Itsmeif - It'sMeIF

It’s happened before and it’s bound to happen again so I’m backing up my brush settings in the form of this tumblr post just in case SAI decides to throw them out ;0;

Feel free to take them and mess with them, I got most of them from online anyways!

Cloud and Space brushes are better light on dark backgrounds btw And Halftone Textures are by Immuni on dA x

Alastor x Charlie HC?

Alastor x Charlie Headcanon~

• Alastor and Charlie, apart from the first moments of tension, they immediately got along. Both are really fun and energetic, they don’t hold back in front of a challenge and both are natural leader.

•It started when a group of vandals and Protestants started to create chaos in front of the Hotel. Charlie came out to confront each other peacefully. One of these poor fools threw at her something, wetting/dirtying  her clothes and hair. Alastor suddenly appeared behind Charlie.

• “Sweetheart, you should go get yourself something comfortable. I can think of our… mannerless guests.” “But…” “Sweetheart, you may go.” “Just…don’t hurt them too much!”

•Did those guys dare try to erase Charlie’s smile? Those fools are dead. But not immediately, not in front the Hotel under the gaze of Charlie. He didn’t want to disappoint the young princess. 

•But Charlie’s attitude has caught his attention. Those rude had attacked her and she didn’t want to kill them? Well, that’s interesting!

•Alastor appreciates Charlie’s kind heart. He likes her to be so positive and convinced of her goals. This does not mean that he will become “good”. He will probably still laugh at the misfortunes of others, but he will try not to do it openly in front of Charlie.

•Charlie believes that Alastor can be a good person. Perhaps. Really deep inside.

•They can spend hours talking about music. Both are musical talents and appreciate each other’s knowledge.

•Theatrical af. If you think that News 666 was a performance, you didn’t have Alastor as a set designer, choreographer, musician. Combine the enthusiasm of Charlie. Now that is a performance worthy of the Princess of Hell and the Radio Demon!

•Musical duets. ALWAYS. AT EVERY OCCASION. EVERY HOURS. They make Husk want to jump off a bridge.

howdy!! i really enjoyed that stimmy leo pic!! how did you do the hand flap motion??

Hi, thank you so much!!! To learn how to draw hand flapping, I recommend studying animation smears.

Rise uses this technique a lot, pause just about any fast-paced sequence and you’re sure to find smear references!

That being said, I drew this little tutorial up real quick to show how I do it:

I hope that helps!!

Top 12 alternatives to Photoshop for digital painters and illustrators

Hello there!

Yes, we haven’t done this in a while… but our inbox and chat are swamped with questions on the subject, so this article was very much needed.

it’s a simple list of art apps, but we know you love those :D

Enough with the intro, here it is, a list of twelve art apps you may want to check out.

ArtRage is an art program for beginners and professionals. With its minimal interface, it’s easy to keep the essential tools at hand without stealing space from the canvas. Panels can be moved around and tools can be customised. We all know how important it is for digital artists to be able to modify brushes!

Pros: easy to use; friendly interface; essential tools from professional apps available; available for iOS, Android, Windows and Mac

Cons: it may get sluggish with big files and when using big brushes, but performances also depend on the running machine; limited selection of editing tools if compared to Photoshop - ArtRage is more of a painting program rather than an editing one.

Paid

ArtRage Lite is a different version at a cheaper price, mostly for beginners, but also for professionals if they need the essential.

Now free, Sketchbook is the famous app created by Autodesk for various platforms.

Pros: clean, friendly interface; easy to use; professional features; autosave feature

Cons: lack of official tutorials; doesn’t offer as many tools as other apps (it’s down to the essential); paid subscription in Adobe style for Enterprise License

Free and paid

Black Ink is a powerful little program few actually know, but there’s a reason: this isn’t your classing drawing app. What’s cool about it is the vast selection of special brushes, completely non-realistic, and definitely able to boost your creativity.

Pros: vast selection of customisable brushes; excellent performance

Cons: not very easy to use; non-intuitive interface

Paid

This is probably the most complete software for painting, drawing and animation. It was originally known as Manga Studio, but with its updates and addition of features, it became Clip Studio Paint. 

This doesn’t say much about the quality of the features themselves considering the affordable price (if you haven’t used the app yet, that is), but among graphic apps, this one is the top seller.

Pros: professional features for illustrators; layout tools for comic/manga artists; 3D reference models; customisable tools; various sales with special prices

Cons: the interface may not appear intuitive at first; the program may lag (again, performance also depends on the running machine)

Paid

GIMP is the famous open source image editor originally created for GNU/Linux and available for OS X and Windows. 

Best known as Photoshop’s main competition, this is a manipulation program for both beginners and professionals who love design.

It offers many professional features, making the program a powerful tool.

Pros: professional editing tools; supports different formats; supported by different platforms; active community

Cons: in spite of the simple design, many options are hidden and it takes time to discover all the features; slow startup

Free

Krita is an open source painting app created by artists for artists.

Pros: easy to use; intuitive interface; great brush workflow; brush stabilizer; customisable brushes; general good performance; very enthusiastic, although small, community

Cons: it may be slow or even crash depending on the running computer and the app’s version; very few editing tools compared to Photoshop

Free

MediBang Paint is a free and light app for drawing and painting, perfect for manga and comic creation.

Pros: vast selection of brushes; cloud sharing; friendly, minimal interface (non-desktop app); also available for iPad, iPhone and Android

Cons: requires an account to use all features; non-intuitive interface (desktop version)

Free

Mischief is a sketching app with essential tools, useful for brainstorming and ideation.

Pros: infinite drawing canvas; friendly interface; easy to use; cheap pro version

Cons: few updates; offers only the essential (but that’s the point); no editing/adjustment tools

Free and paid

Corel’s jewel, Painter is the most famous software that offers digital tools able to give a traditional feel to brushes and canvas.

Pros: different selection of media; many professional features; PS-friendly

Cons: certain brushes may work slow; not easy to use at first; the software may crash (this is the most common report); pricey

Paid

Paintstorm Studio is a professional software for digital painting. It’s focused on the use of brushes and blending, which makes the software a little gem in the digital painting field.

Pros: good brush workflow; brush stabilizer; “close gap” feature; customisable interface and tools; professional features; affordable price

Cons: non-intuitive interface (desktop version)

Paid

Procreate is the powerful drawing app for iOS. 

With the very sensitive Apple Pencil, Procreate is so easy to use that many artists chose the iPad over the most famous graphic tablets.

Pros: friendly interface; makes it easy to organise files; excellent brush workflow; customisable brushes; video recording; affordable price

Cons: hidden features; only available for iPad

Paid

SAI is a simple app for artists who want to focus on painting and drawing. 

It’s well known for its good pressure support and its essential tools for manga artists, but SAI can be used by any kind of artist who wants to paint.

Pros: easy to use; friendly interface; light software; customisable brushes; tons of (non-official) tutorials

Cons: limited selection of tools, even basic ones; limited canvas sizes and uses; it might crash from intensive work, especially with big canvases and brushes; supports only RGB colour mode; lack of support

Paid

HONOURABLE MENTION

Many call this app an advanced PaintTool SAI, and for a reason. FireAlpaca offers almost everything PTS has and more.

Pros: friendly interface; brush stabilizer; lineart selection; customisable brushes

Cons: no colour slider; limited brush control; although more advanced compared to PTS, the features are quite basic.

Free

We hope you’ll find this list useful. 

If you think there are other apps that should have made this list, don’t hesitate to let us know!

Thank you and peace out,

G&M

Other articles:

10 inspiring and helpful YouTube channels for digital artists

6 inspiring Art Podcasts for digital artists

7 amazing Photoshop extensions and tools for digital artists

Art By IG: @floortjesart

Instagram: @artwoonz

Skull Oil Painting 💀 Still Life from Start to Finish

By Pavel Sokov

Setup and Preparation Stages

Before I start a painting, I like to come up with a couple of thumbnails to nail down the composition. I do these from imagination usually. So in these ones, I played with the placement of the skull, the direction of the lighting, and the orientation of the canvas. After coming up with these 4 thumbnail sketches, I got kind of a better idea of what I actually want from my painting.

Also, it sort of helps to have a thumbnail completed to use as reference when I start my painting because if I don’t have anything to look at it’s possible that when I start from scratch on my canvas, my subject will end up too big, or even worse, run off the page or something.

Composition is a bit of a feeling thing along with some guidelines. It’s not like stiff rules that you must follow. So having said that, I think I like sketch 1 and 3 the most.

You know, since the color temperature plays such a big role, I digitally painted this sketch with some invented color before actually making the setup, just to give an idea of what kind of mood this painting would be. And it also gave me an opportunity to plan some of the painting methods and steps that I’ll use in the actual painting process.

Okay, so with the sketches in mind, let’s put together the setup that I will paint from today.

Execution of the painting

So a big challenge to overcome here with this skull is that I want to paint it in the dark for a more dramatic and moody atmosphere since it’s Halloween and all, but at the same time, I want myself and my easel to be in the light so I can see and we can make this video.

Sadly, the candle doesn’t provide a strong enough light during the day, so we’re going to use a warm lamp instead.

Since we don’t want to burn the house down though by lighting that black box on fire, I think our candle shouldn’t be lit at the beginning stages of the painting.

I’m using a portable paintbox today that makes it convenient for me to paint anywhere I go.

For my brushes, I plan to use a lot of bristles because I want to load this painting up with a lot of thick paint, but I also packed a few softer brushes to get some soft edges in there too.

As my painting surface today, I am using an 11×14 linen panel. It’s actually one of my favorite sizes for life paintings.

I paint with a few different brands of oil paint, but there’s no need to name them or be concerned with what they are. What’s really important about that is that they’re professional grade and they’re not the student grade which are very difficult to paint with. It just doesn’t work, it’s like toothpaste, so just don’t even get it.

Okay, let’s squeeze out our paint. And don’t be afraid to use a lot. For the longest time, I’ve been so shy with squeezing out my paint. It’s been taking me years to paint thicket and thicker, and I gotta tell you, if you can skip all these years of being shy and just get straight into it and load up a lot of paint, it will save you a lot of trouble.

On my palette today we have:

Titanium White, Warm White, Cadmium Yellow Light, Cadmium Yellow Medium, Cadmium Yellow Orange,Yellow Ochre,Transparent Yellow Oxide, Cadmium Red, Transparent Red Oxide, Transparent Brown Oxide, Raw Umber, Alizarin Crimson, and Cobalt Blue.

Underpainting and Drawing Stage

The very first thing I like to do when starting a painting is to tint the canvas. But you have to select your tinting color wisely, because it’s going to provide the underlying temperature to the whole piece. I often let this initial tint show through all the way to the end of the painting, particularly in the shadows.

In this case we have a very warm light on our subject so we can expect our painting to be pretty warm. I’m going to tint this canvas with that in mind by using something really warm like transparent red oxide, and I will mix it with a bit of Cadmium Yellow Medium in the area where the candle will go because later, all this warm underpainting should give this skull a nice inner glow. I am diluting my paint with gamsol here when I do my initial washes, because makes the paint behave like a watercolor, which is perfect for making a stain.

Drawing the Lay-in

Okay, so now that our canvas is tinted, we can start to draw our linear lay-in on top of our stain. My favorite tool to do that with is actually a hard bristle brush. The reason why is that those stiff hairs, they allow me to get nice straight lines which are the exact type of lines that I find helpful at this stage to simplify the contours of everything that I’m drawing and to find those big shapes.

Don’t worry, we’re going to complicate these lines later when we go to paint them!

As you draw your lay-in, don’t forget to focus on the big shapes and the proportions of what you’re drawing. Don’t get carried away on details and things like that because it’s way too early at this stage. Simplify everything to its most basic elements. Find the big shapes and don’t mind the secondary forms for now. It also kind of helps to keep your horizon line in mind when you draw your lay-in. For example, in my case, I’m sitting below the skull and looking up at it.

You have to ask yourself, are you looking up at the your set-up, or are you looking down at it? And, whatever the answer is, you have to design your lines with that in mind.

So if you’re noticing that your drawing is off at this stage, don’t be shy to move lines around until you get it right. Trust me, you’re gonna be saving yourself a lot of headaches if you fix things at this early stage than if you try to fix them later on when you have a lot of opaque paint down on your painting.

So right now I’m filling in the dark shapes on my underpainting because I find that it helps me see my mistakes better when I fill in the big dark shapes. With these dark shapes filled in, it’s much easier to judge the distances on your drawing.

Opaque Painting Stage

At this point I often like to take a kneadable eraser, or more often a napkin, and rub out the lightest areas. This helps me establish the light source a lot sooner before I even lay down the opaque paint. Just make sure to do this before your stain is dry, or else you won’t be able to do it anymore. You usually have about 10 minutes max depending on your surface before your wash dries, so be careful.

My goal here is to establish the big values, shapes and color temperatures as soon as I can, so to do that, I am going to cover the entire skull with some opaque paint, aiming primarily to tell the story of the lighting that’s hitting our skull. I am thinking a lot about color temperature. Our primary light is warm, so I’m mindful that my the parts that are in the light are going to stay warm. Often times, students want to lighten an area, so they grab a bunch of white. White is actually the coldest color, so the result of that is that the value of the area goes up and it does become lighter, but at the same time, the temperature goes a lot colder.

This is actually great if your subject is in a cold light, like maybe a North lighting window. But in our case, our subject is in a warm light, so that’s no good for us. When you want to lighten an area that’s in the light, consider using a color to lighten that area. In this case, to lighten my mixtures, I’m going to include some cadmium yellow medium, cadmium yellow, and transparent yellow oxide in my light mixtures to keep it warm. But conversely, if you want to darken an area, a lot of students reach for the black to darken things, and that creates a cold mixture as well. Try darkening a shadow with a warm dark. Something like transparent red oxide, transparent brown oxide, or alizarin crimson.

While you’re putting down that initial opaque paint, a good principle to work by is to paint the lights thicker and the shadows a little bit thinner. So that means you can’t be afraid to lay down some serious paint in the lights. If you keep the shadows more thin and flat, then the lights are going to feel more luminous in comparison. And I also love to let my warm underpainting show through in places in the shadows.

When you have dramatic lighting like this, you are bound to see a lot of contrast. Let’s make sense of all of it this way:

Since most of our subject is lit, make sure that the amount of values you use in lights is higher than in the shadows. In other terms, make the shadows more flat and have less values, like you could make the shadows just one value so that it looks a lot simpler than your halftones and your lights. As a result, the shadows will have less information in it than the parts that are lit.

I am thinking of the skull as an egg, with the closest part receiving the most light, and the parts farther away receiving the least amount of light. If the underlying “egg” of the skull reads well, then you are gonna be in good shape!

Our halftones are the most chromatic and the most information-dense parts. So in our case they are going to be the warmest parts of the skull. The lightest lights are pretty washed out, but they’re still warm.

Finishing Stage

To see the finishing touches make sure to watch the video below.

cursed practice

ดี~👍

Johnny Blaze/Zarathos

I recently read a lot of Ghost Rider comics with Johnny Blaze. Now I’m wondering if I’m really the only one who kind of ships Johnny Blaze and Zarathos? Not in a “I want to see you two in bed together” kind of way [Hell no, that would be more than weird], but in a “I need to see more of you two together, because you’re awesome” kind of way. I just love to see them fighting for control, having to accept that they need each other or bickering like an old married couple. Seriously, it’s hilarious. They’re probably my favorite Marvel characters at the moment.

WATCH: Ingenious Hack for Sketching with Two Point Perspective Using an Elastic String [video]