![]() >2553 >It's made by a user of that website for the users of that website. I still recommend getting the largest one you can afford since it gives you more options and if you want you can limit the active area on the tablet to simulate having a smaller one. So sometimes normal tablets that are smaller than your screen can feel more like traditional drawing/painting (depending on how you look at it) because you compensate for the restrictive hand movement with a higher screen to tablet ratio. With traditional long brushes, you usually hold them at the back of the brush and this makes it so smaller hand movements make relatively larger marks on the canvas (which is usually on a vertical easel). An issue with digital tablets is that they don't give you the freedom of motion that traditional art offers (this includes screen tablets). Having a smaller tablet isn't necessary a deal breaker. Then you just need to make your drawing software window smaller and you can work inside that to have a closer movement ratio if you feel like the tablet is too small. On the topic of tablets and screens, if you have a large monitor or a small tablet you can go into the tablet settings and change the screen area/mapping to a smaller area. ![]() In case of pictures, your brain makes it look better. It's kind of like with horror movies where keeping monster somewhat hidden lets viewers' minds fill in the blanks, making it scarier to them. It lets your brain fill the blanks subconsciously. Still, surfaces closest to the light sources will be the brightest.īesides that, the first image is sketchy and has no colors. That's assuming there are no light sources off page, as they will complicate things. It means that parts closest to lights (outlines where characters are not in contact with the bed) will be the lightest. There are candles in the back, so figures will be illuminated from the back. Thinking about light source alone would fix a lot. That's why light reflecting in sweat covered, rosy asscheeks looks like blisters as >1313 pointed out. At the same time, some stock effects like the "blushed reflective" skin are used and they do not match the style of coloring. There is no consideration of where the light comes from, the way shadows are painted does not complement perspective, and blending is very basic. What you see on the second image is coloring's equivalent of symbol drawing. Arms look awkward wrapped around girl's waist (we should see less forearm), middle finger's placement is off, and pinky is too long. Guy's leg just sort of disappears into the cushion and we do not get an indication of any crevice that could be hiding it. Others covered some things, but I think that the "flat" look and bad coloring are the biggest offenses. It is something to consider, as if you take the art hobby seriously you will probably want to try some life figure drawing. Translating skills from traditional to digital is much easier than other way around too. Traditional methods also reinforce good habits, and prevent you from abusing crutches like control+z. You are most likely familiar with pencil and paper, so you can focus on drawing rather than messing around with table's shortcuts and settings. Some people will disagree, but I think that starting out traditional is best. >Preferably something that's in the context of digital art with a tablet If you are completely green, start with Loomis' Fun With a Pencil. If you are still interested, go through Norling's book on perspective, and then move on to Loomis' books. Otherwise you will need to resort to multiple works. Drawing on the Right Side of the Brain is probably the best single book for complete novices, especially ones who did not draw in years.
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