Well, hey, this is an open fucking forum, not a one time deal. Dig out your toga from whatever seedy hooker-infested motel you left it last, and I'll respond best I can. Anyone else is more then welcome (including you, luckylime, you tike) to point out where I've fucked up, or a superior or alternative to anything I've listed below.
Someone bring lube.
But please, if you don't mind could you point out exactly what's wrong? An artist always has a bias toward their own art on account of looking at it for so long.
Well I already redrew it "correcting" all the proportional errors I had in mind. The obvious ones where the size of the legs (too small) and the size of her head (it will break. I'm not joking. Try to balance a head that size on a head that small, it will break. You have killed a troll. Nice work).
Now I say "correct" because you seem to default to very anime style, whereas mine is very psuedo-realist, or as I will be quick to correct anyone who says that, shitty realism. Refer to my previous redraw for any anatomical errors I've pointed out you wish to correct. That's if you're interested in correcting any of them. Remember, there is no shame in telling me to go fuck myself and doing it however the fuck you like. I do it all the time.
How do you set it to a shortcut? I'm still trying to get more efficient with PS.
I did not take these screenshots in order. I feel dumb.
There's a scrolldown menu once you're in the shortcut editor, just keep that in mind. Just flick through there and set all the ones you use most often to the most convenient keys. For example, I've got the Brush tool set to F, the Brush size adjusters set to C and V, and Free Transform set to Ctrl+W because at the time I didn't realize that you can't set operations that would normally require a ctrl or alt attachment to a an unaltered key.
Keep that in mind.
I drew the sketch in MSPaint, not because of MSPA or anything, I just really like the pixel-y, retro feel that it gives pictures. I am very much into, not necessarily pixel art, but low-res art is one way to describe it.
You can grab that exact same effect by using the pencil tool, setting the fill tool's tolerance to 0, etc. Just saying, because MSPA has had every panel, apart from the very first, drawn in Photoshop, and most pro pixel artists use Photoshop as well.
Also I'm just as, if not more, comfortable with a mouse than I am with a tablet since I'm still getting used to it. Sorry for any confusion.
I'm very disappointed in you.
This is something I'm just starting to figure out, but I don't see opacity controls anywhere. All I got is Size Jitter, Minimum Diameter (I really like this option), Tilt Scale, Angle Jitter, Roundness Jitter, and Minimum Roundness. I can't use half of them because I have no clue what "Jitter" means. :P
Really should have done those in order. Differentiates between opacity controls and size, etc.
As for "jitter" and all the other sub-controls, they're really only of use to either people who shop photos, GFX artists, etc. Not much use to a digital artists unless you're one of the ones that use 50 million different brushes to get a single result. Jitter in particular randomizes brush spread and angle, turning a square brush into a malfunctioning spray can.
It's more useful then it sounds. Just not to you.
Can you please explain to me what you mean by "everything needs a reason"? I feel like I'm missing something huge that could change the way I look at art. What does giving it a reason do that skill mastery can't? I only believe in good art but you seem like you're telling me that all art needs a story behind it?
This really cinched it for me and in fact that entire blog (By Chris Beatrice, aka "crazy eyebrow guy") is just jam-packed full of useful info. Basically giving everything a reason to be there gives you a direction, an angle that knowing every facet of anatomy and rendering can't give you.
It's the interesting concept that you start with, and can really help in streamlining every aspect of your sketches by giving it a purpose. In true philospher fashion it's simply asking "why?" Why is she posed like that? What's she running towards, why is she so happy, why are her hands in front of her face?
Then you illustrate the reason. Sometimes it can be incredibly simple, sometimes you might be trying to say a thousand words in a single picture. If it's the concept, then skill is the execution, so you want both.
I get so impatient/frustrated sometimes that I'll just stop drawing the picture halfway through the linework, then I'll come back to it a few days/weeks/months later and continue.
There's an exercise that helped me get incredibly fast (relative to my starting point) called time sketching; basically giving yourself a deadline in the form of 15 or 30 seconds to get an observational sketch downpat. As you can see it didn't help with my line economy, I'm still insistent on making sure my form is pitch-fucking-perfect, but it helps you to get bolder in your strokes instead of perfecting chickenscratch.
I had no clue what shipping was until now.
I'm sincerely sorry. Please accept my apologies. I... I didn't know.