I’d like to take the “stable branch” and work with it, but unless I dig through the changelog for my favorite software, I simply don’t know what to expect. For the non-technical, it means I don’t know when I can get the software and make it myself without getting random problems (called “bugs”) that weren’t fixed. While there is alot of talk about forking the code and doing things yourself, the reality is that the code-base for FOSS software often moves on without dedicated, distinct points in the commit history where the software is stable. The Requirements and the FOSS Shortcomingsīefore I begin, I think it’s important to note something about FOSS software. While the ideal software would make it easy to do this entire process digitally, there are some things that are definitely needed. I say all this mainly to give you an idea of what’s really needed out of the art program I want. Some aspects of organics – like patterns on clothes – fall into the “inorganics” category and can best be done on the computer, but their shape is “organic”, so drawing the initial shape by hand is ok. And faces are the most fun to draw, and since it’s easier to see and correct the overall picture when it’s still on paper, it makes sense to keep it there. Organics are faster to draw by hand, with the exception of hands. Others (like cars and buildings) may be better turned into 3D models. Many of these things, if simple enough (such as a book or a pencil) can be drawn with vector graphics very simply. That said, computers are great for “inorganic” things. The “organic” things are humans, animals, plants, monsters, aliens, and even perhaps liquids, rocks, and other things without a definitive and predictable shape. This includes walls, space craft, cars, roads, and just about every building. The “inorganic” things are usually made of metal, brick, and other hard substances that are highly unlikely to change shape over the course of a story. I like to separate these as “inorganic” and “organic”. There are some things that should be done on the computer and some that are best drawn by hand. That’s fine for buildings (since you’re only doing it once), but it’s not fun for humans. This acceptable, but working with Blender and another program simultaneously in order to get the right angle and perspective for objects comes down to a time-consuming game of guess-and-check. Otherwise, things become gradually slower.ģD work can be done in Blender. If the number of layers can be limited to under 10, everything can be done in Krita. The GIMP has to be used for assembling the final image due to the number of layers sometimes required. Painting with Krita is an option, but it still requires exporting the image and loading it into Inkscape for final corrections. Notably, however, it’s easier to hand-draw than toy with vectors. It’s seems like it would be better to do things right the first time on the computer. when the scanner changes the page dimensions on you) unifying and dramatizing the effects of wind on hair) correcting false angles for car front-end-to-side appearance) In the vast majority of cases, you still need to perform corrections once the drawing is on the computer. Supposedly, it’ll preserve the drawing better, which is nice, but to some degree, I’m moving away from exact preservation of the hand-drawing. Next, I was going to try using Optimal_transportation_reconstruction_2 from the CGAL library. I couldn’t just start coloring based on that, and it was an ok-but-not-great input for Inkscape’s bitmap-to-vector function. (Thank you, Arnaud Ramey.) The results were… ok. I wrote one with a Guo-Hall algorithm based on some code I found online. After scanning, I wanted to run the drawing through a line-thinner program. Create the line-art for different parts of the drawing in Inkscape.The optimum work-flow for creating digital drawings with free tools has worked out to this: In any case, I don’t like the idea of hand-coloring. Maybe I spare myself embarrassment or lose of opportunity? I’ll leave that a secret. Not ProTools, professional digital art tools, mainly in regards to digital painting. What was I talking about again? Oh yeah – pro tools. Drop me a line if you want something done! Check out my invisible portfolio! (Oh, wait, my website is under reconstruction.) Nevermind the shameless self-promotion. I consider myself in the animation business… er, getting into the business… er, more precisely, marketing graphics. Finally, I’ll throw in alittle bit about what I think of Toon Boon Harmony. I’ll begin with procedure, explain the gaps in free software, and then discuss how ClipStudio Paint fills in those gaps. Now it’s time to look at what the pros use. I compared Krita and Gimp, then I compared Krita and PaintToolSAI. Some time ago, I made comparisons between different types of art software available.
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