In Paint tool sai its called “Clipping Layer” xD So that might be why you couldn’t find anything. But yes!! It makes coloring 500x easier (at least for me since i color like a 3 year old).
Step (1): Select everything OUTSIDE of the lineart then Selection>Invert.
Step (2): Then Fill the selection in with a color (preferably dark so you can see whats not colored)
Step (3): Set that color (BASE) below the Lineart layer then create a folder above the BASE, then clip it. Clip the entire folder to the BASE layer.
How it should look:
Step (4): Just create a new layer for the colors you want INSIDE the folder. If it is outside the folder its not going to “Clip” to the base and the colors will leak out.
Step (5): Shade and finish~
But yep that’s how I do it for everything I color unless its 1 layer stuff. You can get really fancy with all this Masking/Clipping, like I do with my effects all the time. Sorry if this is messy I left my tablet at home aha xP.
Hope I helped QwQ/
Hah well, I’ve only finished one other comic project while working on Judecca so far, which was my 50 page graduation comic (Into ja himo, coming soon [tm]), and my time management was absolutely terrible with it as evidenced by having to pull a month’s hiatus with Judecca last spring. I’m sort of hoping I learned a bit from that process though. Erm, tips, or rather opinions:
I’m naturally pretty fast at drawing, and I find drawing traditionally speeds up the process more, maybe this is true for others too. With my non-Judecca projects I generally focus on trying out new styles, getting a looser technique going. A Judecca page takes me from 6 to 10 hours to finish whereas these pages took me 3 hours tops. Granted, Judecca has a lot more panels per page, but I do think digital medium offers more room to just kinda zone out and go crazy with adding detail, whereas on paper there will come a point where you can’t commit any more to it imo.
Master cutting corners in stuff that falls into the “peripheral vision” for the reader like details in the background or body parts that aren’t in current focus, our eye reads a lot without us really ever “dwelling” on what its seeing. I’ve learned to save a lot of time by simply skimming a lot of the stuff with a vague gesture. : D I think with comics it’s okay to priorise economy pretty high.
Uuph what else? I’d say give yourself deadlines for small portions of the project and commit to them, but I know a lot of artists get burnt out by deadlines rather than motivated by them. The truth is it’s pretty hard to get projects done when it’s not commissioned by a third party where you have no option but to get it done. It’s a little crazy to then try and juggle several projects simultaneously, so I fully expect this to sort of crash and burn at some point for me..
All I can say is try to find a working style that most compliments your work efficiency and try not to get burnt out, the comic will always be there for you to return to if you get too tired and need to drop one of the balls for a while.
AK’s Guide to Suits
An introduction to the finer details of menswear, and how to get them right in your… aw, hell, why am I describing it here? Read the intro!
Hey. Don’t just scroll past. Come back and watch this. You need it more than you know.
the time out of your day to watch this will not be wasted, I assure you.
By about the 2:00 I was sobbing.
I scrolled halfway past and then thought “okay i’ll see what it’s about”
Definitely the correct choice. Watch it.
They. Were. Wrong.
oh god the actual tears on my face
my english teacher showed us this in class the other day. When it was over, I looked around to see reactions. Half the class had these awkward, slightly uncomfortable grins, and half were staring frozen at the screen. You could really tell who this affected.
Oh my… You ALL need to watch this. Very little affects me the way this video did: literally shivers and tears. Please give this a watch.
Quick reminder, that we often try to catch up with some super artist that isn’t even real. You know, that one who can do absolutely anything, learnt it within a week, doesn’t need any sleep and is working on like a hundred successful projects at the same time. We’re being all sad and frustrated because we think we’re no good compared to that one super artist. But then, who is?
Understanding and perceiving negative space is vital to drawing from observation and vital to creating composition in a work.
If you’re a figurative artist, you need to draw from life. That doesn’t mean going out and finding (or paying) someone to model the exact pose you’re trying to render every time you draw. No one does that! Not even professional illustrators (who often do use models for their work). That would be a pain and likely very limiting…unless you have several excessively understanding family members. While figure drawing tools like pixelovely and other photoreference are great for everyday practice, you still need to draw from real life…I’d say at least once a week. Why? Why, you ask, when I have this huge file of photographs and they’re all in such interesting poses?
Because you need to be able to understand, intuitively (which means through practice) the figure in three dimensional space. A photograph is not showing you a three dimensional object no matter how illusionary that image is, you are translating two dimensions to two dimensions. That might be helpful but in order to really make images look real rather than flat when you’re working from a photo, you first need that intuitive knowledge that only working from life can give you.
Your life drawings don’t need to be done in a formal (classroom) setting. Your models don’t even need to be standing still or, in fact, aware that you’re drawing them. Just making a few quick lines that capture gesture (the way the figure is standing/moving) and volume (the form in space) while at the bus stop or a restaurant or anywhere at all is enough. And it will help you IMMENSELY as an artist.
Books on figure drawing and proportions or How To books are great foundation but if you never really look at the human body sitting, standing, walking or running, then you’re always going to have a gap between the lines that you put on the page and what you ‘see’ in your head…Because when the human body is moving, or posed in a manner that isn’t just so, muscles and bones and skin all together look vastly different from the way that you’re taught to think about them in those books. There’s distortion, foreshortening, and ten million other things making it subtly different…And knowing those subtle differences can mean the difference between a convincing (if vastly stylised) rendering and art that’s static and flat.
IF YOU’RE NEW TO DRAWING AND YOU’VE EVER THOUGHT ‘Why doesn’t it look like what I see/imagine?’ THIS LINK IS FOR YOU. If you’re starting out drawing, going from ‘thinking about it’ to ‘drawing it how I see it’ can be difficult, but here’s one exercise that instructors have been using for years to help students get over the ‘mental block’ of considering their subject in terms of what they know rather than what it truly is.
Eventually, you will be able to mentally ‘switch’ back and forth between thinking with abstract logic and objective vision without even realising you’re doing it if you take the time to learn the basics.