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/ic/ - Artwork/Critique

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>> No.5162013 [View]
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>> No.4918762 [View]
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>>4918239
your brushes are mainly soft and wet while the original used more hard and dry. you can also up the spacing on a brush to get the repeated texture/pattern like in the original at the top of the ears/hair. experiment with using the brushes you are now for the blocking in then refining with textured brushes, experiment with the other way around, experiment with both during the painting and see what you like. i find i only really need one or two brushes and can adjust only the wet/dryness of it to get the effects i need.

the finishing/refinement of that painting probably took the majority of time working on it and you probably would have called it done at the halfway point which is where it seems you are now. so either try to refine it like they did or start from scratch on a new painting with that end goal of brushwork in mind.

>>4918700
she got an 8head

>> No.3806256 [View]
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3806256

>>3806212
>>3806068
you can download his brushset somewhere

>> No.3144822 [View]
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>>3144808
Getting better is always the point dumb fuck

I you need /ic/ to hold your hand and do everything for you, you are never ever going to make it

no fuck off

>> No.3069316 [View]
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>> No.2882306 [View]
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>> No.2831984 [View]
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>>2831502
Not him, but
>greys have the habit of attaining the opposite color temperature of the adjacent colors. it's a bit of an optical illusion, and can either make a painting look muddy or create some amazing imaginary colors through color vibration

>translucency refers layering paint in a way that allows you to see the colors underneath, usually through means of passages, scumbling, glazing and washes. you can get some nice subtleties and gradients in color that are very hard to get through color mixing alone.

>Broken color and color vibration refers to the same idea. you can mix colors optically by placing them next to eachother, retinal persistence causes motion blur, and this motion blur can acually mix colors for you if done right. very fucking hard, because it requires knowing how an eye moves around the canvas,the placing colors appropriately so that red blurs into orange and not purple for example.

I'm not an english speaker, but i think that if you want a good grasp of concepts like this, invest some time into learning about traditional painting techniques. 阮佳 seems to use a lot of traditional tech like pic related

>> No.2751415 [View]
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>>2750290
>>2750118
first of all yes, he does use that brush but not as much as you think.

>Also make sure your wacom/pen settings are on firm or harder because they control opacity with the pen and not manually unless they are glazing color

they dont touch those settings and ive comfirmed it from one of his vids its set at the default.

>have a soft edge on one side of the brush.
true but again not as often as you think

ruan jias has 4 basic ways to build brushes. A soft brush with opacity+flow turned on. A wet brush being an opacity+flow brush. A hard brush with no opacity but can have flow enabled or disabled. and a dry brush with opacity on and getting different texture measurements with either texture or the dual brush option or both. he has one video where he shows us this.

>> No.2744881 [View]
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>>2744861

>> No.2327892 [View]
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>>2327877

>> No.2296681 [View]
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>>2296661

Just went though Warosu archives and found it. I remember it being a bit different but this is it.

>> No.1956698 [View]
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>> No.1951279 [View]
File: 487 KB, 900x2357, Cleaned up haflway.jpg [View same] [iqdb] [saucenao] [google]
1951279

>>1951255
I cleaned it up. I got lazy half way in. But most if it is ok.

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