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When you want to give her your phone number, but it's DnD.
…so i’ve been wondering for a long while: do you actually color crayons-on-paper or do you use a digital tool which emulates physical materials incredibly well?..
Here’s a photo of the specific implements and brands I use.
Oh, and for comedic value - but this is real, here’s the super advanced tech I use for the digital cleanup.
How do you live like this
So… PSP has a specific tool that’s really good for my workflow, that most modern graphics programs doesn’t have - it’s called the “push brush” and it’s a sort of dynamic clone brush.
Most “clone brushes” like… you choose the brush shape, select the sampling area, then sample an area with a click, then you can paint with that sample - but it’s quite a cumbersome process that you set up each time.
PSP’s “push brush” you set a shape, and then when you click, it remembers all of the exact pixels in the selected area, and as you drag, it paints with a brush that’s identical to that sampled area, until you let go. If you click a fully white area, it’s a white brush, if you click a black area it’s a black brush, if you click an area of “textured pixels” (like all my shading) it’s a brush with that texture in it.
This is super great for my work flow, I can tweak lines, remove debris, redraw small areas, and generally paint over mistakes all with the same brush, and I don’t have to manually set it up or change any settings for each area, the dynamic sampling just does what I need when I need it. It lets me clean up scans much more quickly than having to change tools for each thing.
Many graphics packages have a tool that’s “similar” to this, but either smudges the sampled content, or requires setting up for each sampled area, or has some other issue. I’ve tried a lot, and they’re all just cumbersome and annoying - on the other hand, I believe PSP2022 has the tool buried in the optional tools, so… I’ve been meaning to try it out.
That makes a lot of sense. Totally respect that.
Let’s give a visual example of what this looks like in practice:
Here’s a Konsi picture. I’m going to set the brush quite large (much larger than I normally do) and click at the point where the yellow hair clump joins the brow, then move the brush around.
The main “value” of this is for small paint-overs it preserves some of the character of my “pencil texture”, and when I then shrink the final image, the scaling algorithm basically scrambles any super obvious “patches” - so I can paint out scanner debris or fix minor errors, and neaten up linework with a single tool.