(hello friends I’ve decided to upload scribbles and other stuff that doesn’t really fit in with the usual content of my blog in a textpost every once in a while so I
a.) can keep updates a little more frequent
b.) won’t clutter my blog with all sorts of stuff
I’ll put the images under a cut after a while!)
That is such a big compliment oh my god d dd I don’t even know how to respond to that without sounding like a pile of mushy goo (which I am) (blubbers incoherently).
Thank you thank you thank you, I’m elated to hear that you like my art so much!! ♥
(I hope you don’t mind that I publish this!)
But aah, thank you so much! Always makes me feel me all fuzzy and warm inside when I manage to inspire people. ( /)///▽///(\ ) floats into the night
Check this out everyone! [x]
Thank you so much!! ;; I’m sorry for making you cry ahahaa, but I’m glad the drawing resonated with you. ♥
(at this point thanks for everyone for the notes oh my god I’m still a little stumped by the amount of positive response this has gotten so far haha)
Thank you so much! I’m super glad you like my stuff. n___n ♥
I’ve been pondering over how to answer this for a while, because I don’t think getting details into my drawings has ever been a particular issue for me - it’s mostly inherent to the way I work!
Usually I start with a fairly dark base colour and work out the details with high opacity brushstrokes in a lighter colour. I find it easier to do it this way around (instead of starting with a lighter colour and adding shadows), because I don’t have to worry too much about shading inbetween each clump of fur/feathers and can instead focus on where exactly I want the lighter and darker areas to be by simply layering brushstrokes above each other and steadily carving out the shapes that way.
I work with Photoshop and use a tablet with pen pressure sensitivity for opacity, but I always make sure to set the opacity to a minimum of ~60%, because I’ve made the experience that things can easily turn out to be too unrefined and fuzzy if it’s set to anything below that - you’d get too many different colour densities with a single stroke, and they don’t always blend well, especially once you’re working with more than just one colour for shading. Plus it’s harder to get refined edges. Mixing hard edges with soft transitions is essential, and I can’t stress this enough.
Which brings me to my next point: the key to getting your drawing to look detailed (without spending an extra ton of hours on it! ofc there are situations and styles for which this is necessary, but that’s not how I work) isn’t to have perfectly placed, miniscule brushstrokes everywhere, but to emphazise the important areas and leave those of less importance untouched and less refined so they don’t catch the eye immediately. Give the viewer some specific parts that draw their attention!
Another extremely important thing to always keep in mind is that you mustn’t zoom in and get lost in details too early. It’s so, so tempting, and I sometimes forget not to do it myself, but I always end up regretting it. Get down the composition, base colours and light/shadow areas first before you start working on the details, otherwise you’re running the risk of everything not tying together nicely in the end and having to rework great parts of the drawing (alternatively: cry and trash all of it). This is also why I never find working out the details to be especially taxing - the beginning stage of a drawing is always the most exhausting one for me, because I need to pay attention to so many things that will affect the final outcome, while the entire rest of the process is basically just rendering the whole thing without having to put much thought into it. Ever heard of the Pareto principle (80/20 rule)? I personally think this applies perfectly to my drawing process; the first stage is done quickly but is also exhausting, while the whole rest takes time but doesn’t require much mental energy.
Remember that all of this only applies to how I work and is the way I see things; there might be things you disagree with or don’t work for you because your approach to drawing is fundamentally different from mine! I hope this is at least somewhat close to what you wanted to know, aah. q___q
At this point I’d like to sincerely thank everyone for the continuous support! I’ve totally not been creeping on all of your tags on the reblogged posts (they always made my day) (never stop adding commentary when you reblog art it is so much fun to read through)
And since I’ve been getting several requests for selling those birds as prints, cards, or similar I’ll look into it and probably set up a store at some point in the near future. Stay tuned, and again, happy holidays everyone!
weeps THANK YOU ♥
The entire purpose of this series was to make people’s days just a little brighter with a bunch of silly christmas birds, I’m super glad I managed to pull that off. Thank you so much for the kind comment aah, you’re wonderful.
Thank you so so much, this was such a sweet comment to wake up to! ;; I’m super glad you enjoy my art aahh wow gives you christmas cookies. Happy holidays to you too, haha! ♥