alicenilesse:

http://gerryarthur.deviantart.com/art/Blackwall-gif-552989177

commanderclusterfuck:

Comission of my Nerevarine by the-orator~

theminttu:

One of my favorite things in Morrowind was to commandeer a house somewhere and fill it with books and junk :’)

miss-cigarettes:

ミカ優★3 || 吉子 [pixiv]
※Permission to upload this was given by the artist 
**Please, rate and/or bookmark her works on Pixiv too**
[Please do not repost, edit or remove credits]

harukasenpais:

Mikayuu Week - Day 04: Jophiel
Option B: Mikayuu + Childhood or Childhood memory 

masseffxt:

first enchanter hawke

lexxercise:

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 :>

BRUSHES

Pencil

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.

Ink Pen

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.

Round Brush

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.

Flat Brush

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.

Watercolor

Best used for smooth blending, washes, gradients, and smoky atmospheric effects.

Cloud

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.

TEXTURE OVERLAY

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.

Hope that helps!

-L

pochihi:

Kate Marsh is a marshmallow

obcfamily:

Customer: I’d like to purchase a baby

Worker: Sir, we don’t actually-

Customer: *slides over $100*

Worker: *whispers* This way

bojrk:

Japan: Cherry blossoms in full bloom at Mount Yoshino, Nara

brownsera:

you don’t have to choose between fire and ice

op note: any derailing comments will get you blocked. i’m really not in the mood for y’all. :)

sleepysenshi:

uuu thank u anon!! i hope this can explain it :^o

i use overlay all the time to make colours more vibrant and to make areas warmer or cooler. good for colourful ambient light (like glowy magic stuff).

multiply is really good for establishing a light source very quickly!! play around with the hue to get shadows with cool colours. for more detailed work you can use two or three tones on a multiply layer for more dimension.

screen is something i only recently started using regularly! it’s really great if you have a very bright light source. you can also use screen and paint on the edges of a backlit character to make the lighting more intense. a good thing to know about screen layers is that the darker the colour you use, the less it lightens; using black on a screen layer leaves no effect on the colours underneath (the opposite is true for multiply layers!).

and you can also use these layers for an entire painting instead of just on a character! i don’t have a visual example on hand, but stuff like making the area around a warm light source warmer, making a light source brighter and more vibrant, or using gradients set on multiply or screen are just some of the ways you can apply these to a full painting :)

ohrobbybaby:

“Come on with the rain
I’ve a smile on my face” 

Singin’ in the Rain (1952)