How Do You Draw in Paint Tool Sai
PaintTool SAI: How to boost your skills
PaintTool SAI may be a fairly univocal graphic design software but it's a powerful one and it takes a skilled digital creative person to get over it. Angela Wang is just such an creative person. Also known online as awanqi, Wang is a freelance illustrator who has a penchant for historical and fantasize character pieces and has worked for clients across publishing and comics (to further improve your theatrical role bring off, see our top character design tips).
Wang used PaintTool SAI to create an illustration that evokes characteristics of the Greek gods Hypnos and Thanatos, using colour to set the note and lighting to direct focus on. In that clause, Wang will share the creative process behind this illustration as swell as liberal tips and techniques that she finds useful to her artistic practice. Read on to find outgoing how you can also become a master of PaintTool SAI – and check our best digital art joyride guide for more on else art software program.
01. Test out your ideas
(Image: © Angela Wang)
When future up with a sketch, I'm to a lesser extent concerned with the aesthetics of neat lines. I usually start with straighter and more unmoving lines that are borne out of quick movements, because I've found that this helps me to decide if I'm on the right chase away. I don't want to neutralise clip guessing what I've just drawn.
02. Refine parts of the sketch
(Image: © Angela Wang)
At this stage I'm protrusive to settle on the decisions I've ready-made, which enables me to refine the more ambiguous parts of the sketch. What really gets the ball rolling is when I take off detailing faces – this ordinarily tells me that things are working out so far.
03. Get the final sketch ready for painting
(Envision: © Angela Wang)
I like to be neat with the sketch ultimately; it makes the house painting process fewer confusing. Once I'm happy with the results, it's time for me to fill in the base of operations layers. Earlier that happens, though, my future measure is to change the sketch layer to Multiply and bring down the Opacity until I throne still see my sketch, but information technology's not overpowering the composing.
04. Fill in the base of your illustration
(Image: © Angela Wang)
Before starting the painting level, I replete in each section with a colourless color in (often shades of grey, goose egg too saturated) and lock the Opacity. This enables me to paint freely, albeit roughly, without worrying about losing the shapes.
05. Establish clear and color
(Image: © Angela Wang)
At this point I'm not detailing anytime soon, which substance I can go wild with colours. I usually try out different variations of value and colour until I find something I like-minded. I desire the piece to have a woolgathering tone, so I have blues and purples in mind equally I lay down my colours.
06. Start the painting process
(Image: © Angela Wang)
American Samoa I begin painting Thomas More of the details, I further reduce the vignette layer's Opacity so it's scarcely visible. This means I potty center on the values rather than the lines ready to establish forms. The sketch becomes more of a distraction preferably than an help as the rendering goes on, so it's always freeing to finally turn it off.
07. Go in headlong
(Ikon: © Angela Wang)
I revel painting faces, so I always start hither. This also helps Maine to fortify momentum during the creative process. Whenever I start to lose steam, I can deal the facial expressio that I've just envisioned to remind myself that yes, I can actually paint. I key with the Brush creature for harder edges and details, also as the Watercolor tool for softening the edges where essential.
08. Work division past section
(Image: © Angela Wang)
Once combined section (for example, the head) is finished, I can move on to the next. Doing so basically generates a checklist in my head on what comes next. My usual order is head, followed by the shoulders, torso, legs and so happening. I also operate from the inside out, such American Samoa from the face to the hair, operating theatre from a unsheathed arm to the framework along top of IT.
09. Render wearable and fabric
(Image: © Angela Wang)
I protrude loosely with the rendering before tightening it up later. This especially applies to fabric because I rule it disobedient to physical body the shapes, ruffles and folds at primary, so I drop a lot of time establishing what comes next. Because I'm impermanent from loose to detailed, my thicket usage follows in a similar manner: from Copse (hard, simple edges and messy) to Watercolor (soft and blendable).
10. Make use of layer effects
(Paradigm: © Angela Wang)
I like to use Overlay layers for glowing objects, such atomic number 3 the candle here. When doing so, an even and gradual spread is necessary, so I use the Airbrush tool for a extremely-soft placement of colour. It's a small contingent, but pocket-sized effects can sometimes add so much!
11. Try extreme zoom-outs
(Image: © Angela Wang)
Think of in art class when your teacher told you to stone's throw hinder from your artwork to construe how it looks from a distance? It's the same concept here. I zoom down so the image is tiny and I can gauge the boilersuit feel. I don't care much for the underived greener background gloss, then I test KO'd new colours with an Overlayer layer over the background layer. It helps to see the results from afar.
12. Paint the wings
(Image: © Angela Wang)
I find that get down and shadow help to shape objects that are unerect, such Eastern Samoa feathers. Using the card shark Brush tool for detailed edges and the Watercolor brush for shading and softening shadows operating theater edges, I shape the wings with shadows first, followed by light and then inside information. I enjoy creating subtle colour variations, so I make over true to include those at the edges where different colors or values meet.
13. Finish details
(Image: © Angela Wang)
Every bit I paint the butterflies, I get to sure that they either stand out against Oregon fade out from the ground. The general firing should bear upon them in the Same way, too, so the further they are from the light, the darker and less colourful they get on.
14. Refine the background
(Image: © Angela Wang)
Now I move on to the background. Because the cardinal gods are moving, operating room leastwise floating in the air, I decide that an environment of clouds and stars is appropriate. I arrange the Water-colou tool at a large size and make soft Marks, gradually building up the clouds to convey a sleepy, quiet atmosphere.
This clause originally appeared in ImagineFX , the world's superior-selling magazine for digital artists. Subscribe hither .
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Likewise known online as awanqi, Angela Wang is a self-employed illustrator who has a penchant for history and fantasy and has worked for clients in publication and comics.
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How Do You Draw in Paint Tool Sai
Source: https://www.creativebloq.com/how-to/paint-tool-sai
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