Concerning the super-vectored, 'perfect' outlined everything, no - never ever go super-detailed with the small stuff. The reason you don't need to is because the brain does this cool thing where it sees detail where there may not be too much of it, because we KNOW what something is supposed to look like. If you paint just enough for the power of suggestion, our eyes, and our brain, will fill in the blanks automatically. Seeing the 'imperfect' strokes just serves that power of suggestion, and no good painting is ever without those stray off-colours and strokes :)
This was super helpful. I've recognized for a long time that I have a tendency to work super tightly to create details that are unnecessary. I always start out by saying, "I'm just going to keep it rough." Until I don't. Then, even though something might be perfectly rendered, it still ends up looking artificial. What you just put into words is really what I needed to hear. It's not about being "rough". It's about being... "touched". At any rate. Thank you!
a very subtle concept to grasp and hard to understand without a brush in hand, and a lot of strokes, but you sir actually managed to explain it clearly. great job. love your work
You become my favorite.. Very difficult things you explain nicely.. 👍👍👍 I am teaching art about 22 years at university of Karachi Pakistan..I switch on digital art try to understand the tools & technics & you are the only guy who talking about these sensitivity of image & art.... Very helpful..keep continue 👍👍👍 Allah bless you.
This was MASSIVELY useful to me. You typically fast frame these blending aspects and I'm always wondering how you proceeded. The comment about not creating surfaces directly but rather representing the effective light field from each angular direction is really helpful too. The 'edges' of objects are not just the result of the light quality and the properties of the surface but also the intervening atmosphere.
Glad I found your videos here. So many painting tutorials are kind of boring. This is really engaging and I like the way you think and try to figure out how to express it. You're really searching harder than I see a lot of people do to look into art and technique. The concept of transparency and building up layers is great and likening it to Anti-alias was actually a great way to explain. I've been a pro for almost 20 years and have never heard it explained quite like that. Good stuff! Looking forward to watching more!
Sooo, basically what you're saying is it's a quantum physics drawing technique, with superposition of hair states, atomic orbitals instead of defined shapes and so on. Now I actually get it xd! Jokes aside, I think this makes sense on a very deep level, bc that's how nature works, how we percept it and thus how we shoud depict it to make a drawing looks real
Ahmed aldoori also talked about blurring lines in his video titled Purple Tint, and how animators blur lines to add contrast and lead the eyes to the important part of the painting (the face)
Thank you so much! I've been struggling with my digital work because I dont know how to blend my colors the way I want, now I know how to do it without going b ack and forth with my smudge tool. Much appreciated!
THIS is a fascinating and extremely popular topic with painters. I encourage you to consider other ways in which you might highlite your methods, maybe in a "real" example of a face, or an engine part! Anything, that you could work on in real time, and show (as you did here) the subject in a close-up throughout. *_THANKS!_*
Great explanations. Both complete and easy to understand without any sort of fillers. I find your videos to be very good for my transition from traditional to digital. Subscribed.
I just finished watching all your videos, you are a source of inspiration to keep improving, I see a long way to go and much to learn. Keep it up, Mr. Dante !!
Thank you so much for this helpful tutorial. I am just a beginner in digital painting. I often get lost in details and that frustrates me. This will help me a lot. So again: A big THANK YOU!
Please we need a series of videos about human anatomy from artist's perspective. I know you said that you don't know anatomy but... You sure know a little bit to teach us. Thank you :D
Boro, just want to say I love the channel and format and hope you get a lot more subs, you deserve it. I used to do all sorts of art when I was younger, and was fairly decent at it, but stopped as I got older and time got scarcer. You inspired me to pick up a used Surface Pro 2, and I bought a copy of Clip Studio Paint and have been trying to learn to do digital art. I must say it's so much fun. Your tips and program comparisons really helped me to get started. There is definitely a different learning curve when you start doing digital painting. I don't know if you regularly use Clip Studio Paint, but if you do, could I make one request for you to do sometime someday? Could you make a video making a realism painting in Clip Studio Paint, and go over which brushes you use? Or even which brushes are good for which techniques? It would be super helpful. Maybe you could do it for other programs too. I have only really found "Paint and Apply" and "Smooth Watercolor" to be useful for actual color and blending, but am hoping to find out good uses for other brushes. If other people are like me, they get the programs, and have all these tools, but don't know which the right ones for each job is. I watched tons and tons of youtube videos and didn't really find anyone that went over the different tools, so maybe it would be a good thing to make. Thanks again for all the videos, keep it up!
Guitarskooter CSP is a great program, and is showing up in painting videos on UA-cam, an even in courses on Udemy. It's great for cartooning, too, of course, but there's a lot in there at very reasonable cost.
I personally theorize this idea isn't spoken of much because a lot of artists (myself included) create their pieces with the assumption that someone will zoom in on the details and may feel like the perception/illusion of detail aught to remain consistent no matter how closely you zoom in. For example, seeing the illusion of hair when seeing a piece at full scale but zooming in as close as possible only to see that each hair isn't it's own stroke. For some viewers, this is a bad thing and some artists fear this happening. I am not saying either opinion is right or wrong, but I do personally think understanding why the other side is the way it is can help understand how to ease some fears. Seeing you be confident about it and not worry about judgement from close zooming is very inspirational in making me want to try to attempt your suggestions :)!
I don't think it's about fear, at least it shouldn't be? In my opinion since it's more of a quick process that experienced artists do it's like a second nature, that's why people can't notice every step and explain. The detail size is always up to the artists, it's related to things like how finished you want your painting to be or where to put details because you can't put it everywhere. (time and compositional problems) Even when you create a super detailed painting if you go this close, you'll lose everything because a canvas is just a 2-Dimensional object, there is nothing beyond that. (you can't see the baby hairs on the face, the roots of the hairs etc) So in the end all paintings are low-detailed replicas of real-life objects, there's no chance to go around that.
Thats was really insightful, thank you! The clash between the edges and the flow of each object reminded me of the Windmill Principle that James Gurney mentioned in his blog.
Man keep walking! You are so beautiful trying to learn..You teach without knowing it so many things..I found the same things learning blending my self and wanted to share them...You got me and this' satisfying ^_^
Borodante, How does your curve Pressure -> Opacity look? I can't get used to control the opacity by pressure, I always have to set it by hand... (like I can't hold the pressure on the same level) - it is something I have to learn/practice? And again, thanks for all your work and all your smiles and brightness you brings to our lives! ...and for sharing your knowledge, too. And for all folks who want to blend in beautiful, textured way, not boring as it would be using blending/smudge tool, I have another option (to create gradient, at least): I usually paint one half of the place in one color (say color A) and the other half to the other color (B). Then I set the opacity of my beautiful textured brush to 50%, choose color A and paint on fragment of place with color B (so I have now A, B oraz 50%A, 50%B), then I choose the color between A and B and paint on color A (so I have now A, B, 50% A + 50 %B and 25%A + 75%B) - then I choose the last color and paint and so on... It results in nice looking gradient. It is very similar to the Borodante's technique, but he explained it only in context of detailing, so I thought it would be useful for someone to say it more clearly... (hope I didn't misunderstand anything!)
oh my god, thank you. master. [u have become my sensei] you keep saying stuff that leaves me contradicting ideas about art i always had all the time. whenever you say in a video "that will look satisfying to the eye" i always say what? for real? i shrug and say well you are the master. you are always right of course. but that's how mistaken i have been
wow so much to take from your videos :) btw humans see only a little space very sharp edges, only the focal point has really sharp edges. everything thats in the periphery of vision is kind of blending together.
Забиндить Пипетку (Alt+левый клик) на кнопку пера - лучший совет, что я видел в интернетах по оптимизации процесса! По той же логике на другую кнопку привязал Alt+правый клик, который отвечает за размер и прозрачность кисти
I can't hover click with modifier keys, only with keystrokes. How do you do that? I have hover click in the settings, but with alt it still requires me to touch the canvas :(
The same happen to me! I've configured the alt key in the pen button but still have to click the canvas.. How can I configure to save this one click? Thanks!!
I'm not entirely sure, but it seems like you're talking about: Nōtan (濃淡 ?) is a Japanese design concept involving the play and placement of light and dark elements as they are placed next to the other in the composition of art and imagery.
Man your videos are so awesome. You explain things in a weird creative (Artistic;) way. You’re like the artist version of Elon Musk when it comes to commentary!
Thank you, really thank you for this video, I have learn a lot and work far more faster than before, I draw and paint seriously since 9 years and nobody ever told me this, I was litteraly drawing every detail and blending to redraw every detail et de blend lightly, it was taking a extreme amount of time
What I would love to see is a tutorial on complex bodies. A clichee one to pick would be breasts. Or large muscles. The problem I have is, that once 2 large muscles (or just normal breasts at an angle) overlapp slightly, the one in front has a well defined edge, while the one "behind" has a shadow gradient towards the edge of the first, because you don't so much have a horizon towards the meeting point, but more of a slope, while the object in front covers this meeting point, so it has a clear horizon. I could do it with layers, but then I come across one problem: The shapes are not just 2 spheres. A good example is ... well breasts. As the tissue goes upwards towards the Clavicle, the 2 breasts even out. So if I use 2 layers, it will look odd above the cleavage, where the Clacicle and Stemum meet. In short: How can I clearly define the edge of one object, above a gradient object, on one layer?
Hey Boro, how did you setup you pen to pick colors with just the click. I cant find the way to do so, so im always using ALT key u.u. BTW your videos are great.
hair loss can have a lot to do with diet and posture as well as daily activities. I know from my own family history and my grandfather that hair loss can be reversed. It just depends on how much you are willing to do. I just hope that if you cannot reverse your hair loss you can at least find a look that you like.
Возник вопрос после просмотра цикла drawing to painting. Ты делаешь тень снижая яркость и повышая насыщенность, но я не раз наталкивался на гайды по светотени, в которых вместо повышения насыщенности понижается цветовая температура. Объясни пожалуйста в чём принципиальная разница этих подходов. В обоих случаях результат выглядит довольно естественным.
Heyo man love the content its really helping me start with digital artworks, but my parents wont let me sit at home and draw on a computer all day so id like to ask you what university course I could do that tightly ties to the type of art you do
420 TrashArt I don't know what he'd suggest, but since it's been a while, I guess art or fine art, or illustration, maybe animation if you have that kind of patience.
Thanks for a reply' Ive done some research and the best option feels like illustration but I'm gonna be doing some sort of design course because prices and blergh
Concerning the super-vectored, 'perfect' outlined everything, no - never ever go super-detailed with the small stuff. The reason you don't need to is because the brain does this cool thing where it sees detail where there may not be too much of it, because we KNOW what something is supposed to look like. If you paint just enough for the power of suggestion, our eyes, and our brain, will fill in the blanks automatically.
Seeing the 'imperfect' strokes just serves that power of suggestion, and no good painting is ever without those stray off-colours and strokes :)
That's the general idea he was trying to convey, I think.
This was super helpful. I've recognized for a long time that I have a tendency to work super tightly to create details that are unnecessary. I always start out by saying, "I'm just going to keep it rough." Until I don't. Then, even though something might be perfectly rendered, it still ends up looking artificial.
What you just put into words is really what I needed to hear. It's not about being "rough". It's about being... "touched".
At any rate. Thank you!
a very subtle concept to grasp and hard to understand without a brush in hand, and a lot of strokes, but you sir actually managed to explain it clearly. great job. love your work
You become my favorite.. Very difficult things you explain nicely.. 👍👍👍 I am teaching art about 22 years at university of Karachi Pakistan..I switch on digital art try to understand the tools & technics & you are the only guy who talking about these sensitivity of image & art.... Very helpful..keep continue 👍👍👍 Allah bless you.
did it finally click for anyone else when he said "you have to anti-alias the strokes" bc that shit blew my mind ngl
WOW - YOU ARE THE MOST INTERESTING creative digital artist ONLINE! Hands DOWN! Awwww poor Jazza!
i want a big forehead so i can store more information in my head like him
Yo I love your profile pic
Same
"the resolution of the painting is not in pixels, but in strokes" -BORODANTE. MINDBLOWN!
BoroSchool is the best kind of school!
not for me, no one can help to stupid guy as me.
I've seen people actually speedpaint like this, and now I finally get it!!!! Thank you, this makes so much more sense now..! :D
This was MASSIVELY useful to me. You typically fast frame these blending aspects and I'm always wondering how you proceeded. The comment about not creating surfaces directly but rather representing the effective light field from each angular direction is really helpful too. The 'edges' of objects are not just the result of the light quality and the properties of the surface but also the intervening atmosphere.
Glad I found your videos here. So many painting tutorials are kind of boring. This is really engaging and I like the way you think and try to figure out how to express it. You're really searching harder than I see a lot of people do to look into art and technique. The concept of transparency and building up layers is great and likening it to Anti-alias was actually a great way to explain. I've been a pro for almost 20 years and have never heard it explained quite like that. Good stuff! Looking forward to watching more!
Dude, I think I've learned more watching your tutorials than any others I've seen on this journey to become a better artist. Thank you.
Your bringing up the example of anti-aliasing helped something click in my brain. Thank you so much for making this.
I like his "edge battle" theory! He is very self-aware! Great video!
The way you describe the strokes as coming together and moving apart is so poetic! Thanks for sharing your method!
Sooo, basically what you're saying is it's a quantum physics drawing technique, with superposition of hair states, atomic orbitals instead of defined shapes and so on. Now I actually get it xd!
Jokes aside, I think this makes sense on a very deep level, bc that's how nature works, how we percept it and thus how we shoud depict it to make a drawing looks real
Her neck looks broken from the relative positions of her head and chest.
Something very uncanny about that anatomy.
"It's a thing.. trust me" hahaha :) cracked me up!
you're very conceptual in your approaches to everything. I really appreciate that.
This video blew my mind again and again. You're an amazing teacher, Boro!
Ahmed aldoori also talked about blurring lines in his video titled Purple Tint, and how animators blur lines to add contrast and lead the eyes to the important part of the painting (the face)
Alexandress WLOP style is light this
Thank you so much! I've been struggling with my digital work because I dont know how to blend my colors the way I want, now I know how to do it without going b ack and forth with my smudge tool. Much appreciated!
I've been having difficulties better making my art appear more defined and appealing. This tutorial was a big help, and I plan on trying it out soon.
THIS is a fascinating and extremely popular topic with painters. I encourage you to consider other ways in which you might highlite your methods, maybe in a "real" example of a face, or an engine part! Anything, that you could work on in real time, and show (as you did here) the subject in a close-up throughout. *_THANKS!_*
battle of the edges - very poetic
Great explanations. Both complete and easy to understand without any sort of fillers. I find your videos to be very good for my transition from traditional to digital. Subscribed.
I just finished watching all your videos, you are a source of inspiration to keep
improving, I see a long way to go and much to learn.
Keep it up, Mr. Dante !!
thanks so much for taking the time to make this! I'm super excited to put these new ideas into action.
Thank you so much for this helpful tutorial. I am just a beginner in digital painting. I often get lost in details and that frustrates me. This will help me a lot. So again: A big THANK YOU!
Please we need a series of videos about human anatomy from artist's perspective. I know you said that you don't know anatomy but... You sure know a little bit to teach us. Thank you :D
Boro, just want to say I love the channel and format and hope you get a lot more subs, you deserve it. I used to do all sorts of art when I was younger, and was fairly decent at it, but stopped as I got older and time got scarcer. You inspired me to pick up a used Surface Pro 2, and I bought a copy of Clip Studio Paint and have been trying to learn to do digital art. I must say it's so much fun. Your tips and program comparisons really helped me to get started. There is definitely a different learning curve when you start doing digital painting.
I don't know if you regularly use Clip Studio Paint, but if you do, could I make one request for you to do sometime someday? Could you make a video making a realism painting in Clip Studio Paint, and go over which brushes you use? Or even which brushes are good for which techniques? It would be super helpful. Maybe you could do it for other programs too. I have only really found "Paint and Apply" and "Smooth Watercolor" to be useful for actual color and blending, but am hoping to find out good uses for other brushes. If other people are like me, they get the programs, and have all these tools, but don't know which the right ones for each job is. I watched tons and tons of youtube videos and didn't really find anyone that went over the different tools, so maybe it would be a good thing to make.
Thanks again for all the videos, keep it up!
Guitarskooter CSP is a great program, and is showing up in painting videos on UA-cam, an even in courses on Udemy. It's great for cartooning, too, of course, but there's a lot in there at very reasonable cost.
I personally theorize this idea isn't spoken of much because a lot of artists (myself included) create their pieces with the assumption that someone will zoom in on the details and may feel like the perception/illusion of detail aught to remain consistent no matter how closely you zoom in. For example, seeing the illusion of hair when seeing a piece at full scale but zooming in as close as possible only to see that each hair isn't it's own stroke. For some viewers, this is a bad thing and some artists fear this happening. I am not saying either opinion is right or wrong, but I do personally think understanding why the other side is the way it is can help understand how to ease some fears. Seeing you be confident about it and not worry about judgement from close zooming is very inspirational in making me want to try to attempt your suggestions :)!
I don't think it's about fear, at least it shouldn't be? In my opinion since it's more of a quick process that experienced artists do it's like a second nature, that's why people can't notice every step and explain. The detail size is always up to the artists, it's related to things like how finished you want your painting to be or where to put details because you can't put it everywhere. (time and compositional problems)
Even when you create a super detailed painting if you go this close, you'll lose everything because a canvas is just a 2-Dimensional object, there is nothing beyond that. (you can't see the baby hairs on the face, the roots of the hairs etc) So in the end all paintings are low-detailed replicas of real-life objects, there's no chance to go around that.
Thats was really insightful, thank you! The clash between the edges and the flow of each object reminded me of the Windmill Principle that James Gurney mentioned in his blog.
This. Thank you thank you so much for sharing your tips and knowledge. They're really helpful and precious :D
BORO IS THE KING
i just stopped the video for thanking you for sharing this knowledge, it's really helpful man!
Man keep walking! You are so beautiful trying to learn..You teach without knowing it so many things..I found the same things learning blending my self and wanted to share them...You got me and this' satisfying ^_^
Borodante, How does your curve Pressure -> Opacity look? I can't get used to control the opacity by pressure, I always have to set it by hand... (like I can't hold the pressure on the same level) - it is something I have to learn/practice?
And again, thanks for all your work and all your smiles and brightness you brings to our lives! ...and for sharing your knowledge, too.
And for all folks who want to blend in beautiful, textured way, not boring as it would be using blending/smudge tool, I have another option (to create gradient, at least): I usually paint one half of the place in one color (say color A) and the other half to the other color (B). Then I set the opacity of my beautiful textured brush to 50%, choose color A and paint on fragment of place with color B (so I have now A, B oraz 50%A, 50%B), then I choose the color between A and B and paint on color A (so I have now A, B, 50% A + 50 %B and 25%A + 75%B) - then I choose the last color and paint and so on... It results in nice looking gradient.
It is very similar to the Borodante's technique, but he explained it only in context of detailing, so I thought it would be useful for someone to say it more clearly... (hope I didn't misunderstand anything!)
oh my god, thank you. master. [u have become my sensei]
you keep saying stuff that leaves me contradicting ideas about art i always had all the time.
whenever you say in a video "that will look satisfying to the eye" i always say what? for real? i shrug and say well you are the master.
you are always right of course. but that's how mistaken i have been
I get it!!!! Thanks so much for the insight. I think it also gives objects depth as well.
I like your skybrow
"This is gonna suck" Me everytime I go to put brush to canvas.
Really really helpfull tutorial, thanks.
I want more videos like this 👍
wow so much to take from your videos :) btw humans see only a little space very sharp edges, only the focal point has really sharp edges. everything thats in the periphery of vision is kind of blending together.
Забиндить Пипетку (Alt+левый клик) на кнопку пера - лучший совет, что я видел в интернетах по оптимизации процесса!
По той же логике на другую кнопку привязал Alt+правый клик, который отвечает за размер и прозрачность кисти
What an awesome guy. Thanks for the video!
That reminds me a lot of the art from the board game "Kingdom of death: Monster". This helped me a ton, thanks 4 ur help :)
Thank you sooooo much for these tips, man! You really helped me!
Dude your hair has an interesting aesthetic. It's long but it's not. Confusing but suits you.
You help me so much with art, thank you!
Boro, what about an idea to create some group chat on a FB or somewhere else where whole your crowd will be able help each other and discuss some art?
well google groups or how is it called works pretty well, as you can see on istebrak's channel)
This is awesome. So helpful! And I love your personality hahah
I can't hover click with modifier keys, only with keystrokes. How do you do that? I have hover click in the settings, but with alt it still requires me to touch the canvas :(
The same happen to me! I've configured the alt key in the pen button but still have to click the canvas.. How can I configure to save this one click? Thanks!!
Love all your videos, but just wanted to say I really like the design of that helmet/mask thing :D
Forgot blending the painting, how can i blend my beard so smoothly on my face?
I'm not entirely sure, but it seems like you're talking about: Nōtan (濃淡 ?) is a Japanese design concept involving the play and placement of light and dark elements as they are placed next to the other in the composition of art and imagery.
Man your videos are so awesome. You explain things in a weird creative (Artistic;) way. You’re like the artist version of Elon Musk when it comes to commentary!
Interesting points. Great tutorial!
Dude,try to pick by pressing left Alt!it is more comfortable personally for me!Thank you!
THANK YOU ^^ I learned more about blending in your video than my art school XD
Haha don't rely on art school for all your teaching :)
Nice video, Boro! Thank you
I like how you used those egg things to make some decoration! Pixel art. u.u
Wow they leveled up
Aquila é espuma acústica xD
Brendon Sales em um vídeo passado ele falou que estava fazendo com caixas de ovos... Mas trocou e eu só fiquei sabendo neste.
Thank you, really thank you for this video, I have learn a lot and work far more faster than before, I draw and paint seriously since 9 years and nobody ever told me this, I was litteraly drawing every detail and blending to redraw every detail et de blend lightly, it was taking a extreme amount of time
What I would love to see is a tutorial on complex bodies.
A clichee one to pick would be breasts. Or large muscles.
The problem I have is, that once 2 large muscles (or just normal breasts at an angle) overlapp slightly, the one in front has a well defined edge, while the one "behind" has a shadow gradient towards the edge of the first, because you don't so much have a horizon towards the meeting point, but more of a slope, while the object in front covers this meeting point, so it has a clear horizon.
I could do it with layers, but then I come across one problem:
The shapes are not just 2 spheres. A good example is ... well breasts.
As the tissue goes upwards towards the Clavicle, the 2 breasts even out. So if I use 2 layers, it will look odd above the cleavage, where the Clacicle and Stemum meet.
In short: How can I clearly define the edge of one object, above a gradient object, on one layer?
ive been getting high and watching your videos. i understand. with an open mind yet fixated on what is but isnt and imagining
Love you man
wow. suddenly so poetic )
When you said "Garment" i had a split thought that you were going to say "garbage". Just that split pause you have
Boro with beard is a total BAE
Hey Boro, how did you setup you pen to pick colors with just the click. I cant find the way to do so, so im always using ALT key u.u. BTW your videos are great.
nice!!
thanks!
You look like the singer of a Swedish prog metal band.
hair loss can have a lot to do with diet and posture as well as daily activities. I know from my own family history and my grandfather that hair loss can be reversed. It just depends on how much you are willing to do. I just hope that if you cannot reverse your hair loss you can at least find a look that you like.
Not opeth
@@mluminoth6379 I don't think he's got a problem with his hair. Maybe you do?
Your accent...
Fantastic!
Super Helpful Thank You
It takes me 18 minutes and 50 seconds to notice the Gorillaz poster in the background lol
awesome vid
The perfect tutorial and a Gorillaz poster... Is it christmas already ?
Возник вопрос после просмотра цикла drawing to painting. Ты делаешь тень снижая яркость и повышая насыщенность, но я не раз наталкивался на гайды по светотени, в которых вместо повышения насыщенности понижается цветовая температура. Объясни пожалуйста в чём принципиальная разница этих подходов. В обоих случаях результат выглядит довольно естественным.
Brains work in weird ways.
Thank you. Anyway your left side? Is that vodka?
I wanted to listen to Korn too, but listened to you instead :)
TL;DR: Detail is not detailing: It's achieving the ILLUSION of detail.
Try Krita you will love it.
May I ask how do you enable on-screen color panel instead of slider? I'm using CS6.
How do you say the word strokes with a straight face my guy
What's the usual size of the canvas and the resolution with which you work? Like in this case for instance?
why does he sound like a much chiller PewDiePie??? is it just me?
Hey boro! What painting software do you use and which do you recommend I get?
mind=blown
"Its a thing, trust me" xD
Heyo man love the content its really helping me start with digital artworks, but my parents wont let me sit at home and draw on a computer all day so id like to ask you what university course I could do that tightly ties to the type of art you do
420 TrashArt I don't know what he'd suggest, but since it's been a while, I guess art or fine art, or illustration, maybe animation if you have that kind of patience.
Thanks for a reply' Ive done some research and the best option feels like illustration but I'm gonna be doing some sort of design course because prices and blergh
I had a little break of your vids... why there are no more after-end scenes? ;_; u were such a meme
Wow
3:08 HAHAHAHAH "its gonna suck"
What Graphic Tablet + Graphic pen do you use?
what drawing tablet screen thing you use
Так ты самоучка?ВОТ ЭТО ПОВОРОТ o.o
Как ты всему этому научился?Неужели на одних книгах и туториалах?