What’s the perfect time to figure how you’ll thumbnail some pages? As you fall asleep at 5a.m., undoubtedly!
Don’t get your hopes high, the way I am I’ll take ~6 months to put some pages out, and even then they’ll be lame! See her? She laughs at your hopes.
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Qual a hora perfeita para descobrir como fará os thumbnails de algumas páginas? Quando você está caindo no sono às 5 da manhã, sem dúvida!
Não crie muitas expectativas, do jeito que sou vai levar ~6 meses para sair qualquer coisa, e mesmo assim serão péssimas! Está vendo ela? Ela ri das suas esperanças.
Still practicing, that means another timelapse for you! If you suspect I’ve ran in circles in this piece, without knowing what I’d do, you’re absolutely right!
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Ainda praticando, o que significa outro timelapse para vocês! Se você suspeita que corri em círculos nesse trabalho, sem saber o que fazer, está absolutamente correto!
Thank you, kind Anonymous. :)
I use PaintTool SAI and Photoshop CS6. SAI is lightweight, good for lines, some occasional blending and sketches, but there is no 64bits version yet, so it cries in despair if I work on prints here. I love the “Brush” tool + the flat brush from this pack.
Photoshop handles filters, textured brushes and monstrous files better. I use a simple round, hard edge brush with opacity controlled by pen pressure the majority of the time. I have hundreds of brushes, but I’m a bit lazy; yet I’ve been trying to speed up my process a little by using them at the beginning. You can see me testing a lines brush from this pack on my latest timelapse.
The little girl kept a firm grasp on his hand, skillfully guiding him through the old tower’s maze and tugging at him if he slowed down to peek beyond a dark hallway or a crack on the ground, as if she were the one who knew the place her whole life, and not him.
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A garotinha apertava firmemente sua mão, guiando-o habilmente pelo labirinto da antiga torre e o puxando se ele se demorasse para espiar através de um corredor escuro ou uma rachadura no piso, como se ela fosse quem conheceu o lugar por toda sua vida, e não ele.
Edit: Now available as print on my deviantART Store and INPRNT!
Ris Megroth is not a single volcanic region or island, but a whole blazing continent. It’s said you can see the fire on the sky and taste metal on your tongue before you’re able to spy its shores. It’s thought that such inhospitable land is uninhabited. It can’t be said for sure—you just don’t sail anywhere close it.
When ash fall occurs in the southern shores of Thyse, all the way across the ocean, be sure a cruel, long winter is about to happen.
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Ris Megroth não é uma simples região vulvânica ou ilha, mas um continente inteiro em chamas. Diz-se que se pode ver fogo no céu e sentir o gosto de metal em sua língua antes que seja possível ver sua costa. Acredita-se que tal lugar inóspito é inabitado. Não se sabe ao certo—você simplesmente não navega para lá.
Quando chove cinzas nas praias de Thyse, além do oceano, tenha a certeza que um inverno longo e cruel está por vir.
I’ve been in need of doing a more detailed post on how I do commissions for a while. Here it goes! (:
After the client gets in touch and we speak about the project, settle with a deadline and a quote, I produce the artwork in 3 steps:
Phase 1: When it’s a book cover I read some of it first, then I create some rough, messy sketches options. I strive to provide options with different scenes, colors and intensity; on environments I work mainly the colors and mood, on characters I try to give them something of a face already. Being a cover I take the title and also thumbnails into consideration from the start (because it’s likely to be show in online catalogs as well).
It can happen no sketch has quite the perfect mood or idea, so we discuss them and I won’t stop until I arrive at the perfect option. That axe was a bit troublesome, uh?
Phase 2: Production! I resize the canvas to a print-size and start to work hard on it. I actually design stuff now. From time to time I show a progress shot to the client, also reaching him/her for approval of designs and the like. I plan ahead and do color tweaks and effects tests with frequency, but rarely show these to the client in this phase. I don’t want to bore him/her to death!
Phase 3: Approval! We review the work, tweak little details and effects and I deliver it and any relevant assets. E.g.: Text/no text, cropped and resized, original size with bleed (I do them poster size!). If there is a logo involved I deliver the vector version as well.
That’s it. I hope you enjoyed this sneak peek as much I enjoyed painting this cover, and yes, I paint dainty males by default and always have to fix their build later. Ops?
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Já faz um tempo que preciso criar um post mais detalhado sobre o meu processo de criação em commissions. Aqui está ele! (:
I pretty much forget to eat when focused and wonder why I’m feeling grumpy.
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Esqueço de comer quando estou focada e me pergunto por quê estou mal humorada.
The cover to the upcoming Iron Pen Anthology by vielmond. No themes. No shared worlds. Just a bunch of diverse authors who have achieved the honor that is Iron Pen. Stay tuned for more information, including release dates.
Details:(Fullview in a new tab)
It’s a book cover I’ve created some while ago.The legend says I’m also a designer, but I would rather not let this secret out. Here is the flat logo (every logo must have a vector version, ofc):
Essa é uma capa que criei há um tempinho. A lenda diz que também sou uma designer, mas isso é um segredo. Aqui vai o logo chapado (todo logotipo deve ter uma versão em vetor, é claro):