4/5/2023 0 Comments Battle for wesnoth art![]() ![]() I like to have some visible brushstrokes in the end. I have a great dislike for those fuzzy edged brushes, the pestilence of photoshop - you will always see that it is a photoshopped picture even from a distance. That means if I press really hard I will maximum get a 50% opaque stroke. I solely use a hard edged brush with pressure set to opacity and set the general opacity to 50%. I use very dark shades of the colours of the objects they encircle. ![]() This allows me to recolor the lines without changing their shape at all. Since the only things drawn so far in this layer are the lines, they're the only parts that will get touched. By clicking this checkbox, it locks what is transparent on the current layer, and only allows you to paint on areas that have already been drawn. Now I activate the little "fix transparencies" checkbox for the linework layer - because of that I'm able to paint only on the lines. If you have done this your picture should look pretty strange, because of the outlines having all one colour. If you're doing a series of portraits for a specific race or faction in wesnoth it is very important to colourpick the basecolours to get a uniform look. (Those steps are fairly easy and can be outsourced pretty well - my boyfriend often does the flat colours for me.) And below all those layers I add a bucket filled black layer for the background. I create all of them below the linework layer and find it extremely useful to give them speaking names (like skin, hair, robe etc) - this Delfador had about 15 layers in the end which can get quite confusing. Now I start to lay down the base colours (finally!). Our minds are hard-coded to percieve this as one major cue about the 3D shape of a figure, thus it gives any drawn object much more of a feeling of 'depth' if it's lit by multiple lightsources.Īccording to these lightsources I start to thicken and thin down the lines - thin where the light hits and thick where an object casts a shadow. Multiple lightsources (typically 2 or 3) are generally a better choice than a single lightsource, because in most situations in the real world, a figure would be illuminated by multiple lightsources, even with artificial lighting at nighttime. I want this portrait to have two: the main lightsource top left in front of him and a secondary one behind him to the right. (I tend to use a dark brown, because black lines will disappear on the black background later on.)įor the third step I make an important decision: the lightsource(s). I set the layer with the sketch to a low opacity, create a new one on top of it and use a small brush to ink it, with the brush's size set to match the pen pressure. Worksize is about three times the final one. I use different colours to differentiate certain areas as a visual aid to differentiate the layers of cloth etc. To spare me time I don't do preliminary pencil sketches at all and work entirely digital. you can see that I already cropped it to a squarish format. I start with a sketch first (no surprise). i use photoshop and don't know the gimp at all, so some advice may be photoshop specific, but most things should be possible in gimp, too. You will need a graphic program able to handle layers and a drawing tablet. I'll try to cover the most important steps but if you still have questions feel free to ask. This is a little tutorial on how i approach my portraits in the standard wesnothian style (which means inked and painterly shaded). ![]()
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