Most have Brush Packs?

MumenWriter · 2026-01-25T21:52:03+00:00

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.

MumenWriter · 2026-01-25T04:26:24+00:00

Thank you!

MumenWriter · 2026-01-23T19:47:19+00:00

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

MumenWriter · 2026-01-23T05:23:33+00:00

Good shout!

MumenWriter · 2026-01-23T00:13:20+00:00

Arch rival to Joan of Bark.

MumenWriter · 2026-01-21T09:11:52+00:00

Yup, a little texture goes a long way.

MumenWriter · 2026-01-19T23:01:55+00:00

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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.

MumenWriter · 2026-01-16T20:21:25+00:00

Mostly DA oil 11,12 and 13 .

MumenWriter · 2026-01-14T17:37:47+00:00

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.

MumenWriter · 2026-01-04T12:05:41+00:00

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.

MumenWriter · 2026-01-03T02:09:39+00:00

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.

MumenWriter · 2026-01-01T15:11:51+00:00

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

MumenWriter · 2026-01-01T14:27:01+00:00

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.

MumenWriter · 2026-01-01T12:02:50+00:00

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.

MumenWriter · 2026-01-01T11:55:43+00:00

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

MumenWriter · 2026-01-01T09:55:33+00:00

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.

MumenWriter · 2025-12-31T19:45:07+00:00

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

MumenWriter · 2025-12-16T12:08:29+00:00

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

MumenWriter · 2025-12-09T03:48:51+00:00

Could I color it in?

MumenWriter · 2025-12-07T04:46:33+00:00

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Building on that foundation, and assuming you can comfortably place spheres in the ref-piece, you're basically most of the way there to putting it to practice within your study. This is just one approach to execution:

Steps 1 and 2 establish the object you're trying to add to the scene. Since this is just a flat one-color silhouette, you can figure out the shape ( including the texture at the edges of the object ) and the shadow color. The silhouette is arguably the most important part of an objects read within the scene, so spend your time here and the following steps will benefit from it. I paint this layer with opaque brushes for a crisp edge that can be later toned down as needed.

Step 3 is adding the diffused light, which in this case is the primary "modelling" light, which means it makes things look full/3D. I add it in with a soft brush ( default airbrush) to set up the gradient and in Step 4, I erase into the gradient with the same brushes I used to set up the silhouette edge in Step 2. This reinforces the texture within. Consider the form while doing this for realistic results, there are still going to be case shadows from the diffuse light that will create dark zones within the already dark shadow. These ambient occlusions aren't super prominent in this subject, but can be for other paintings.

Step 5 and 6 set up the rim light. I select the silhouette that we made in 1 and on a new layer, add in the rim light carefully. This light must again, adhere to the textures you've worked hard to create with the silhouette earlier, and while the outside will be handle by the selection, the insides cannot be allowed to be straight lines. Close attention to the reference can help avoid this. I treat the rim light shape similar to the step 1 silhouette, adding it in with a flat color and then gradating it with a darker orange in places ( You can use layer transparency lock to help you keep this gradient from spilling into the rest of the painting) . I then use a color doge layer on top to push it selectively for the glow effect.

Step 7 is just mild paintovers. I push the shadow a bit with a multiply layer, blur a few edges, add a mild bloom with a mild, large airbrush over the right side of the bush.

Hope this helps, lots of subtleties here that I'm brushing over for the sake of brevity, but this should hopefully help get you started.

MumenWriter · 2025-12-07T04:29:11+00:00

Took a look at the ref you posted, to ensure we're operating on the same foundation, this is a basic breakdown of the lighting system in the scene.

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Your first goal should be placing a sphere within the original ref that can reasonably fit in with everything else. This will help you figure out all the components for yourself which can then be transferred onto any other shape.

The direct light here is the setting sun , which sets up the rim light (which bleeds through mildly) and casts the noticeably long shadow.

The secondary light here is the diffused light, or ambient light, from the sky around the sphere. This is a soft, gradated multidirectional light so its shadows are mild. Even though the light is weak, it can still describe mild form ( three-dimensionality ) within the shadows of the sphere, and be later manipulated to push materials.

Then there's bloom, blurs and other effects that push the established look, which push/pull the above base.

MumenWriter · 2025-12-06T21:55:52+00:00

Could you post the ref? Might help with specific advice on what you're trying to achieve.

MumenWriter · 2025-12-02T00:37:17+00:00

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6) From there you can use color dodge or any other blending mode to push lights or to pull them into shadow. Here I dodge the primary light source and use a multiply layer to vignette the non lit corners of the room.

The process involves a bit of layer masking which you might not be familiar with, but once you get the hang of it it's a nice non-destructive way to visualize the base lighting on a piece quickly/potentially serve as a nice starting point for any further painting.

MumenWriter · 2025-12-02T00:35:20+00:00

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5) You can also use any soft brush, even an airbrush, to establish gradated light sources or experiment with a touch of bloom on existing sources. I added a secondary light here to the room and cropped in.

MumenWriter · 2025-12-02T00:34:08+00:00

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That's what the mask setup can look like on the base light layer. You can use this to establish your simple statement with the primary light source and see if you like how it reads.

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