4
I'm having a existential crisis with my skinning style specifically the hair on the top of thy head, HELP
Bonus Question: How does one stay consistent with shading styles?
Art thou not ask thy why I use olde english, Tis is the day when thy spooky month starts
[Also I post this on general cuz the skinning forum got less traffic and I want a range of opinions/answers]
Bonus Question: How does one stay consistent with shading styles?
Art thou not ask thy why I use olde english, Tis is the day when thy spooky month starts
[Also I post this on general cuz the skinning forum got less traffic and I want a range of opinions/answers]
Create an account or sign in to comment.
5
This is how I do it:
I shade the forehead and the darker line reaches the top side. Later I make a shape like this with lighter colors
I use the same colors as on other sides and usually it's pretty consistent.
But this shading is very simple
I shade the forehead and the darker line reaches the top side. Later I make a shape like this with lighter colors
I use the same colors as on other sides and usually it's pretty consistent.
But this shading is very simple
Its not
I always think of what the hair would look like in real life. It helps to divide the hair into sections--front, middle, and back. Think of where the hair originates from, and how it flows outwards from that point. Is it a middle part? A side part? A central cowlick? This will depend on the character you are creating. Once you have an idea of what shape the hair takes, define light and shadow accordingly. These drawing tutorials illustrate what I am talking about.
How does one define light and shadow?
I'm nocturnal. I never leave and see the sun, However. I do touch grass
I'm nocturnal. I never leave and see the sun, However. I do touch grass
Shadows go where the form of the hair blocks light, for example in the crevices between strands. In art terms, this is called ambient occlusion. When you places down dark pixels in a line, that's what it represents. The boundaries between the colored sections in the second image are a good place to put them.
Shadows can also be placed on the underside of the head, which represent a cast shadow.
Lighter colors go where light would illuminate the form. Save the very lightest color for specular highlights, which typically go in a broken ring around the head like a crown.
Shadows can also be placed on the underside of the head, which represent a cast shadow.
Lighter colors go where light would illuminate the form. Save the very lightest color for specular highlights, which typically go in a broken ring around the head like a crown.
