At 1/3/13 08:28 PM, wankwest wrote:
At 12/31/12 09:38 PM, InsertFunnyUserName wrote:
Still WIP. Here it is with the black and white layer. Next comes color, then background.I'm not used to giving critique, but maybe the inside of the mouth needs to be a few shades darker.
Everything else just seems perfectly fine to me, not that my judgement holds allot of validity to it.
Hmm, true. I'll fuss with it.
I was wondering, with what tools you shade, what does the shading process look like? I could really learn from your work.
Oh I can go on for great lengths about shading. Prepare your anus for incoming wall of text.
TL;DR: I use a regular hard round brush with the pressure sensitivity set to opacity and the opacity set to around 50%.
I apply various colors--or in the case of black and white, just values--over each other until I get the desired blend. When I'm working with color, I don't usually use a pallet. I find it more effective to just pick what I need from the color menu.
I start by coloring in the entire shape with a hard layer of one single mid tone, and then I add in the various other mid tones until the forms are defined. Then I add the shadows and then finally the highlights. After that, I hide the outline layer and refine it, sharpening what needs sharpening and fixing what needs fixing. The reason I like digital painting so much is that I can experiment with different combinations of hues and values as much as I want without either degrading the paper in the case of paint, muddying the colors in the case of colored pencil, or dulling the highlights in the case of charcoal.
I also make sure to work from large to small. That is, I use a larger brush to shade over large surfaces, and only after I'm satisfied with that do I move on to putting in the smaller details on top. If you just try to work from one side to the other, it's very difficult to make any changes to the broad surfaces without messing up your edges.
An important thing to keep in mind when you're putting down your layers is that up until the point where you're doing final touches, you want to pick values and hues that are more extreme than you intend the final product to be because as you're laying them down, they'll overlap each other, lessening the contrast between them.
It's also important to keep in mind whether your shadows are soft and fading or hard and abrupt. Note not just where they're falling but also how they're falling. Helpful expertly made MSPaint infographic attached.
I could honestly go on but I'll stop there for now.