Thanks, internet people~
If there’s one artist I miss a lot from back in the MLP fandom, or really in general, it’s Pigfish. He was one of my biggest influences back when I was getting into digital painting. Unfortunately, he deleted all of his art months ago and hasn’t returned since.
here are some bits from the psg art tutorial by Arne Niklas Jansson
it’s incredibly useful and very comprehensive so please, check it out!
img 1: sub-surface scattering
Sub-surface scattering - Strong light can penetrate the surface of some materials and bounce around, then exit again. This will increase the saturation and make the surface look illuminated from the inside. In the case with human skin, we sometimes see it on hard edges between light and shadow.
img 2: layer passes
- Feel volume and angle of the form.
- Where is the light coming from?
- Try to figure out if there are any shadows that might be falling on the surface.
- Is there any reflected light (radiosity) that hits the surface?
- What is the ambient color of the scene? (sorta like global reflected light.)
- Any speculars. Is the surface gloss/wet and also angled so it reflects a light source, such as the sky?
- The exposure level. Perhaps it’s so heavily lit that it becomes more than white? Perhaps it’s so dark that even the brightest spot is hidden in darkness.
- Is there any fog in the way?
- The texture of the surface.
Note that this mainly goes for realistic styles. A brushstroke should also look efficient and consistent with the rest of the painting and your color scheme choice. You might also have an idea or style which disallows certain colors or textures and puts priority on other things. However, even in a powerpuff girls illustration there’s simplified elements of realistic rendering. Don’t hide behind “it’s not apart of my style so I’m not gonna learn it”.
img 3: speculars
There’s really just one kind of light. It bounces. You can only see the light (photon) if it enters your eye. Light does two important things when it hits a surface. First, a part of it is absorbed. This is how colors are made. A red apple reflects mostly red wavelengths, the rest are absorbed and turned into heat or something. That’s why black stuff get so hot in the sun. Anyways, the reflected light bounce away differently depending on the surface. If the surface is bumpy it will bounce away sort of randomly, like a tennis ball that hits rocky terrain. If the surface is smooth it will bounce away in a predictable path. A mirror is very smooth so the light comes back undistorted, so we can see our reflection.
Note that all surfaces have speculars, because speculars is just reflected light. It’s just more broken up/diluted on dull surfaces.
img 4: radiosity
Here on earth we have lots of stuff around us that the light can bounce off, so things here are more or less lit from all angles. For example we have the sky which is like a dome shaped blue light source. Then theres the ground, walls and other surfaces. In space there’s basically just one light source, the sun. This is why the moon just has a lit and shadowed side, and looks kind of flat. If you looks carefully however, you can see earthlight on the shadow side of the moon, but it’s very weak. Then there’s starlight, which I guess is even weaker.
When light hits a surface and bounces, it also change color. If it hits another surface of the same color it bounced off, it will make that surface look even more saturated.
Here’s a thing I just finished.
ctkhullo replied to your photo “Pacific Rim Assignment Part 3/3 - Background This is the final part…”
It looks really dark on my monitor, and I bet in print it would be almost all black. You might get away fine on a projector though (idk if/how you’re presenting these)
It’s going to be projected and not printed, which is good for me in this case, and really I doubt the teachers would want over 30 pages of that many grey-black full page cityscapes. Even though it does look fine on some monitors, I’m still taking this into account from here on, especially since this is a problem I’ve had before even when using a calibrated monitor. I just need to stop being so… shady.
I was surprised about that too, to be honest. When I first noticed it, I thought it was because, with this being an animation course, the need to distinguish between very faint value differences in dark or light areas wouldn’t be much of an issue with the solid colours and such used in animation, but there are plenty of digital painting assignments as well, especially in the later years. It doesn’t seem to be a problem for anyone else, but I’m definitely going to keep my eye out for it in the future.
Also, the screen on the Cintiq 12WX is completely awful. Every computer in one of the labs has them and their screens are hopelessly muddy and dark. I’m definitely sticking to my laptop for most of the digital stuff.
This is the final part of the Pacific Rim assignment, which is the layered background of a city. It was supposed to be Hong Kong, but that doesn’t really show other than the with the text I pulled off of an image search. Now this picture is one that I’m a little bit concerned with. On two of the four monitors I viewed or worked on this image with (three of which are mine) the image was clearly visible. It was so clear that I could see a distinct eight or so shades at the bottom 5% of the value scale with my own eye at even the lowest brightness settings of those screens. This is important because I did most of the work at this very low value range. The problem is that on the other two monitors, one of which was at my school and is the same type that all computers there use, it was so dark that a few very important details were essentially invisible. Hopefully it’s not too much of a problem this time around, I just need to look out for that in the future.
This is pretty self-explanatory. It’s the Kaiju for the Pacific Rim assignment I had. This was a sketch which was painted over digitally in Photoshop.
This is part one of an assignment in one of my animation classes which was inspired by Pacific Rim. We had to design our own Jaeger using a rough sketch that we were to paint digitally, though we did have permission to do it entirely on the computer from start to finish, which I did for this part.
I did this quickly in between school work, which is a thing that I will be uploading soon as well.
I haven’t posted quick stuff like this in a while, or anything for that matter.
god that hand is so shitty
Mischief - The Sketching/Art software that acts like a regular raster-based painting software, but with infinite vector scaling! [x]