Buy issue 296 now or subscribe to Computer Arts. This article was originally published in issue 296 of Computer Arts, the world's best-selling design magazine. The opacity of the layers has been played with a lot at this point, so I want to make sure things look random and not too planned-out. However, it’s important that I don’t go overboard on this step and that the distressing on both layers complement each other. I want the piece to feel like it has been forgotten about or lost to time. My goal is to create a worn-in and rugged appearance that mimics weather damage. True Grit Texture Supply expressly reserves the right to amend or modify this Agreement at any. True Grit Texture Supply and/or the designer(s) reserve all rights not expressly granted to you under this Agreement. When the shading values are looking great, it’s time to add some grit and texture. In the event any collection or enforcement effort or any legal action is instituted by True Grit Texture Supply to interpret or enforce this Agreement, you will be responsible for paying reasonable attorneys fees incurred by True Grit Texture Supply. The Graphic Assets licensed under this Agreement are supplied to you by True Grit Texture Supply for USAGE ONLY and remain the intellectual property of the designer(s) of the Graphic Assets. All of this takes place on the layer mask. On the blue layer I use a 90-degree line half-tone brush, also from True Grit (I promise they aren’t paying me…). I love how I can immediately achieve a vintage halftone texture. On the red layer I’m using one of True Grit’s half-tone shader brushes with 45-degree dots. This way I know that each layer is solid on its own. While shading, I like to focus on one layer at a time. Shade the red layer with a half-tone brush. Once I’m happy with the composition, I ink the remaining sketch and paste it into a mask, just as I did before. That way I can move things around if the composition isn’t working. I ink them before moving on to the skeleton. I will use the faint upper layer as a guide.įor the crows and snakes, I use reference images the same way I did for the upper layer drawing (see step 03). The skeleton is something I’ve drawn loads of times, so I feel pretty confident drawing it freehand. Highlight lighting for warm, organic results. Creative inspiration: Add texture for grittier digital art. afphoto format, usable in any Affinity app) Comprehensive tutorial videos with a full rundown on all main features, plus advanced tricks and tips for customizing your templates. I usually try several different ideas and compositions. What’s included: 20 seamless paper textures (supplied in. Sketch the under-layerĬreating the under-layer is my favourite part of my process – this is where the piece really gets interesting. At this point I’ll set it to Multiply and turn the opacity to around 20 per cent, just enough to see the red layer. Then I make a layer mask where I will paste my linework. To colour the linework, I like to create a solid colour layer (red). Set the opacity to around 20 per cent (Image credit: Travis Knight) 20 seamless paper textures (supplied in.The textures are also non-destructive, meaning your original artwork will always remain intact. Resizable to portrait, landscape, and every possible format in between, you'll never run out of canvas again. Featuring multi-layer construction to ensure your finished work never looks flat, Infinite Pulp is the ultimate in flexibility and customization. Designed with authenticity and versatility in mind, these aren't your standard one-dimensional overlays. Infinite Pulp by True Grit Texture SupplyĪdd depth and warmth to your digital work with this must-have library of 20 seamless paper texturesīreak free from fixed-size artwork with pro-quality paper textures that extend and reformat your canvas in seconds.
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