A workable fuck-ton of male archery references (per request).
[Please note that the top two images of the white statues are for weaker bows; typically, the bow will have a stronger pull weight. The front arm would be fully extended and straight, and the hand gripping the arrow would not be pinching the arrow itself.]
nekonotaishou asked:What’s a good way to add shading to an animation in Flash?
Well, this is how I go about it. It’s a pretty simple technique that my pal and co-worker Marji taught me. I was kind of mind boggled that I had never tried this before, but once this knowledge was passed down to me I became a GOD!…
I certainly do not mind, and thank you! I am a TEENSY bit obsessive about line quality, so I’ve done a lot of experimenting with different hardware and software. My process depends on what kind of hardware I’m using.
Method 1: Tablet
Until recently, I used a tablet (Wacom Intuos 4, 6x8 size) to draw all of my personal work. Wacom tablets are great, but the tablet tends to pick up a lot of hand jitter, especially in Photoshop, which leads to wobbly lines. If I’m using a tablet, I like to draw in Manga Studio or Paint Tool Sai. Both programs have adjustable stroke correction tools which remove the jitter and give you nice, smooth lines. Sai’s interface is a little more user friendly, and it’s a small program so it won’t make your computer chug. Manga Studio is a much larger program that can be a drain on slower systems, but it also has a huge variety of tools that you won’t find in other drawing applications, including an awesome perspective ruler and a large library of 3D objects that you can import directly into the program.
If you love Photoshop above all else (or hate switching between programs for drawing and coloring, as I did), you can also try Lazy Nezumi. It’s an external stroke correction tool that works with Photoshop and other art programs. I have not personally used it, but a number of my arteest friends do.
Method 2: Cintiq
This is the pricey solution, but oh, Cintiqs are so lovely. The current HD models are even better than the previous square-y ones, both in the way they show color and in the way they interpret your pen strokes. With the new Cintiqs, I can finally draw smooth curves even in Photoshop, no stroke correction required.
When I go for long walks or sit out on my porch at night for a while with nothing to distract me, it feels like my mind is able to sort through all the extraneous thoughts and mental noise I’ve accumulated and just kind of… let it go. It’s something I don’t do often enough.
I’ve been getting a lot of asks lately about the brushes and textures I use in my work, so here’s a BIG FAT REFERENCE POST for those of you who were curious! Bear in mind that I’m really lazy and don’t know what half the settings do, so don’t be afraid to experiment to figure out what works best for you :>
I use the pencil tool with SAI’s native paper texture both for sketching and for applying opaque color with no blending. Lower opacities give it the feel of different pencil hardnesses, while full opacity makes it more like a palette knife, laying down hard-edged, heavy color for detail work or eventual blending with other brushes.
Mostly made this because I’m lazy and I didn’t want to have to keep turning my textures off/opacity up when I wanted to ink something (even though I don’t do it very often), or lay down flat colors. I find the line quality to be much more crisp than Photoshop, and you can manually adjust in-program stabilization to help smooth out hand wobbles.
The plain ol’ brush tool acts as sort of an in-between for me in terms of brush flow. It’s heavier than my usual workhorse brush, for faster color application and rough blending, but not as heavy as the pencil tool, which has no blending at all. I like to use the canvas texture on this brush to help break up the unnatural smoothness that usually accompanies digital brushes, but it works just fine without.
A brush tool set to flat bristle is by far my favorite to paint with. I don’t use any textures with it because I think the shape of the brush provides enough of that by itself. I use it for everything from rough washes to more refined shaping and polish. It’s just GREAT.
Best used for smooth blending, washes, gradients, and smoky atmospheric effects.
Basically a grittier version of the watercolor tool, because too much smoothness weird me out. Good for clouds and fog, as the name suggests, or just less boring gradient fills.
To further stave off the artificially smooth look of digital painting, I almost always overlay some sort of paper texture, and it’s almost always this one, which I scanned and edited myself. You’re all welcome to use it, no permission required!
Using overlays in SAI is just as easy as using them in Photoshop. Just paste the texture into its own layer above everything you want it to apply to, and change the layer mode to Overlay. That’s it!
Want a more prominent texture? Up the contrast. Something more subtle? Lower the contrast or reduce the layer opacity. You can also use a tinted overlay to adjust the overall palette and bring a little more color unity to an otherwise disparate piece! Just be aware that too much texture can hurt the readability of the work beneath it, so I’d err on the side of subtlety.