seemed to milk what he could get.. if he was awake..

You kept your eyes closed as he could be felt pressing his body up against your side. His slender hand slowly moved a trail up your side and to your shoulder blades before a single finger ran and traced down your back line before you felt his hand grasp and sometimes harshly squeeze your ass before moving on. His fingertips brushed against your sides, grazing the side of your breasts where you tried to subtly press yourself more into the mattress while your cheeks continued to grow red.

Now you were sure he was awake by his actions because you felt his other arm curl under you before he pulled you flush against him, back to his chest in a proper spooning position and your dainty hands grasped his forearm that stayed around your waist. A low, approving hum vibrated his throat, moving to rest his face in that spot between your neck and shoulder while his other hand ran up the outside of your thigh and ran over your stomach. As soon as your breath would hitch when it seemed his hand would make its way to your center, he would change trails to anywhere but there.

Dare you say your body almost looked forward to his skillful hand but at the same time your shyness wanted you to squirm away. Pick one damn it! Women would be lucky to be in your position but why couldn’t you just do your literal job and take it.. you knew he’d be angry if you tried moving away, but you were still trying to figure out why you wanted to move away in the first place. Especially once you discovered a wetness between your legs that had you blushing all over again..

‘’your not used to this..’’ his semi raspy voice whispered while you bit your bottom lip.

‘’my prince..’’

‘’you’re used to men taking, I wonder when the last time you had received..’’ it wasn’t really a question but the more concerning part was having you slightly turn your head to try to look at him over your shoulder.

‘’..can you read my thoughts?” you asked, your voice a bit worried about the possible answer but he chuckled against you.

‘’you are merely easy to read darling. your body gives you away almost instantly’’ it wasn’t necessarily a no.. ‘’however, I wonder how much of your reactions are out of touch alone, or is it specifically my touch..’’

You squeezed your eyes shut as if to dispose of this conversation he apparently wanted to have so early in the morning- no.. afternoon? The amount of daylight that had your eyes blinking through the crack in the shades had your body tense and going to move to sit up. Loki’s grip instantly tightened when he felt you flex your muscles and you gave up quickly back in his arms.

‘’you are no longer a maid darling, you are allowed to remain here. The chambermaid’s have already done their jobs while you were asleep.’’

Ah, so he was awake before you..

‘’I suppose I’m just getting used to the.. routine..’’ you said quietly, feeling his lips press almost feather light kisses to your exposed shoulder and suddenly you were hyper aware that you were still naked under the covers.

‘’there is no routine love. When I want you, I will take you. Anytime. These mornings may be similar, or different. It also depends on you.’’

‘’me?”

‘’you will leave when you see that you have earned enough. This relationship is entirely run by you.’’ There was a bit of dryness to his voice, almost a disinterest to the topic you couldn’t quite put your finger on, and you could have sworn his grip brought you closer to him in that moment.

There was an unspoken conversation you were sure you both could feel while your heart began to race. It was quite awkward to talk about money, especially when you were literally naked up against the second prince of Asgard.. you normally didn’t have conversations with your past clients after ‘doing it’.. but Loki was no mere client. Frankly, you both didn’t even ‘do it’ which was driving you crazy as to why.

‘’there is an envelope on the study desk.’’ Loki answered flatly, almost making you second guess if he had lied about reading your thoughts and you also wondered when it got there. Did a maid deliver it or were you out cold to where he put it there himself without even waking you? By the looseness of his arms now, you could tell he was wanting you to go look at it. Your cheeks began to redden and as soon as you felt your fingers grip the sheets to indicate you were going to at least cover yourself, you felt them being pulled away. With a side glance, Loki sat himself up, covers falling down to his waist while his back leaned against the headboard and his toned arms crossed against his chest with a challenging smirk and glued eyes to your form.

Your arms had instantly wrapped around your chest when he had moved away from you but you knew there was only so much you could cover before you had to walk across the room. Bastard..

‘’why so shy darling? am I finding I might be correct that it is certainly me that draws out your indifferent reactions compared to others you’ve presented yourself bare too?” his tone was almost mocking but was covered in amusement while you glanced at the sheets around your waist- a subtle goodbye.

He wanted you walking naked.. the sooner you did, the sooner you’d get to see that envelope and hope that you were lucky, you’d get to leave his cruel games perhaps today. Doubtful, but one could hope.. in any case.. you were quite sure he’s seen a lot of you already anyway..

Taking a deep breath with pretend dignity, you put your mindset in a place where you were perhaps back at the brothel- where you could do certain things with the reassurance you’d never see their face again. You stood yourself up, lowering your arms since your back was to him and began walking over to the desk. You could feel your hips begin to automatically sway with each step- causing your cheeks to redden with realization when you were quickly reminded this was no pretend brothel and snatched the letter quickly.

There was no way in hell you were going to stand there naked- already swearing you had heard his breath hitch and could feel his eyes on you- so you used your arm to cover your breasts and the letter to cover your center. You thought yourself clever, but as soon as you turned around to begin walking back to the bed and the protective coverings called sheets- you rammed into something tall, smooth and solid.

‘’read it darling.’’ he purred, his slender hands on your shoulders to turn you back around so your back was to his chest while his hands slowly moved down your arms and wrapped around your waist. His grip pulled you back more against him and could feel his obvious morning wood resting against your ass, causing you to tense but froze in place while you tried to control your breathing.

Gods he was huge.. you still couldn’t get over it..

Your hands shook slightly, hoping at the angle he couldn’t see your intimate front and used both hands to open up the envelope. Peaking inside, you hesitated before your fingers moved in for more clarification of what you saw and counted twice.

‘’that’s it-?” you exclaimed before you could really stop yourself before your hand covered your mouth.

‘’you are ungrateful?” Loki asked, failing to hide the amusement in his voice while you resisted the urge to spin around.

‘’no it’s just-.. I normally more in any one of my old jobs..’’ you said quietly, feeling your shoulders slump a little while his lips lowered against one and lazily began kissing your skin with a hum.

‘’you normally sleep with a client to earn a grander amount, if that is what you were expecting.’’

‘’I was just under the impression that we were going to-‘’ you cut yourself off, noting a small hint in attitude in your voice and also the awkward assumption that left your lips.

‘’you were under the impression we would sleep together?” he smirked and his hand rose up to grip your jaw, turning your face to look up at him while the other stroked your hip. ‘’may I remind you that I may choose to do so anytime, anywhere. However, your keep is earned with whatever brings me pleasure- as to our agreement. Doing so isn’t strictly sex.’’

You blinked up at him, trying to wrap your head around the proposal again with what had happened yesterday. ‘’so.. that means..’’

‘’seeing you kneeling naked as well as wrapped up in my arms last night is what I had found to be pleasurable.’’ He said with a smirk tugging at his lips, his eyes showing all to well how he was picturing it while his thumb began to play with your lower lip. ‘’the thrill of pleasure will also determine how much I believe you’ve earned.’’

Your eyes glanced down at the envelope, switching back up to his when you felt his grip tighten.

‘’and may I also remind you that you were under punishment.’’ He told you with a growl before he released your jaw, his hands quickly moving to your waist so he could spin you around to face him, his form leaning down just ever so slightly to look you in the eyes with accommodating height. ‘’good girls get properly paid.’’

Your hands had automatically moved up to rest at your chest, wanting to hide them back also not be any more defiant than apparently you were. How the hell were you going to get out of here if getting paid was so damn sensitive. ‘’so.. all I have to do is..’’

He raised his hands back, palms facing you in a surrender position before he stood up to his full height, looking down his nose at you with a smirk while you tensed and returned the letter to cover your center while your arm covered your chest.

‘’by all means darling, if you find yourself wanting to go out of your own way to please me, you might have found a faster way of getting out of here.’’

Tag List: @comehomecomehometous @trash-panda-kitty @kuroturo @lovinglimerence @kathren1sky-blog @soulpiercing @ildflue-17 @navs-bhat @ririsasaki @allbymyself17 @howl-and-midna-smeltser

[sonyshock]

This is not even technically a serious tutorial, but I've been rediscovering my way of coloring lately and I had nowhere to write these notes which I'm afraid to forget. And what better way than publically

Basic colors: Monochrome layer of the 'main' color. Brush is in multiply mode to allow it to lose saturation and luminosity. Focus on having the interest areas (usually the face+whatever is in front of it or occupies a large space} more or less clearly set. In this picture there's not much worry for shadows. If shading is very important to the piece, keep it in mind but don't define them yet. We are mostly looking for general blocking.

Underpaint: A flat layer under the basic colors. Generally neutral gray, but it can be other kind of unsaturated color. Evens the colors and enriches the palette.

The use of neutral colors is due to the special properties of grey to appear the complementary color of any color is is next to while not expanding the color palette.

Base color lights: Enhance the lights with a Screen layer, using colors picked from the picture so far. ALSO: If there's going to be complementary colors, paint those areas white or very light so you can apply them later without muddiness. This might be more or less necessary depending on the colors relation to each other and the next step

In this example, Rei's eyes are not completely white because the unsaturated blues will work well with pink/salmon

Overlay layer: Add secondary colors with Overlay. These are the secondary colors of the image. They are always going to be a different hue.

If the secondary colors are harmonious, it should be easy to blend them. Focus on blocking and contrast the most, and mind saturation, saving it for points of interest or viceversa.

If the hue is complementary or very far in the color wheel, it's important that we left unsaturated or light areas saved for that in the past steps, because otherwise Overlay might not blend well and easily result in muddy or extremely dark saturated colors (which I personally don't like)

Between the grey underpaint, the base colors and secondary colors, chances are you have 90% of the color palette covered. From now on we are going to eye drop from the layer and only move through the color wheel when needed.

I think it'd be no problem to repeat this step if going for a triad palette, but be careful with the ratios and keep the luminsity and saturation steps in mind.

Deepen colors: Using multiply layers, add colors that feel necessary. Color pick them from the image itself, and only vary when necessary.

This is a good step to change the colors of the line art by changing the hue.

Using the same method, use Screen layer mode to add highlights.

Remember there's no need, nor it is recommended, that you colorpick from the same hue to paint over. Highlights will look more rich if they're in a different temperature, and shadows will do the same if they're in a different temperature, although you should use very light colors to avoid ugly blending.

I might update this post later if more epiphanies come to me

[mambodork]

How do you pick colors? Do you have any tips for it, especially when making more complicated artworks with a lot of different colors?

Tysm for asking ! I'll use my recent art to show a little bit behind my process so its easier :3 note that I use Photoshop (I know, I hate it too but atp I'm already way too comfortable with it to change into a better software like CSP or something). Click on read more for the step by steps !

I usually put a base color underneath just to get the whole vibe of the drawing together and so it's coherent. It can be any color honestly but I like working with blue/orange/red the most depending on what I want,,, (photoshop also has a color changing feature so I can always change it midway).

I lay down all the base colors next, the brush I use to base color typically has pressure sensitivity that makes it transparent depending on how hard you press (???) i dont really know what to call this feature but that!!

I lay down base color lightly just to show a little bit of the base color underneath and join the entire thing together (everything is a bit opaquer in this particular piece cuz i wanted to rlly separate all the elements, Im usually much softer w it)

after i got the base colors down, I use blending mode layers like overlay, multiply, color dodge/add, etc to get down the lighting and stuff :3 I just love blending modes in general and use it a whole lot lol

after i get all that down, I start shading and adding details to things ,,, I use a soft/light pressure sensitive brushes to get main shading down and some lasso tool + airbrush aswell in certain areas,, Then i use a more hard/opaque brush to get details like doing cleanup and highlights. I normally do more on shading & rendering but I didn't do much on this particular piece cuz I couldnt be bothered lol, I won't really go down too much on my rendering process cuz this one don't rlly represent it well

My favorite part is to bring the piece together using adjustment layers :3 idk if other software/app provide this feature (tbh they probably do), but I love messing around with color balance, hue & saturation, levels, of the sort

That's pretty much it ... this post is already much too long so if you'd like little misc. tips and rendering stuff as well as brushsets, feel free to ask in my box again so I can hopefully make a separate post abt it !

[crystalreydraws]

Hello hi I just found out you're the artist of my favorite pic of Jamil from all time 🥹 I absolutely LOVE LOVE LOVE LOVE LOVE LOVE LOVE LOVE LOVE LOVEEEEEEEEEEEEE SO MUUUUCH his bday art from 2020!! It's my favorite one from every art and he looks so pretty and hot and cool and like he's in a music clip and about to drop a fire verse!! I LOVE your painting style so much, as a baby artist, would you one day show us how you color? I'm sure you put so much blood, sweat and tears into your hard work and it would great to get a little bit of that wisdom. Please keep drawing, keep doing what you love because it makes the world a better place to live!

Sketched my sleepy and tired oc to do a very quick demonstration but it covers how I color when i render things:

Start with rough greyscale first, it's a good start to roughly decide light direction and value of your overall work. Especially if you have no idea on your shading.

Next, apply base color to greyscale. I'll use gradient map if I want to keep the details of my greyscale. But if not, I'll just start with a flat base color, and try whatever I can to apply color.

Rendering phase. Add layers and just paint on top to refine it. Merge all layers if it's too messy. Then add layers again. My rendering really depends on how much time taken because it's just a loop of paint over and refining. Thats why i do more simple fanart cuz I sometimes get bored of rendering Also at this stage when doing lineless style, I merge lineart with layers and cover up the lines.

Final touch. Merge all layers and use [filter gallery > paint daubs (brush size 1, sharpness 2)]. It will sharpen your work and look detailed. Or add some very fine noise texture, it will look detailed too.

Another very rough demonstration on how i apply color mood. This will be after step 2. And same will be more refining and even paint over to ensure the colors look ok.

Other tips:

Add warm and cool colors especially on skin.

Use pinterest. Always find more than one reference for a subject if you want to draw better than yesterday. Pure ref is a nice tool to gather reference on your pc. When i draw a single hand I had a lot of ref. (pose, color temperature, lighting, photos, artwork, all diff ref)

Color theory is so important I still struggle a lot. I highly recommend beginners start from practicing Marco Bucci's ball practice. After that slowly change to adding character into movie scene and photographs, the purpose is to adapt different color moods and learn the lighting from the image. Learn more from famous movie and cinematic. They did their best to nail the colors.

Anyway,

this is a long answer about how I color. My previous job influenced me so much on coloring so there's a lot of thinking and struggle on my colors.

So, I suggest you be more experimental and try new ways, at the end what remains is what fits you.

[akanemnon]

hey akane, how do i make smooth outlines and good shading ? I'm new to digital art so I'm trying to learn

Hi there! Getting used to digital art can be tricky, but there are ways to make things easier for you. Depending on what program you're using there should be a slider option for your brushes called "stabilizer" (or something of that sort). Basically what this does is it slows down your brush speed and should give you a lot more control for smoother lines. It's a little finnicky at first, but especially when you don't have a graphic tablet, this is a life saver.

(Sorry my Clip Studio Paint is in German)) As for the shading, the simplest option is to create a new layer over your flat colors that is only for your shading. Layers can be assigned different blending modes. These are layer settings and the effects behave differently depending on the layer below, and what colors you choose to go on top. A fan favorite blending mode for shading is the "multiply" setting.

(Without blending mode on the left, and with multiply on the right)

Of course there are many MANY ways to do this. But as someone who is starting out I'd always suggest trying things out with small stuff. It is tempting to get overambitious early on (been there, done that). Over time you'll find out what rendering style you prefer. There are so many more than just cel shading! You got this!

[fever-fluff]

Part I - Quick as a Fox

word count: 2.3k (not proof read)

will contain spoilers for the ACOTAR series

“What could Rhysand possibly need that would be out here, Shadowsinger.” Lucien’s voice was thick with disdain, swatting another branch from the thick brush they walked through.

“Scared of getting you breeches a little dirty, Lucien? Doesn’t seem like you do well in the dirt.” Azriel’s sneer was no better, and the innuendo about Elain did not fly past Lucien so easily.

“Believe me, its not the first time I’ve gotten it on my knees, maybe you’d like to hear all about my time in the garden last week-” Lucien was quick to block the fist aiming for his gut, but it threw him off balance all the same, soft ground beneath him not much to grip.

Azriel came at him again, “Shut your filthy mouth, Vanserra.” Lucien just laughed at the male’s brazen behaviour towards the female he’d tried to snatch for himself. It had been months now since the last solstice, and the catastrophe of the necklace had caused a rift between Azriel and Elain that Lucien had, without regret, used to his advantage. Elain was mated to him, and he’d agreed to Rhys’ wish of not inciting a blood rite  over the shadowsingers obvious display of disrespect.

He had not pushed Elain in the slightest with his affections, but he had made it clear they were there. And after finding a bitterness under all that façade of sweet, Lucien had coaxed it out. It turned out she had more in common with Nesta than they’d all first thought, and he relished in the fire when she let it out.

The two tumbled as they fought, both to engrossed in getting another blow to the others face when they stumbled down a concealed ridge. They had separated just as the reached the bottom, and went to got at it again until Lucien noticed what they’d fallen into.

“Mother above”

Azriel looked to what was behind him, sucking in a breath and the grove of statues they’d landed in. “What the damned is this place?” walking around, the two noticed now that they were not statues, but petrified bodies of fae of all kinds. Lucien stopped in front of a certain one, loosing a shudder as he recognised the face in front of him. “I can’t be…”

Azriel joined his side, analysing the kneeling figure in from of him. The arms were twisted as if two fae had hold of her while the magic took effect. A sneer crossed her features, and he felt a shiver as he though of what it might have looked like in flesh. There was pure hatred in those eyes, and the snarl of her lips was something that he’d only seen on the most animalistic of his kind. Though she looked to be high fae, with pointed sharp ears, her demeanour was something he’d place in a wild beast.

“We need to free her.” “Are you mad?!” Lucien had already turned and began sifting through his sack, pulling viles as he went. “Lucien, who the Hel is she?!” he started mixing different liquids together, the mixture turning all different shades of different colours too quick for Azriel to catch.

“Someone who may be able to help.” “Hah…?”

Before Azriel could stop him, Lucien poured the new potion on to the top of the statue, and waited as it took effect. It was a simple reversal but depending on the depth of the initial fae's magic when she had been petrified, the time to undo the curse was debatable.

So they sat a respectable distance apart, and watched the statue like hawks. The sun had started to dip in the sky by the time they noticed the stone slowly shift, and a pale complexion took its place. Her chest began to slowly rise and fall, and a flutter of her eyelids became stronger as the hours passed on.

The moon had taken its place in the sky, and both males had drifted off into the land of the unconscious until they heard harsh coughing. The statue, now skin, moved achingly while the faes body returned to normal. Lucien cautiously moved towards her with a canister of water, “Fox, its alright, we’re not here to harm you...” The slap of the canister from Lucien’s hand was quick and strong, too strong for someone who had atrophied for mother only knows how long now. What was even more miraculous was the speed she moved towards the brush to their right, finding a small stream to gulp out of heavily. Azriel made to move on her, but Lucien held his hand up as a signal to wait, “don’t spook her, unless you don’t like having limbs anymore.”

Once she’d had her fill, she turned her eyes to the two of them, and he could have sworn they flickered between a serpent’s slits to the fae oval. As she spoke, her voice cracked from years of disuse, but he could hear the power she could wield it with, “I suggest you both start talking before you have no more tongues to do so.”

Azriel’s responding growl was low, truth-teller now grasped in his hand as he etched closer to her, “you shouldn’t make threats you can’t follow through on, bitch. In your state, this is going to go only one way. With your throat at my bla-”

Too fast. Way too fast for someone only after waking from such a long prison did the woman lunge for Azriel, snapping at his wrist with both hands and knocking the knife from his hand. He didn’t have time to reach for another as her body morphed, twisting into muscle and scales, wrapping round his body and wings and tightening instantly. She’d wrapped the latter half of her body round him like a snake, leaving her upper body in the fae state and sneered when he choked for air as she squeezed, “what was that? Sorry, I cant hear you over your own spit.”

“Fox, let him go, please.” Lucien had backed up, hands in surrender. Her gaze moved to him, and the recognition that lanced through her eyes did nothing to ease the grip she had on Azriel’s body. “I never thought I’d see a child of autumn beg for the life of an Illyrian.”

“There’s a lot of things you don’t know. But the High Lord of Night won’t take it well if you kill his spymaster on my watch.” Finally, she eased herself off, and Aziel gasped for the precious air he’d missed. She’d put a reasonable amount of distance between them all, still on guard with how the serpentine part of her body coiled like a spring. Once he’d finally reached his feet again, she started looking for answers, “How long have I been asleep? How do you know who I am?”

“If my brother’s words are something to go off of, half a century, maybe more.” Lucien flashed her that goddamned smile, “I’m Lucien, Beron’s youngest son.”

That didn’t seem to placate her like he’d hoped, and Lucien wasn’t quick enough to move away from her attack. Talons retched from her fingernails, and she had him in her grip before he even had a chance to realise. “I suggest you keep his name out of your mouth, child, before I really do rip out your tongue.”

“He’s telling the truth, he’s a Vanserra.” Azriel wouldn’t make it in time to stop her if she made for his neck. She snorted, “And what makes you think I would believe a word that comes out of your mouth, Shadowsinger.” Shit, she’d caught on to his shadows. He pulled them back from the two, holding up his hands in the fashion Lucien had before. “You know who I am?”

“Everyone knows the little toy the High Lord of Night uses in his arsenal of weapons, though congrats on the promotion. Spymaster seems fitting for your type of… constitution.”

She’s turned her attention back to the redhead lying beneath her, “If you are telling the truth, my lord won’t be too happy if I slit this lovely, tanned neck of yours. So, I suggest you both stay where you are until I am far enough away to not turn back and change my mind.”

“wha-”

She was gone before the two could blink.

“What in gods damned was that, Lucien?!” Azriel’s anger was far beyond livid. But the autumn male simply stood, rubbing at his neck, still feeling the ghost of her claws on his skin.

“Her name’s fox. She’s been missing since before the war. One of the most dangerous fae Beron ever had under his control. He used to tell me stories of her, to scare me into going to bed.”

“And you didn’t think waking her would be a bad idea, considering she has no clue who you are?!” Lucien winced under his tone, “I thought she’d smell that we were related, nothing gets past her senses. But I suppose I really didn’t think…”

“Rhysand is gonna be pissed, you realise this?” Azriel started to pace. If they really had released something like that with no safeguards, nothing to stop her from returning to Autumn, they could be in for a lot more trouble with Beron than they first expected.

“Yea, I know.” The two made to go back to Velaris, winnowing silently.

Quick. Quick as a fox. You need to be fast, faster than anything that might catch you. His voice rang in your ears as you sprinted through the thicket, four paws pushing silently off the ground at each lurch of your body. Come on, fox. I know you’re faster than that. The hounds are going to rip you to shreds if they catch you, I wont hold them back. Gods, you needed to run. If you were still in the grove, that meant you were only one court away from Autumn, the winter court.

Sure enough, a border of ice and snow came into view, and the fur you wore changed from the fire red of his hair to the white of winter. They’d never feel you breach the border; animals came and went as seasons changed, even in the eternal courts. And your winter body would blend you into one of them long enough for you to pass through unnoticed. You’d run, run as fast as you could until you reached him.

Five hundred years you haven’t been watching from the shadows. Watching and waiting. You knew the day they took you he wouldn’t look for you. You had failed him, had gotten caught. You are my fox, quick and sly. But if you get caught in a snare, there will be nothing I can do to stop the hunters from claiming their game.

Hours had passed until you reached the land of Autumn, and your body returned to the red that you never forgot in your imprisonment. It was all you could remember of him, that and his cruel disposition. You had forgotten his eyes, but never the feeling as they landed on you with cold contempt.

You made for the cabin on the base of the mountains. You knew he’d keep it warded. And all you had to do was cross the threshold and he’d come for you.

Being encased in that stone should have turned you mad, but the hot anger you had been laced with for the change had kept you burning with sanity. You would be no good to him if you’d freed yourself and come back with no wits. So it had burned, for year upon year, until the red head idiot decided he knew who you were and released you.

He hadn’t smelt like Beron, you’d checked. Lady of Autumn, sure, but Beron was no where in his blood. You wondered what happened there.

The cabin was in sight when you felt your legs give out. Shifting back, you wobbled on fae legs to the front of the porch. But you couldn’t sit. If he came and couldn’t remember you, you’d have to make fast work at fleeing before he decided you were a threat to his oasis.

It didn’t take long for the beating of hooves and the pounding of paws to reach your ears. Light flickered in the distance, one lone torch among the forest of orange and yellow.

Standing steady, you raised your head as the face you’d forgotten became clear. Gods, now that it was in front of you again, you realised it had never left you. It haunted your dreams, your nightmares, and every waking moment you sat kneeling in that grove. You'd only forgotten that it was real, and not a figment of your trapped mind.

Nothing was said as the hounds came charging, ready to tear whatever decided to breach their master’s property. But the wave of scent you let wash over you had them stopping in their tracks. Now unsure of whether you were truly the threat they were first ordered to rid.

“State your business, before I am no longer lenient with my dogs’ lag.” He voice sounded harder than you could think to remember. You hated it, wondering what he'd done in the time you were gone to sound like that. But you bowed deep, knee hitting the wood beneath you in reverence, “my lord.”

You didn’t dare lift your head, couldn’t bear it if you looked up and saw nothing of recognition in his eyes. But the sharp inhale, small enough that only you would ever hear it, loosed the fear filling your chest. “Fox?” you smiled.

“It’s been a long time, Eris.”

[goosterbold]

Hi, I love seeing your art! Do you have a typical process when it comes to using your colors/shading?

Howdy! That's very kind of you to say! I'm pretty unsatisfied with my own color work, so I'd like to point you to someone I admire's work before I start talking here- please eyeball GGDG's work (largely posting as pallisia on here (please play SoulSov)). The way they paint mood, their grasp of texture is fuckin' unbeatable. I know this is cliche, but I also highly recommend looking at Mary Blair's work. It's the gold standard for color for a reason. When I color, I try to think about mood too. I usually use a brush with a flexible opacity for 'building up' color and shading. If (for fanart) a character has official colors, I like to eyeball those (though I think eyedropping is very viable and is a wonderful way to teach working with strong contrasting colors), then flex them towards whatever mood I'm aiming for. Warmer, cooler, sadder, happier... Sometimes a green metal looks more metallic than a grey metal (this is not universal advice just a hypothetical finding), you find strange things playing around like that.

After a while you draw a character so much you 'know' the colors, and they start to mutate a little. You find fun moods you like to play with. You learn that drawing this character with black hair with deep blue hair sells an approach you like when making art of this character. Not that you should lock in colors or nothin', but a lot of like, color stuff like that comes with time and fiddling around.

I'm a student of 2011 tumblr, so I shade with a hard light layer usually. The shadows hold strong vividity of color + it's a very flexible method for like. Cleanup on the fly. Plus you can do a lot of mood adjustment by playing with hue and saturation- I also like hitting lighting as a hard light layer, but please be advised this can end up looking a bit muddy if you're not careful (I run into this problem a lot)

If I run into contrast issues, I often find playing with gradient maps on a duplicate layer can help me figure out what my troubles are. Though be warned this CAN really muddy the colors, so try to be thoughtful using this.

Here's what I mean about colors tilted warm (this is not general advice but the mood I wanted to pursue in this drawing)- I then used a hard light overlay with a strongly saturated red, a purple on the cloak (it's fun to play around with this, sometimes you want all the same shadow color, sometimes you want to keep in mind each part's individual tone. It depends on the mood you're pursuing). The lighting here is a light green for contrast.

Hope this is what you were looking for! My advice is to play with every layer setting you possibly can. Try also to think about the material (I don't have this in my drawing at all but think about this- how does light pass over fur? How does light pass through clothing, based on different thicknesses? If light travels easier through a thin coat vs a thick scarf, how would this look different when you're painting color onto it?) and what mood you want your piece to carry.

Good luck out there !

[alicenpai]

art summary through the years! i saw this going around and i wanted to play too, i always love doing these summaries.. template 🌹

my art became "i discovered the joy of drawing drapery and fabric in 2021 and never looked back" HAHA

looking at the early stuff, sometimes i really miss stylizing and drawing cartoons!! 2015 was the first year i started drawing cartoony stuff, pre-2015 was purely anime style. an updated art summary from 2010+ for me would be fun.

going back to the 1st sentence, stylizing just doesn't give me what i want from art anymore, it doesn't satisfy my art hunger haha (dungeon meshi joke.. iykyk). although it's still fun to experiment once in a while (e.g. merch). even if my current personal art is not very animation industry friendly or "hireable", i think i have a stronger notion of my "artistic" voice now more than before. (again, at least for personal art)

2020-2022 were rough years during the pandemic... i wanted to stop drawing so many times. i always say this, but during that time i went back and touched base with things i used to love as a teen, such as old anime (fma, pandora hearts, etc) that inspired me to pick up a pencil in the first place, and it helped to revitalize my love for art. and then i discovered drawing and studying fabric and i could never go back! i think my art is now more inspired by fine art history than cartoons hence the more realistic drapery...

one reason why i always change up my art style or technique every 2 ish years is that i kinda get bored of the same brushes easily... ive worried that using the same brushes gets boring and stale to people, but i think my art values are more or less consistent with how it was 3 years ago. i cycle through a set of like, 3 different brush sets (watercolour, pastel/lineless, and regular shading) depending on the mood of the drawing. different drawings call for different techniques you know?? and i think it's okay to use different tools for each drawing, art isn't meant to all be the same.

[alynwrench]

hello!! ദ്ദി(｡•̀ ,<)~✩‧₊ i really love how you color, do you have any tips ?! specifically how you choose/pick your colors/lay them down, but if you also perhaps feel like sharing some info on your rendering process i'd love that as well! have a great night!

HII THANK YOU FOR THE ASK!!! I'm super stoked that people like the way I color my pieces so yes, I will throw some of my tips your way!

For the first drawing I picked colors off the wheel purely on preference. You can see that the base colors of everything are very bright and almost straight out a kids show. This is fun and perfectly fine! For shading, I would take my base color to make darker, and-- depending on the color-- move it left or right in Hue. For colors such as Red, Orange, and Yellow I typically make them warmer. So shading with red would be a dark magenta, shading with orange would be a reddish brown, and shading with yellow could either be orange or golden brown depending on the intensity of the shading. For colors such as green, cyan, and blue, I lean them colder! Shading for green is often a dark teal, shading for cyan is a darker blue, and shading for blue is a darker purple. Shading for purple is weird because I sometimes make it dark blue, or a darker purple. Same thing for dark blue, shading is either dark purple or a darker blue. For pink I often do purple for shading! This is the most basic idea of how I like to choose my colors and determine what colors I will shade with.

2. This part is a LITTLE harder to explain, but this is how i make all my colors work together in one peice! Something my highschool teacher taught me in my painting class is you should always paint your background first so color-matching is much easier. Another tip is mixing a little bit of the same color you want to work with (like blue or red) into each of your colors so they have undertones of the color you want to work with! This works for digital painting as well. What I do is i place down the main color i want to work with- in this case blue or red- onto the background layer. Then with a brush capable of mixing (I use CSP so a good example is the Chalk brush) I take my base colors of what the environment looks like without alterations, and scribble them into the background color so they gain the undertones I want. For the night-time drawing shading, I did what I did in the first one! I took the base color (now blue-tinted) and made my reds, yellows, and oranges warmer and darker, and made my greens, blues, and purples cooler and darker. For lighting I did the opposite! I made my reds, yellows, and oranges cooler and brighter, and my greens, blues, and purples warmer and brighter! For the red drawing, it's the exact same process. BUT. The difference is, for contrast since Green is Red's complimentary color I mixed a LITTLE bit of green into the shading colors, and mixed a little bit of red into the lighter colors because I really wanted the intensity of the red to POP.

In all of my rendered and sometimes unrendered pieces, youll see the same themes over and over! In the last image of above, youll see I mixed in yellow with the shaded parts since that's the opposite of purple. In the 3rd drawing with moon, I kept the shading greenish but the lighting red! I don't ALWAYS use complimentary colors in shading and lighting, but its fun to play around with :3 Whats important is: In all of the drawings above, I put down my background / preferred undertone color first, then built all the base colors on top of that so there was less color clashing! It really makes everything feel like it belongs in the same environment. For rendering tips: I don't have many, but 90% of the time just know I treat it like painting! I keep everything on one layer and color over my sketch, building shapes and colors until everythings nice and blocked out till I can focus on the smaller details without worry. I like to use brushes that allow blending: In CSP that'd be Chalk, or other brushes you can find on the store. In MediBang itd be Watercolor! You just gotta look for the right tools. Some of my inspirators that have helped me learn how to draw since elementary school are LavenderTowne (mostly her earlier videos) and watching SpectroliteAAA (prev WalkingMelonsAAA) 's speedpainting videos ^^ I HOPE THIS ALL MADE SENSE AAAA HAVE A GREAT DAY