Hey there, con-goers! I’ll be tabling with some of my fellow Strippers at PAX East next weekend, so come find me in Bandland for:

  • Art Prints!
  • Sketches for Tips!
  • Preview of TCF Vol. 0!
  • Strip Search Pins!
  • Shitty Selfies!
  • Overexcited Conversation!

As much as I’d love to sell the Volume Zero books this time around, we’re still shipping to Kickstarter backers, so they won’t be available for purchase until all rewards have hit the mail. BUT, I’ll definitely have a few sample copies with me for peeps to leaf through.

You have to touch these books, the finish on the cover is STUPID NICE.

See you there!

-L

soselfimportant:

its my old friend lexxercise's birthday so heres a little jrpg music adventure starring her! go wish her a happy birthday!

WOW OW WOWO THANK YOU JAMES

Time to go on adventures!!

In light of the recent influx of questions I’ve received after posting my brush settings (where I got my copy of SAI, where I went to school, what equipment I use, etc), I’ve updated my FAQ page!

If you have an art-related question for me that hasn’t been answered in the FAQ yet, feel free to shoot me an ask.

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

If you’ve ever wondered what my work looks like at 100%, this is it! I usually work zoomed out by at least 50%, so the up-close brushwork is nice and messy.

(full-view for actual size // original piece)

Our last D&D session was especially rich in drawable content, and usually that means I’m too overwhelmed to draw any of it, but Meghan’s Wynrie looking unimpressed in a flower crown was just too good to pass up.

Work break doodle of my little Minecraft gal. I’m so desperate for them to add witch hats as a wearable item it’s not even funny.

A modern day re-imagining of Jem for Sketch Dailies! She ended up looking a lot like one of my friends and I’m not even sorry.

Moths

Anxiety makes me feel like I’m full of moths. When you get excited for something, you get happy little butterflies, but the internal fluttering of anxiety is frantic and terrible. It’s in your stomach, making you sick. It’s in your throat, making it hard to breathe. It’s in your head, making it impossible to focus.

It’s exhausting.

// Available as a print.

cloudfactorycomics:

This limited edition bookplate is one of two Kickstarter-exclusive rewards.