It Is Not The Prettiest But Here Is A Little Chart I Made Of Skin Tones.

It is not the prettiest but here is a little chart I made of skin tones.

The idea is to eye-drop anywhere on the chart to get a unique skin tone instead of getting stuck in the loop of “white, tan, dark”.

So uh….some dude apparently recreated Adobe Photoshop feature-for-feature, for FREE, and it runs in your browser.

Anyway, fuck Adobe, and enjoy!

My “draw the squad” memes so far

artist friends please accept this link to my scans of morpho: fat and skin folds by michel lauricella- also if you find it as helpful as I do please consider buying a copy for yourself!

A glorious fuck-ton of perspective angle references (per request).

[From various sources.]

Any tip for choosing colors? Is just, i really like the color palette that u use :3

I mainly try to remember the colour wheel and different palette types you get from it. It’s usually in the back of my mind when I’m thinking of what colours to use.

You should limit yourself to a maximum of 5 colours, at least as you’re getting comfortable with colour schemes. Less if often more with colour.

In my art, I lean towards analogous or split-complementary colours and they’re the most common. For Isha and Tashi I use only 3 or 4 distinct colours plus a neutral. Neutral colours like white, grey, black, and brown can be worked into any colour scheme and it’s good to use them to balance the drawing.

Complementary colours schemes work best when used as an accent. You tend to want the majority of the drawing to be one colour and use its opposite sparingly. For example, the majority of the drawing on the left is dark and purple, with the light green used only for the highlight.

Also, when it comes to chosing colours for light and shadow, it works best when one is warm and the other is cool, even with analogous colours. I wanted to keep the drawing on the right mostly warm and pink, but for a more diverse pallet, I used a cooler purple for shadows to contrast the warm orange light.

It helps to keep the different hues in a drawing at different brightnesses. This helps keep them distinct so they don’t fight for attention. Even when you want a piece to be bright or dark, keeping the values distinct is still important. For example, on the left, I kept the reds darker to better contrast the light yellows and mid greens, even if the pallete is overall bright.

In addition to the hue wheel, you can look at the brightness and the saturation of colours in quadrants. To balance a colour palette, I’ve found it’s best to choose from multiple quadrants.

I’d say the second pallette looks better than the first as, despite having the same hues, they have different brightnesses and saturation in contrast to being all heavily saturated and dark.

I hope this can help and if it doesn’t, there are some great resources on colour theory you can find around on the internet and I highly recommend looking those up.