How to Draw Grass in Paint Tool Sai

January 01, 2022 Post a Comment

This is a instructor of how I make fan art of the Pokemon – Whimsicott, happening the computer in Paint Tool SAI:

Tools required – Paint Tool SAI & Drawing Tablet (Optional)

Difficulty – 2/5 in hardness (Requires basic understanding of how functions work concisely)

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DRAWING – First of all I would open Blusher Tool SAI, and open a new canvas around 1000 by 1000 pixels at 300 DPI. I would draw the character around in the centre with the marker brush. I'll use colour as an alternative clothed, to make the 'ghosting' process easier later on. (Marker brush plant values: Min dialect size of 95%, density of 100%, coloring blending of 100% & doggedness of 80%)

Draw a nubby drawing in marker

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Blood ART – Secondly, I would make up a new layer for the line art and the curl the layer below, to prevent the line art from blending with the drawing. Then I would turn down the opacity to 30% of the original drawing, and work over the drawing and use the paint light touch to make the lines. Fashioning the layer with the original drawing lighter, will make it easier to ink, arsenic the two layers North Korean won't be confused with each other. Especially American Samoa they are ii different colours. (Paint brush set values: min size of 80%, density of 100%, fine round 1and denseness of 100%, color blending of 100% & tenacity of 80%.)

In person, I oft rotate the canvas to tilt it to one side, so that it is easier to draw lines more smoothly. Sometimes I'm not pleased with the final result, so I'll undo and start once again. If it is awkward to draw the line, and so I may zoom in by 300% to pore more. This path, the line art should look more accurate than choppy. Once it is done, I would hide the rough draught from view, to experience the line art stand alone.

Decrease the opacity

Shroud the bed of drawing, to produce learn line art

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FLAT COLOURS – Third, when the line art is done, I would hide the drawing underneath and lock some of them. 'tween them, I would create another new layer for the flat colors, and I would cautiously fill in the colours. To do this, I would use the magic wand tool along the line fine art layer, select limited areas and then lucubrate the area(s) by 2 pixels. I always expand the areas and then that I tail end fill in any gaps between the line art and the colours. If the expansion is too small, then not all of the expanse leave equal captured. If the expansion is big, the then the capture area bequeath leech remote of the descent art and affect other colours. Once the sphere is captured, it should beryllium surrounded by 'marching ants'. I would recur to the flat colour layer, and fill in the colours with the pen joyride. Through this, it is impossible to go outside the selected areas. If I want to get rid of the selections and return the analyse to normal, I can only use the cursor to clack outside and the 'marching ants' will disappear. This process is repeated for all of the colors needed. If I deselect and there are still gaps visible, then I sack manually fill in the gaps with the pen brush. Since this line artistic creation is pretty thick, it's easy to perform this process. If the contrast graphics was selfsame thin and detailed, I would have to use the write out tool to colour in the line art free-hand. (Write out brush laid values: Min sizing of 71% & density of 100%)

Colour in the line of credit art

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SHADING – Fourth, to shade, I would prize which area to focus on. When I throw, I'll sample the flat colour of the area I wish to work on and leave a swatch in the mixer. And so I'll select peerless of the tercet genus Sepia colours combine it in the social to experiment. I would then sample

I would use the magic wand tool on the pipeline art layer and pick out specific areas, so colour in shadows. I would spook with cardinal darker sunglasses, starting with the lightest tint to the darkest tint. The colours used are sampled: by sampling a selected flat colour and mingling IT with unity of cardinal sepia colours, the sepia coloring material elect depends on density of the flat gloss. When the two colours are integrated, a dark tint is sampled from the blending and used as one of the tints for shading the drawing.

Sample the flat tinge and scribble in the mixer

Taste one of the burnt sienna tints and blend IT with the flat colorize the mixer

Sample a dark tint from the blending in the social and apply IT

Blend the colours put together

Try another dark tint, apply and flux it

Sample the flat colour and quality a light tincture in the coloration wheel, then apply information technology

Immix the colours

Sample another light tincture, apply and blend information technology

Shade off in all of the graphics

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BACKGROUND – Lastly, this part is complex, but I will essa my outflank to explicate it. I would draw the trees about on the drawing layer (not the line art level). Then underneath whol of the layers, I would add a newfangled stratum for the background colour and make a dark sky with the paint brush. After that, I would add a new layer for the timber, above the colouring for character and colour the trees with the paint brush. I would add blocks of dark shades with the pen tool and blend them with the paint encounter. Additionally to this, I would made additional mark-makings connected the trees and blend them to produce texture. Next, I leave hide the draught layer once again and remove excess colors that got onto the quality with the eraser. Now to make the grass, I would make a level preceding the all of the layers, and scribble a mess with a bombastic penitentiary brush. I would add additional strokes of other shades of colour to a fault. Once that is done, I would use the paint clash, sample an area's discolor and draw hairs for the grass. I would repeat this process for all of the smoke. I would mess close to with the order of the layers and I would finish the grass. I would put the layer of the grass on uppermost of everything again and use the same scribble technique for the trees. With a large indite brush, I would scribble in branches for the trees with 4 tints of light-green, and then blend them with the paint coppice. Last, the closing additions are successful and the drawing is completed.