btw this uses cédric rossignol-brunet’s Gensco typeface. it's cool & free, & there's other ones on fond de riz

waaaaao this is really pretty, the grey is such a nice contrast tooooo

sorry ya gotta deal with that! good luck to you :>

ty ty! it's not quite all *there* yet; but it's getting closer! just gotta play around more

- also it also don't work if you have bad values in your painting so just have good values/contrast of lightness forehead lmao

still want to develop the approach further, but i'm excited with how the test turned out! i'm less certain that it holds up for character design though, but i'll see soon

- keeping in mind the idea of "big/medium/small" for the palette is useful for balancing it well. for example, if you have Step 1 & Step 2 be 60% of the painting, 3 & 4 as 30% of the painting, & 5 & 6 be 10%, it'll be easier to manage the colors.

- you can flatten a color by blending it with the previous Step, or sharpen it by blending it with the next step. this allows for a consistent way to approach hue-shifting
- Step 3 would, then, be the secondary color. Step 4, either a tertiary or accent color, & so on for any additional steps.

- you can choose a color to act as the base color, or Step 1, & use it as an underpainting.
- a color connected to that color would act as Step 2, which can be seen as the "primary/focal" color of the piece.

so basically, the lightness would stay consistently the same, but not the hue or saturation. from my understanding now...

for a given shape drawn within a gamut mask:
- the points of the polygon create a palette
- each point has relation to the other points which connect to it

it was aggravating how the approach was inconsistent. it was difficult to try to figure out how to use it in a way that is unique to it, but this is a step forward!

these were done by creating a test with all the colors in separate layers, & afterward altering the colors in respect to lightness

eehee ty very much :>

also also this was the last of the pixel brush experiments we were doing for now! was a great fun time! got to play with a lot of really cool new things, but i do wanna move on to doing some more painting stuff now.

this is related to a little story we are working on. it'll be a bit before that one's ready, but relevant stuff to it will likely be out by this week!

that's a big reason we've been trying it more lately! it feels really silly to have a big screen that i just turn off to use, but it seems so much better to do than have nautilus posture at my desk lol

should there be artists reading this of any experience, i hope you are kind & gentle to yourselves while learning. it is an aggravating craft! these are difficult, temptuous, hasty, & anxious times to be an artist. be kind & nurturing to yourself & others, as sometimes you can be the only one :>

when we first started out in digital work, coming from sketchbook. the transition from being able to see the line come from the pen, to having it magically appear on a screen, was a difficult & aggravating time to get used to! up until the last two or so years, we preferred physical sketches

we do warm-ups like these fairly often before drawing, & it was interesting how hard it was to follow a line. of course, these tests aren't one-to-one with the difference in line quality in an actual drawing, as line quality focuses more on energy than going over the same line repeatedly