Eliza Pink's Stream Interrupted - Totally StuffedAgain I'm ..
Added 2020-09-15 15:42:00 +0000 UTC
Eliza Pink's Stream Interrupted - Totally Stuffed
Again I'm making new characters!
So a while back a few people in the Discord started talking about the scenario of my characters - so often abused - would gang up and take revenge on me... And so I figured I had to create a proxy to take the punishment instead of myself.
I've been toying with the idea of a fem version of myself for a while, inspired by others who have done the same thing (WossaRem, Jam-Orbital among others). I even think I drew like a sketch of the idea at some point, but I can't find it now.
Anyway, the other day I figured it'd be fun to revisit the idea, and do a sort of outfit-of-the-day pic at the same time. A kind of self portrait.
So here's Eliza (I drew the pic during a stream and people decided thats her name) Pink, interrupted by... someone as she's drawing on stream.
As I was drawing it, I kinda just got into drawing the scene and clothes and stuff, so it's pretty tame in the bondage department. Let me know if you think she's someone I should draw again, and maybe do something a bit tighter ;)
Download here + Wips etc:
https://www.dropbox.com/sh/imnh5zi5irb4fir/AACj45Qx_7peWMqDwPsgcoNXa?dl=0
---
Here's a little background info and tidbits of the process of drawing the Eliza Pink pic!
I used to do really long posts about my drawings when I started doing Patreon, but then I stopped... I figured it'd be fun to do a more complete rundown of the process!
I've also had a few people asking me for art advice and stuff lately, so I'm throwing in some tips and stuff here, too.
So as you can see, the brush I've used is a little bit rough and textured. I made this brush to simulate a rollerball pen(like the uni-ball eye or the Pilot V Ball), drawn on textured paper. It used to be my preferred way of drawing for aaages before I moved to working digitally. A rollerball pen on good paper really flows forward, and if you don't actively try, you don't get a lot of variation in line thickness. I like this because it's really easy when drawing for me to get bogged down in keeping a consistent line thickness, and the drawing takes forever.
Since you can also zoom in when working digitally, it's easy - if you have a brush that you can vary the line weight of a lot - to just start drawing super tiny details everywhere. Not a problem with this brush! :)
When the brush is textured like this, it also kind of hides imperfections in lines and stuff. A drawing done with a brush that has a super crisp line has to be more carefull drawn than one drawn with a brush that's already a bit messy.
So that's why I chose, and like to use with this kind of brush!
A downside is that it doesn't look quite as good when you shove it up in a huge size... but just... don't do that :D
As for the coloring in the pic, since I drew my actual work space, I tried to capture the light ambience from it, too.
I always try to start thinking of light sources and 3d depth even in the first stages of coloring.
Thats why you can see, in Wip5_Flats1, that I for example have colored the wood wall a lot more bright and orange when it's closer to the lamp, or that I've already "shaded" things in this stage.
I see a lot of people who are new to coloring basically just do a single color on a material. Like, they might do the whole wall here just brown. You can of course work a lot with that stuff in the shading stage - giving everything depth and make it feel more 3d, but if you start with it in the flats you've got a good head start. And the picture kind of COULD be done here with just flat color.
A trick I often use is that if 2 things have a solid, full, line between them, they should be different colors.
I don't always follow this rule, but it often helps to create depth and make things stand out from eachother better. See for example the shoes of Eliza here. The white on the front shoe is a little brighter than the white of the back shoe. Makes it easier to tell them apart.
In Wip6_Flats2, I've added a bunch of little patterns and details to stuff. I feel like details like this often help sell a scene as being "real". I drew all these details with the same brush I used for lineart, so they wouldn't feel out of place by being too crisp (but you can still SORT of tell what things are - like, you get enough info - for example thats definitely Hiroshi Satoh's great album This Boy that she's listening to! ;) ).
Another thing I often see people who are new to coloring do when they do flats is to make everything the "correct" color (I even see this in professional comics and stuff!), rather than the perceived color. For example, in this scene, Eliza's sneakers are white, the fur on the jacket is white, the canvas of the picture she's drawing on the tablet is white, the radiator is white, the Gundam box in the foreground is white, and the lampshade is white. But in the actual picture, I draw them all different colors. In reality, they're different colors too, because an objects color is relative to the light being shone on it.
I find that, again, thinking in this way from the start of the flatting, will create a much more realistic feel with more depth than just saying "wood-brown","jeans-blue" etc.
I added the shadow layer, which tends to be a layer (or more often folder of multiple layers) I've set to blend mode Multiply,
as a separate pic here just as a demonstration. This style of shading (hard edged shadows with a saturated line around the light areas) is super inspired by watching drawing streams of a great illustrator called Zedig.
That little saturated line does a lot to create depth in the shadows.
I used a minimal amount of highlights in this picture, because i didn't want most things in the pic to look shiny.
To finish up I added a texture layer on top of everything - a handmade paper texture from MaxPacks. Having a little texture on a pic makes it feel a bit more natural and interesting, I think.
Ok thats all the rambling for today! Congratulations if you managed to read through it all! ;)
Again I'm making new characters!
So a while back a few people in the Discord started talking about the scenario of my characters - so often abused - would gang up and take revenge on me... And so I figured I had to create a proxy to take the punishment instead of myself.
I've been toying with the idea of a fem version of myself for a while, inspired by others who have done the same thing (WossaRem, Jam-Orbital among others). I even think I drew like a sketch of the idea at some point, but I can't find it now.
Anyway, the other day I figured it'd be fun to revisit the idea, and do a sort of outfit-of-the-day pic at the same time. A kind of self portrait.
So here's Eliza (I drew the pic during a stream and people decided thats her name) Pink, interrupted by... someone as she's drawing on stream.
As I was drawing it, I kinda just got into drawing the scene and clothes and stuff, so it's pretty tame in the bondage department. Let me know if you think she's someone I should draw again, and maybe do something a bit tighter ;)
Download here + Wips etc:
https://www.dropbox.com/sh/imnh5zi5irb4fir/AACj45Qx_7peWMqDwPsgcoNXa?dl=0
---
Here's a little background info and tidbits of the process of drawing the Eliza Pink pic!
I used to do really long posts about my drawings when I started doing Patreon, but then I stopped... I figured it'd be fun to do a more complete rundown of the process!
I've also had a few people asking me for art advice and stuff lately, so I'm throwing in some tips and stuff here, too.
So as you can see, the brush I've used is a little bit rough and textured. I made this brush to simulate a rollerball pen(like the uni-ball eye or the Pilot V Ball), drawn on textured paper. It used to be my preferred way of drawing for aaages before I moved to working digitally. A rollerball pen on good paper really flows forward, and if you don't actively try, you don't get a lot of variation in line thickness. I like this because it's really easy when drawing for me to get bogged down in keeping a consistent line thickness, and the drawing takes forever.
Since you can also zoom in when working digitally, it's easy - if you have a brush that you can vary the line weight of a lot - to just start drawing super tiny details everywhere. Not a problem with this brush! :)
When the brush is textured like this, it also kind of hides imperfections in lines and stuff. A drawing done with a brush that has a super crisp line has to be more carefull drawn than one drawn with a brush that's already a bit messy.
So that's why I chose, and like to use with this kind of brush!
A downside is that it doesn't look quite as good when you shove it up in a huge size... but just... don't do that :D
As for the coloring in the pic, since I drew my actual work space, I tried to capture the light ambience from it, too.
I always try to start thinking of light sources and 3d depth even in the first stages of coloring.
Thats why you can see, in Wip5_Flats1, that I for example have colored the wood wall a lot more bright and orange when it's closer to the lamp, or that I've already "shaded" things in this stage.
I see a lot of people who are new to coloring basically just do a single color on a material. Like, they might do the whole wall here just brown. You can of course work a lot with that stuff in the shading stage - giving everything depth and make it feel more 3d, but if you start with it in the flats you've got a good head start. And the picture kind of COULD be done here with just flat color.
A trick I often use is that if 2 things have a solid, full, line between them, they should be different colors.
I don't always follow this rule, but it often helps to create depth and make things stand out from eachother better. See for example the shoes of Eliza here. The white on the front shoe is a little brighter than the white of the back shoe. Makes it easier to tell them apart.
In Wip6_Flats2, I've added a bunch of little patterns and details to stuff. I feel like details like this often help sell a scene as being "real". I drew all these details with the same brush I used for lineart, so they wouldn't feel out of place by being too crisp (but you can still SORT of tell what things are - like, you get enough info - for example thats definitely Hiroshi Satoh's great album This Boy that she's listening to! ;) ).
Another thing I often see people who are new to coloring do when they do flats is to make everything the "correct" color (I even see this in professional comics and stuff!), rather than the perceived color. For example, in this scene, Eliza's sneakers are white, the fur on the jacket is white, the canvas of the picture she's drawing on the tablet is white, the radiator is white, the Gundam box in the foreground is white, and the lampshade is white. But in the actual picture, I draw them all different colors. In reality, they're different colors too, because an objects color is relative to the light being shone on it.
I find that, again, thinking in this way from the start of the flatting, will create a much more realistic feel with more depth than just saying "wood-brown","jeans-blue" etc.
I added the shadow layer, which tends to be a layer (or more often folder of multiple layers) I've set to blend mode Multiply,
as a separate pic here just as a demonstration. This style of shading (hard edged shadows with a saturated line around the light areas) is super inspired by watching drawing streams of a great illustrator called Zedig.
That little saturated line does a lot to create depth in the shadows.
I used a minimal amount of highlights in this picture, because i didn't want most things in the pic to look shiny.
To finish up I added a texture layer on top of everything - a handmade paper texture from MaxPacks. Having a little texture on a pic makes it feel a bit more natural and interesting, I think.
Ok thats all the rambling for today! Congratulations if you managed to read through it all! ;)
