My Favorite Cheap Art Trick: Gradient Maps and Blending Modes
i get questions on occasion regarding my coloring process, so i thought i would do a bit of a write up on my "secret technique." i don't think it really is that much of a secret, but i hope it can be helpful to someone. to that end:
this is one of my favorite tags ive ever gotten on my art. i think of it often. the pieces in question are all monochrome - sort of.
the left version is the final version, the right version is technically the original. in the final version, to me, the blues are pretty stark, while the greens and magentas are less so. there is some color theory thing going on here that i dont have a good cerebral understanding of and i wont pretend otherwise. i think i watched a youtube video on it once but it went in one ear and out the other. i just pick whatever colors look nicest based on whatever vibe im going for.
this one is more subtle, i think. can you tell the difference? there's nothing wrong with 100% greyscale art, but i like the depth that adding just a hint of color can bring.
i'll note that the examples i'll be using in this post all began as purely greyscale, but this is a process i use for just about every piece of art i make, including the full color ones. i'll use the recent mithrun art i made to demonstrate. additionally, i use clip studio paint, but the general concept should be transferable to other art programs.
for fun let's just start with Making The Picture. i've been thinking of making this writeup for a while and had it in mind while drawing this piece. beyond that, i didn't really have much of a plan for this outside of "mithrun looks down and hair goes woosh." i also really like all of the vertical lines in the canary uniform so i wanted to include those too but like. gone a little hog wild. that is the extent of my "concept." i do not remember why i had the thought of integrating a shattered mirror type of theme. i think i wanted to distract a bit from the awkward pose and cover it up some LOL but anyway. this lack of planning or thought will come into play later.
note 1: the textured marker brush i specifically use is the "bordered light marker" from daub. it is one of my favorite brushes in the history of forever and the daub mega brush pack is one of the best purchases ive ever made. highly recommend!!!
note 2: "what do you mean by exclusion and difference?" they are layer blending modes and not important to the overall lesson of this post but for transparency i wanted to say how i got these "effects." anyway!
with the background figured out, this is the point at which i generally merge all of my layers, duplicate said merged layer, and Then i begin experimenting with gradient maps. what are gradient maps?
the basic gist is that gradient maps replace the colors of an image based on their value.
so, with this particular gradient map, black will be replaced with that orangey red tone, white will be replaced with the seafoamy green tone, etc. this particular gradient map i'm using as an example is very bright and saturated, but the colors can be literally anything.
these two sets are the ones i use most. they can be downloaded for free here and here if you have csp. there are many gradient map sets out there. and you can make your own!
you can apply a gradient map directly onto a specific layer in csp by going to edit>tonal correction>gradient map. to apply one indirectly, you can use a correction layer through layer>new correction layer>gradient map. honestly, correction layers are probably the better way to go, because you can adjust your gradient map whenever you want after creating the layer, whereas if you directly apply a gradient map to a layer thats like. it. it's done. if you want to make changes to the applied gradient map, you have to undo it and then reapply it. i don't use correction layers because i am old and stuck in my ways, but it's good to know what your options are.
this is what a correction layer looks like. it sits on top and applies the gradient map to the layers underneath it, so you can also change the layers beneath however and whenever you want. you can adjust the gradient map by double clicking the layer. there are also correction layers for tone curves, brightness/contrast, etc. many such useful things in this program.
let's see how mithrun looks when we apply that first gradient map we looked at.
gadzooks. apologies for eyestrain. we have turned mithrun into a neon hellscape, which might work for some pieces, but not this one. we can fix that by changing the layer blending mode, aka this laundry list of words:
some of them are self explanatory, like darken and lighten, while some of them i genuinely don't understand how they are meant to work and couldn't explain them to you, even if i do use them. i'm sure someone out there has written out an explanation for each and every one of them, but i've learned primarily by clicking on them to see what they do.
for the topic of this post, the blending mode of interest is soft light. so let's take hotline miamithrun and change the layer blending mode to soft light.
here it is at 100% opacity. this is the point at which i'd like to explain why i like using textured brushes so much - it makes it very easy to get subtle color variation when i use this Secret Technique. look at the striation in the upper right background! so tasty. however, to me, these colors are still a bit "much." so let's lower the opacity.
i think thats a lot nicer to look at, personally, but i dont really like these colors together. how about we try some other ones?
i like both of these a lot more. the palettes give the piece different vibes, at which point i have to ask myself: What Are The Vibes, Actually? well, to be honest i didn't really have a great answer because again, i didn't plan this out very much at all. however. i knew in my heart that there was too much color contrast going on and it was detracting from the two other contrasts in here: the light and dark values and the sharp and soft shapes. i wanted mithrun's head to be the main focal point. for a different illustration, colors like this might work great, but this is not that hypothetical illustration, so let's bring the opacity down again.
yippee!! that's getting closer to what my heart wants. for fun, let's see what this looks like if we change the blending mode to color.
i do like how these look but in the end they do not align with my heart. oh well. fun to experiment with though! good to keep in mind for a different piece, maybe! i often change blending modes just to see what happens, and sometimes it works, sometimes it doesn't. i very much cannot stress enough that much of my artistic process is clicking buttons i only sort of understand. for fun.
i ended up choosing the gradient map on the right because i liked that it was close to the actual canary uniform colors (sorta). it's at an even lower opacity though because there was Still too much color for my dear heart.
the actual process for this looks like me setting my merged layer to soft light at around 20% opacity and then clicking every single gradient map in my collection and seeing which one Works. sometimes i will do this multiple times and have multiple soft light and/or color layers combined.
typically at this point i merge everything again and do minor contrast adjustments using tone curves, which is another tool i find very fun to play around with. then for this piece in particular i did some finishing touches and decided that the white border was distracting so i cropped it. and then it's done!!! yay!!!!!
this process is a very simple and "fast" way to add more depth and visual interest to a piece without being overbearing. well, it's fast if you aren't indecisive like me, or if you are better at planning.
let's do another comparison. personally i feel that the hint of color on the left version makes mithrun look just a bit more unwell (this is a positive thing) and it makes the contrast on his arm a lot more pleasing to look at. someone who understands color theory better than i do might have more to say on the specifics, but that's honestly all i got.
I'm like, kind of obsessed with them lmao. While I've drawn Vox quite a lot (I've been working on a Vox animation thing over the last month-ish) I hadn't done much of anything when it came to Val and Vel. I knew I'd want to do something with them all later on, but I wanted to get a good understanding of their designs, shape language, and the differences between the three of them so I can play a lot more when it comes to doing them (heh) in my own style.
So, since I was most familiar (and most obsessed with out of the three lol), I started with Vox :3
While I've been working on the animation project, it had kind of been an 'adjust-as-I-go'/'let's-bullshit-this' process, rather than doing the work of understanding why certain things looked more correct than others, so I still learned a LOT from this one study. (Plus the scene makes me wheeze and I happily took the excuse to use that moment as his study reference haha)
Obviously Val is... an asshole, to really undersell it. But this is hell, his character is interesting and his design is immaculate. I think I had the most fun with studying him tbh. Without his santa wings-coat he- *coughs* - yeah. Uh. Good design. I can actually believe that Angel fell for him at one point. Manipulative bastard - sorry tangents. ANYWAY! XD
VERY fun to draw, and a very good balance within these designs of showing off character attributes but also not taking themselves too seriously (The HATS these boys wear! *wheeze* did Velvette just give up fighting them on it? I've gotta know haha)
I missed color too much by this point to make them all match perfectly, and frankly - trying to draw canon Velvette without hue differentiation is AWFUL she has so many details and overlapping elements. If I ever have to draw Vel from 1x03 again I might cry.
Something about her 1x03 look actually makes me feel viseral irritation just by seeing it (like, even b4 I made myself draw it), but then I see her in 1x08 and I wanna draw her forever???? She's so fucking cool? So fucking cute????? The duality of man ig lmao
Anyway, the TLDR is that actually being conscious of how things are represented when drawing a character can lead to surprisingly immense insight... I feel like I not only understand so much more about how to represent their characters, but also a much firmer grasp about how the shape language in the show works.
These designs are immaculate and I had so much fun. I actually have a lot more I could say about this, but my period came today and I'm tired and this post is already massive so I'll leave things here for now! But yeah! Hopefully more Vee's in the future bc I love them!
haven’t posted here in a while so here’s a quick doodle of me and my husband i made a couple days ago!! he’s all i’ve been able to think about lately <3
I just came across your sburb land art, I'm absolutely stunned by it all, everything feels like it fits exactly with the rest of homestuck! would you have any advice/techniques to share for drawing in the style? stylistic details you feel are oft missed in fanart, etc?
Uh well I’m def not one to judge the way others draw world art lol that’s for sure, it can kinda be anything you want right? I don’t actually look at a lot of fanart tbh so I can’t say if anyone is missing anything at all or forgetting anything def not gonna go police how others should do art
I know there’s like major through line of that mspa kinda style is using a G-pen or something similar to get those clean crunchy pixels without any extra noise. Also panel sizes your usually going to work with around 650 pixels (length or width doesn’t matter that’s just generally what classic HS panel sizes are). If you have that you can pretty much do whatever you want. These are tools anyone can use though just if you want that kinda of style.
Other than that I guess just basic art tips people might not think about when drawing any environment
-implementing perspective
-setting up a focal point
-making colors fade closer to grey or blue the farther away they are from your vision (or whatever color the land’s sky is)
-using purples or blue for shadows on multiply layers and whatever colors your light sources are on overlay layers or glowdodge layers
Also to be fair I went to college for concept art in game design this is just stuff I picked up there- anyone can do it tho, there’s no like secret sauce