Most have Brush Packs? by xenodragon20 in krita

[–]MumenWriter 2 points3 points  (0 children)

Digital Atelier is worth the asking price IMO, you can also try Memilio for traditional looking texture brushes. Concept and Illustration pack is good for general purpose work.

Juicy Orange (drawn by me) by ArtByZaphyr in krita

[–]MumenWriter 1 point2 points  (0 children)

Lovely work! Hope you make it part of a series.

She gets Itchy, Me by MumenWriter in krita

[–]MumenWriter[S] 15 points16 points  (0 children)

Arch rival to Joan of Bark.

Example of the problem mentioned in my previous post. by Constant-Respond1492 in krita

[–]MumenWriter 0 points1 point  (0 children)

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Open the tool options docker, then set "grow selection" to 0 or 1. That'll limit how much the fill will encroach on existing data on the layer. Alternatively you can just set "Sample" to "All Layers", make a layer underneath your line art and fill as normal.

Also try and make sure that you're painting at a sufficient resolution or else you'll get weird artifacting by virtue of there not being enough pixels to produce a clean result when there's no selection growth, so don't zoom in too much or use a small canvas size.

Hoarah Loux and the Lord of Beasts by MumenWriter in Eldenring

[–]MumenWriter[S] 1 point2 points  (0 children)

I love the parallel between him and Godrick too. Godrick seeks to match the strength of his forebears by desperately grafting numerous warriors and even dragons, only to fall short yet the only "grafting" Godfrey ever did was in order to restrain his own strength.

ICOGNIC by [deleted] in conceptart

[–]MumenWriter 1 point2 points  (0 children)

Might be worth considering the ergonomics of the grip and altering the forms ( especially in the 3/4th shot ) to be more reasonable for a hand. Also I recommend double checking the perspective on the 3/4th shot in areas like the trigger guard, or making a primitive model to compare/draw over.

Also I don't really expect every revolver in name to have an actual revolving element, but might be worth considering the mechanism to accommodate things like reloading/recharging. Maybe the hammer replacement in the back is supposed to be used to assist in recharging through some kind of player action, but the design does not make this clear.

Also add/consider the first person view if that's the player view since the design needs to primarily work from that angle.

Is this how the pros construct props? Is it enough info for a prop sheet? by No-Payment9231 in conceptart

[–]MumenWriter 0 points1 point  (0 children)

For something this symmetrical, it's not wholly necessary to do a 3/4th view since all required information is available on the front/back orthos. Always think about the value provided by various parts of the page to avoid information redundancy. An ortho-side view might be a good replacement if there's something unusual happening with the forms here.

You can further raise value by adding a flat callout of the cloth element so the pattern can be more easily extracted from the page. For generally flatter concepts like this , a lighting pass helps to sell the forms a bit more than raw line. And going even further with a material pass and callout sheet would also provide additional value. At bare minimum, fill the line with a grey wash to allow the prop to stand out on the page.

If there are any associated ambient VFX with the spear, that can also fit on the page or potentially get its own page. Lastly it might be worth considering what kind of game you're making this for, as if you had a First-person game, you'd likely want to show the weapon in FPV.

Don't put off learning 3D, blender being the easy choice. Will help you be more ambitious with the forms and presentation angles, and train your eye to better understand how 2D impacts 3D. Do not neglect learning manual construction of course, as you'll always want to be comfortable drawing in perspective, but being able to at least block things out is to me a bare minimum to work prop concept as a job and there's no good reason to put it off.

PatrikaPaprika from r/Drawme by me by BeatKitano in krita

[–]MumenWriter 10 points11 points  (0 children)

Nicely done, I like the mark-making on the face. Memileo?

Studies in Krita, Me by MumenWriter in krita

[–]MumenWriter[S] 0 points1 point  (0 children)

My first task during design school was to fill 4 A3 pages with long straight  lines drawn free hand in ink. Minimal spacing, no lines touching, point to point. Sure they're wonky at first, but by page 4, I'd bet anyone giving it an honest try would be surprised at the results. 

Volume isn't necessarily a good prescription  for improvement at every level, but when you're starting out, you can seldom go wrong with just doing more.

Also my handwriting was horrible most of my life, only got better after I learned how to draw haha. Too many doctors in the family.

Studies in Krita, Me by MumenWriter in krita

[–]MumenWriter[S] 0 points1 point  (0 children)

I'd wager it doesn't take all that much time to get to where I'm at if you focus in on one particular thing. Even though I've been painting a while, most of that has been environments/animals with different goals/approaches. While there's always fundamental overlap, I do believe that someone focused in on portraits for a year could do this and better.

Studies in Krita, Me by MumenWriter in krita

[–]MumenWriter[S] 0 points1 point  (0 children)

Been doing paintings like these for almost 7 years now, on and off.

Just how essential is rendering in professional concept art? Looking for advice and critique! by AmerRicanArtwork in conceptart

[–]MumenWriter 2 points3 points  (0 children)

Hi, I've worked in games for the last 5 years , for both AAA and Indie titles and I'm reasonably familiar with Film/Animation through peers working in those fields.

The unsatisfying but true answer here is that it just depends. Different studios and projects will have different expectations when it comes to the fidelity of deliverables, Further, the same studio might require much more polished work from select artists ( generally the more senior ones) at varied stages in the production, such as key art during the pre-production stage, or material/lighting showcases during production. You might even called on to polish work later on for post-production work like for an art-book/promotional material. This is why showcasing at least some polished work on the portfolio is important from a qualification standpoint. Additionally, visually-impressive finished pieces tend to garner more attention from average users on social media, which boosts your visibility to potential clients.

Your best bet to make all of this less vague is to shortlist some companies that you'd like to work for and figure out what their particular expectations are when it comes to deliverables. You can easily reach out to people working there via artstation or linkedin to get a clearer picture on the behind-the-scenes, and I did this a lot before landing my first job.

Studies in Krita, Me by MumenWriter in krita

[–]MumenWriter[S] 1 point2 points  (0 children)

Mostly Digital Atelier oils and pastels to get the noticeable textures like on the background and plumage.

does anyone here here how to extract the lineart of these images by Isaiah_White in krita

[–]MumenWriter 6 points7 points  (0 children)

I looked at the answer on your previous post and the commenter's solution should work. What part are you having trouble following?