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Description
Hall pass, please. You don’t have one? So sorry…

(Note: to get the full effects of this picture you might have to lower the tint of your screen or something to make it darker if it isn’t already.)

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That Backpack pisses me off. I didn’t discover it wasn’t in the picture until my 107th time of looking at ‘You Are Here…’ but thankfully all while it was still on my computer exclusively. It pissed me off because I was that close to counting the previous version of this picture as finished. Instead I ended up having to:

1. Uproot the picture by needing to erase lines I never planned on erasing.

2. Erase a considerable portion of the shadows, which is hard to get back; once you lay the shadows on once, another added layer of shadows will darken the area whether it’s placed under or on top of the transparent shading. That almost screwed me.

3. Go back to Adobe Illustrator and make the lines for the backpack, which isn’t as hard as it is tedious to have to go through the process all over again.

And on top of that, the fucking backpack also made Cream appear closer than I wanted her to be. The solutions to this would either be to run back to Adobe Illustrator shrink the character and brush in more line art and redo huge portions of the line art or to lasso the shape of her character (and the colors on a lower layer) then shrink her that way. So how did I solve this? By asking my beautiful, smart and wonderful audience to pretend it’s placed farther behind Marine, which btw *poof* now it is.

Just like that. Yep, just like that.

Btw, during the period in which I decided to obligate myself to making more pictures for yall’s asses, I fell in love with Tracy Yardley!…er, his! art style. I loved a lot of the angles he! captures in his! panels and have always envied how him! and other certain artists have been able to make the characters appear flexible and active. It’s something I’ve always been trying to do but have been failing stiffly. And when I finally felt I was at the skill level I wanted to try to do it, I didn’t do it due to laziness (and Left 4 Dead).

Overall, I’d say it was the robot arms that kept me the most busy. Every time I kept thinking it was done I stop and look at the work as a whole and think “naw needs more reflection”, and let’s not even get into the shadows.

Alright, lets.

First, for the characters I colored the them according to how I believed they would look at this time of day (with adequate lighting and minus shadows), then I made a new layer and selected MAN black and set the brush opacity to about 50% (or was it 30%?) then I basically just went balls to the wall shading their general shape not even bothering to stay within their lines (as I usually do). Then I finally trimmed the shade down to fit the characters shape with a regular brush. After that, with a soft airbrush I trimmed away parts where it looked like light should be filtering in or through. Then I eventually made another shadow layer to make even darker shadows on them.

In my unqualified self taught artist experience there are two different things that would cast shadows:

1. Characters placements in contrast to the lighting. (Example. Staring at a sunset on the beach, one side of your body is lit by the sunlight while the other is shaded.)

2. A closer object blocking out the light source and/or the reflections/illuminations of the light source making the light deprived area darker. (Example. Cream’s ear.)

And as for the general background and surrounding area? It’s best not to do what I did with the MAN black 50% (or was it 30%) opacity but instead just guess what the darker colors of the forest colors would be since YOU WILL be doing a lot of erasing and recoloring for the background.

Cookie for you if you read all of that. But I’m afraid I’ll have to keep the past 6 minutes of your life.

So sorry.

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Edit: I just added a newer version because the robot's arm is supposed to be bigger. It was a pain in the ass to modify. The bad type of pain in the ass.

Description
Hall pass, please. You don’t have one? So sorry…

(Note: to get the full effects of this picture you might have to lower the tint of your screen or something to make it darker if it isn’t already.)

------
That Backpack pisses me off. I didn’t discover it wasn’t in the picture until my 107th time of looking at ‘You Are Here…’ but thankfully all while it was still on my computer exclusively. It pissed me off because I was that close to counting the previous version of this picture as finished. Instead I ended up having to:

1. Uproot the picture by needing to erase lines I never planned on erasing.

2. Erase a considerable portion of the shadows, which is hard to get back; once you lay the shadows on once, another added layer of shadows will darken the area whether it’s placed under or on top of the transparent shading. That almost screwed me.

3. Go back to Adobe Illustrator and make the lines for the backpack, which isn’t as hard as it is tedious to have to go through the process all over again.

And on top of that, the fucking backpack also made Cream appear closer than I wanted her to be. The solutions to this would either be to run back to Adobe Illustrator shrink the character and brush in more line art and redo huge portions of the line art or to lasso the shape of her character (and the colors on a lower layer) then shrink her that way. So how did I solve this? By asking my beautiful, smart and wonderful audience to pretend it’s placed farther behind Marine, which btw *poof* now it is.

Just like that. Yep, just like that.

Btw, during the period in which I decided to obligate myself to making more pictures for yall’s asses, I fell in love with Tracy Yardley!…er, his! art style. I loved a lot of the angles he! captures in his! panels and have always envied how him! and other certain artists have been able to make the characters appear flexible and active. It’s something I’ve always been trying to do but have been failing stiffly. And when I finally felt I was at the skill level I wanted to try to do it, I didn’t do it due to laziness (and Left 4 Dead).

Overall, I’d say it was the robot arms that kept me the most busy. Every time I kept thinking it was done I stop and look at the work as a whole and think “naw needs more reflection”, and let’s not even get into the shadows.

Alright, lets.

First, for the characters I colored the them according to how I believed they would look at this time of day (with adequate lighting and minus shadows), then I made a new layer and selected MAN black and set the brush opacity to about 50% (or was it 30%?) then I basically just went balls to the wall shading their general shape not even bothering to stay within their lines (as I usually do). Then I finally trimmed the shade down to fit the characters shape with a regular brush. After that, with a soft airbrush I trimmed away parts where it looked like light should be filtering in or through. Then I eventually made another shadow layer to make even darker shadows on them.

In my unqualified self taught artist experience there are two different things that would cast shadows:

1. Characters placements in contrast to the lighting. (Example. Staring at a sunset on the beach, one side of your body is lit by the sunlight while the other is shaded.)

2. A closer object blocking out the light source and/or the reflections/illuminations of the light source making the light deprived area darker. (Example. Cream’s ear.)

And as for the general background and surrounding area? It’s best not to do what I did with the MAN black 50% (or was it 30%) opacity but instead just guess what the darker colors of the forest colors would be since YOU WILL be doing a lot of erasing and recoloring for the background.

Cookie for you if you read all of that. But I’m afraid I’ll have to keep the past 6 minutes of your life.

So sorry.

--------
Edit: I just added a newer version because the robot's arm is supposed to be bigger. It was a pain in the ass to modify. The bad type of pain in the ass.