I’ve had this list sitting around for a while (in case I ever want to try something new) and I thought I’d share it, because why the hell not, everybody loves free stuff. I’ve only used a couple, so for all I know these could be complete shit. BUT YOU NEVER KNOW, RIGHT?
*= available for both windows and mac os
GIMP * - Does a lot of the same stuff as Photoshop.
FireAlpaca * - Similar to Paint Tool Sai, so it’s a good alternative for Mac users.
Krita is a painting program that has been around for a while, and in the last few years, underwent major changes and improvements. Because of these improvements, many artists are using it not just because it is free, but because it offers amazing features. These are by no means all of the great things Krita has to offer, but simply some of my favorite features of the program.
1. The Brush Engines.
Yes, engines. As in plural. There are many. And they all do different things. There is no way you could possibly capture all of its possibilities with one screen shot, but here are just some of the possibilities. Along side standard round, square, and shape, and textured brushes, there are brushes that smear, blend, and create interesting abstract strokes. There are brushes for filters, and one of my favorites, the Experiment Brush, which is basically a pre-filled lasso tool.
Brushes also support weighted smoothing, or brush stabilizers.
This is incredibly useful for line art. And while I do not usually use this feature, it is something that I feel many programs are lacking, such as Photoshop.
But its brushes aren’t the only thing about Krita with variety.
2. Color Selector Customization.
Whether you prefer something basic, or something more complicated, Krita will likely have what youre looking for. You are not likely to find yourself missing your other program’s color wheels. There are even more options than this, and other color selectors.
Gotta love that customization.
Krita also has some great naviation tools.
3. On the fly rotation, zoom, and brush sizing.
With krita, zooming, rotating, and brush size scaling are all smooth, and dynamic with the use of hot keys. These are features I miss when in other programs. To zoom, Ctrl+Middle mouse button, hover over the screen to zoom in and out. The same with shift rotates (press the ‘5’ key to reset rotation). Holding down shift and draging your brush on the canvas dynamically changes its size, allowing you to see the change, and get the exact size you want without brackets. Brackets also work, if that’s what you are used to. Krita also has highly customizable hot keys.
4. The Pop Up Pallet
The pop up pallet is a set of your 10 favorite brushes (which you can edit), and a built in color wheel that appears when you right click on the canvas. It is incredibly useful for switching between those few brushes that you use in almost every picture.
5. Real time, seamless tiles creation.
Pressing the W key in Krita will infinitely tile your canvas, and allow you to work real time on simple to complex tiled images. You can zoom in and out to see how your tiles work form a distance, and paint freely to create seamless artwork easily, without having to check using filters and manually tiling. Very usefull for patterns, backgrounds, and games.
6. The Symmetry Tool
This one goes without saying, Krita supports both horizontal and vertical symmetry, along with a brush that is capable of radial symmtry with as many directions as you like.
Go nuts, kid.
There are many more reasons why this program is awesome. And it is only going to get more awesome. And the coolest thing about it, is that it is 100% free. So go check it out! There’s nothing to lose. Krita isn’t for everyone, it can be hard to get the hang of, and it is not meant for photo editing, it is a program completely focused on digital painting from start to finish.
Give it a go and see if Krita is the program for you.
When creating a character, there’s a lot of questions you ask yourself. Whether it’s an original character or one you’ve been playing for a long time, using a character sheet to get to know your character better can always be a nice idea. With its help, you’ll be able to think about things you didn’t necesarily thought about, and ask some important questions to yourself that might activate your character’s voice, or help you to get your muse back with them. Everyone has their favorite character sheets, some people prefer to have a lot of questions, some others like it a bit more vague, so here’s a masterlist of the character sheets I found on various websites and found quite interesting, plus some other things that could be used to help you see, for example, how other character view yours.
With these sheets, you could also try to find your character’s Jung and Enneagram Type or use the Moral Alignment tool. All of these things can be really useful to get a better grip on a character.
Then, if you’re trying to create a character, and do not have many ideas, or get stuck, I’d suggest for you to roam around TVTropes, which gives you a lot of tropes used for character creation. Maybe you could try to mix a few of these and create an original character?
Or, if you’re a skillful writer and know how to make your character different from another, make a list of characters in fiction you happen to find interesting and why. Try to keep it short. Then, maybe, try to mix and match things from two or three characters, take a character and change their backstory, to see what would change. Play with them to inspire yourself and create something new, original and truly yours.
Oh, and here’s a little guide to Mary-Sues and OCs, just in case you want to make sure your character isn’t going to become a Mary-Sue or a Gary-Stu
And last but not least, this article about building fictional character definitely seemed interesting to me, and is full of many other links that could guide you during the creating of your character and help you file one of these sheets.
In writing, as in dating and business, initial reactions matter. You don’t get a second chance, as mouthwash commercials often remind us, to make a first impression.
So it’s unfortunate that opening sentences frequently receive short shrift in writing workshops. While drilling aspiring literati on the subtleties of characterization and plot, few, if any, writing instructors offer lessons on crafting a first line, or even an introductory paragraph—though many agents and editors, if not impressed after a sentence or two, will read no further. I started devoting an entire session of my writing class to opening lines when I realized that the last formal instruction I’d had on the subject was the grade school admonition that stories should begin with “a hook.” In the years since, I’ve come to believe that the fate of most literary endeavors is sealed within the initial paragraph—and that the seeds of that triumph or defeat are usually sown by the end of the very first sentence.
Think of every opening line you write as a pebble tossed down a mountainside: The stone may jolt back and forth within a limited path, building up force, but the trajectory of its initial release largely determines its subsequent route. Never forget that the entire course of a story or novel, like an avalanche, is largely defined within its first seconds. To craft a compelling story, you must first launch it in the right direction.
Here are 10 ways to do it.
1. Build momentum. The first cardinal rule of opening lines is that they should possess most of the individual craft elements that make up the story as a whole. An opening line should have a distinctive voice, a point of view, a rudimentary plot and some hint of characterization. By the end of the first paragraph, we should also know the setting and conflict, unless there is a particular reason to withhold this information.
This need not lead to elaborate or complex openings. Simplicity will suffice. For example, the opening sentence of Flannery O’Connor’s “A Good Man Is Hard to Find” tells the reader: “The grandmother didn’t want to go to Florida.” Already, we have a distinctive voice—somewhat distant, possibly ironic—referring to the grandmother with a definite article. We have a basic plot: conflict over a journey. And we have a sense of characterization: a stubborn or determined elderly woman. Although we do not know the precise setting, we can rule out Plato’s Athens, Italy under the Borgias and countless others. All of that in eight words. Yet what matters most is that we have direction—that O’Connor’s opening is not static.
Immediately, we face a series of potential questions: Why didn’t the grandmother want to go to Florida? Where else, if anywhere, did she wish to go? Who did want to go to Florida? A successful opening line raises multiple questions, but not an infinite number. In other words, it carries momentum.
2. Resist the urge to start too early. You might be tempted to begin your narrative before the action actually starts, such as when a character wakes up to what will eventually be a challenging or dramatic day. But unless you’re rewriting Sleeping Beauty, waking up is rarely challenging or dramatic. Often, when we start this way, it’s because we’re struggling to write our way into the narrative, rather than letting the story develop momentum of its own. Far better to begin at the first moment of large-scale conflict. If the protagonist’s early-morning rituals are essential to the story line, or merely entertaining, they can always be included in backstory or flashbacks—or later, when he wakes up for a second time.
3. Remember that small hooks catch more fish than big ones. Many writers are taught that the more unusual or extreme their opening line, the more likely they are to “hook” the reader. But what we’re not taught is that such large hooks also have the power to easily disappoint readers if the subsequent narrative doesn’t measure up. If you begin writing at the most dramatic or tense moment in your story, you have nowhere to go but downhill. Similarly, if your hook is extremely strange or misleading, you might have trouble living up to its odd expectations. As a fishing buddy of mine explains, the trick is to use the smallest hook possible to make a catch—and then to pull like crazy in the opposite direction.
4. Open at a distance and close in. In modern cinema, films commonly begin with the camera focused close up on an object and then draw back panoramically, often to revelatory effect, such as when what appears to be a nude form is actually revealed to be a piece of fruit. This technique rarely works in prose. Most readers prefer to be “grounded” in context and then to focus in. Open your story accordingly.
5. Avoid getting ahead of your reader. One of the easiest pitfalls in starting a story is to begin with an opening line that is confusing upon first reading, but that makes perfect sense once the reader learns additional information later in the story. The problem is that few readers, if confused, will ever make it that far. This is not to say that you can’t include information in your opening that acquires additional meaning once the reader learns more. That technique is often a highly rewarding tool. But the opening should make sense on both levels—with and without knowledge the reader will acquire later.
6. Start with a minor mystery. While you don’t want to confuse your readers, presenting them with a puzzle can be highly effective—particularly if the narrator is also puzzled. This has the instant effect of making the reader and narrator partners in crime. An unanswered question can even encompass an entire novel, as when David Copperfield asks, “Whether I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must show.”
7. Keep talk to a minimum. If you feel compelled to begin a story with dialogue, keep in mind that you’re thrusting your readers directly into a maelstrom in which it’s easy to lose them. One possible way around this is to begin with a single line of dialogue and then to draw back and to offer additional context before proceeding with the rest of the conversation—a rare instance in which starting close up and then providing a panorama sometimes works. But long sequences of dialogue at the outset of a story usually prove difficult to follow.
8. Be mindful of what works. Once you’ve given some concentrated thought to your own opening line, obtain copies of anthologies like The Best American Short Stories and The PEN/O. Henry Prize Stories and read only the first sentence of each story. As with any other aspect of writing, openings are their own distinct art form—and exposure to the masterwork of others is one of the best ways to learn. (Of course, the challenge of this exercise is to avoid being lured into a story with such a compelling opening that you aren’t able to put it down!)
9. When in doubt, test several options. Writers are often advised to make a short list of titles and try them out on friends and family. Try doing the same with opening sentences. An opening line, like a title, sometimes seems truly perfect—until you come up with several even better choices.
10. Revisit the beginning once you reach the end. Sometimes a story evolves so significantly during the writing process that an opening line, no matter how brilliant, no longer applies to the story that follows. The only way to know this is to reconsider the opening sentence, like the title, once the final draft of the story is complete. Often a new opening is called for. That doesn’t mean your first opening needs to be scrapped entirely; instead, file it away for use in a future project.
Needless to say, a brilliant opening line cannot salvage a story that lacks other merits, nor will your story be accepted for publication based on the opening alone. But in a literary environment where journals and publishing houses receive large quantities of submissions, a distinctive opening line can help define a piece. A riveting opening can even serve as shorthand for an entire story, so that harried editors, sitting around a table as they evaluate the crème de la slush pile, may refer to your piece not by its title, but as “the one that begins with the clocks striking 13” (as does George Orwell’s Nineteen Eighty-Four). Even after the rest of the story has evaporated from conscious memory, the opening may stick with editors, an iron peg upon which to hang their hats—and, with any luck, it will have that effect on readers, too.
A simple guide to picking a great color palette. No matter what the colors are, using colors that are certain distances from each other on the color wheel result in a great contrast of colors. The simple color schemes shown above are used in the most popular logos, posters, websites, paintings, and even movies and television.
If you ever need to recolor boots try using floral spray paint NOT the regular kind. As long as they are made of pleather, vinyl, patent leather, plastic, the floral spray will work amazingly well! They keep their color, the paint does not crack when I wear them and they feel and look great! I did this for my Harley cosplay, the black boot is basically how it looked before. You can find this paint at Jo Annes Craft store, it comes in many colors.
i use overlay all the time to make colours more vibrant and to make areas warmer or cooler. good for colourful ambient light (like glowy magic stuff).
multiply is really good for establishing a light source very quickly!! play around with the hue to get shadows with cool colours. for more detailed work you can use two or three tones on a multiply layer for more dimension.
screen is something i only recently started using regularly! it’s really great if you have a very bright light source. you can also use screen and paint on the edges of a backlit character to make the lighting more intense. a good thing to know about screen layers is that the darker the colour you use, the less it lightens; using black on a screen layer leaves no effect on the colours underneath (the opposite is true for multiply layers!).
and you can also use these layers for an entire painting instead of just on a character! i don’t have a visual example on hand, but stuff like making the area around a warm light source warmer, making a light source brighter and more vibrant, or using gradients set on multiply or screen are just some of the ways you can apply these to a full painting :)
