nebulos @nebulos@comicscamp.club

Finished "A Fire Upon the Deep" by Vernor Vinge. I was worried that this would be pretty soft Sci-Fi. Sure enough, it's chock-full of aliens with cultures and ethics suspiciously close to current humanity, there's faster-than-light-travel and even a complete medieval fantasy world. Yet everything fits together so well and the story more than makes up for the rather implausible setting. I can't imagine a better mix of medieval #fantasy and epic #SciFi. A very entertaining read! #AmReading

@ZeldAurore

You’re looking at the next spacecraft to land on the Martian surface! Our #Mars2020 team is preparing this rover at @NASAJPL for its mission by checking connections between its hardware & the back shell that'll protect its atmospheric entry. Learn more: https://www.nasa.gov/image-feature/jpl/taking-mars-2020-integration-head-on?utm_source=TWITTER&utm_medium=NASA&utm_campaign=NASASocial&linkId=66354836 

Enhanced: The #Dolphin #Cloud on #Jupiter
#Astronomy #Picture of the Day

https://apod.nasa.gov/apod/ap190415.html

#APOD

Happy Friday, campers!

If you're wondering what the influx of new users is all about, I set our instance to the new "request registration" mode. This means people can request an account here without needing an invite from a current user.

If you see any of these new users around, say hi! Show them a good Camp #welcome. ☺️ And if anything looks spammy or not cool, do use the report function, and I'll see what I can do.

Keep being awesome, campers! ⛺ 💚

#Groundskeeping

Axtail

#mastoart #art

As we prepare to send @NASA_Astronauts to the #Moon2024, we have our sights on a place no human has ever gone: the lunar South Pole. Containing ice & other possible resources, discover why this new destination is so critical to future missions: https://www.nasa.gov/feature/moon-s-south-pole-in-nasa-s-landing-sites?utm_source=TWITTER&utm_medium=NASA&utm_campaign=NASASocial&linkId=66296662 

@nebulos There are other times where if I do everything in color, then I'll temporarily Desaturate or change the color mode of the image/layer to Grayscale to check the values that way. I make note of problem areas where the grays look too similar, Undo, and select and edit the colors that need darkening or lightening.

@nebulos Yes! A layer for Lines, a layer for Values (grayscale), then a layer for Colors sandwiched above or below Values. I would play around with different layer blending modes applied to whichever layer is above: overlay, multiply, screen, addition, etc to see everything!

Sometimes giving the black its own layer and its own color companion.

@nebulos I like that it makes changing/editing the colors easier without affecting the values. It's worth doing, and easy clarity in a complex composition is great!

RT @ovopack@twitter.com

道標たち

🐦🔗: https://twitter.com/ovopack/status/1118650515066216448

@nebulos a bit of an afterthought but also don't underestimate how good grayscale can look on its own. Especially for an action comic.

It can be easy to clutter the scope of a project with too many features that feel obligatory because of the medium, but aren't actually necessary and may not even benefit the work. Not every comic needs to be in color, or even fully shaded. Sometimes cutting a corner means finishing the story.

Of course it's up to you to decide what the project will be. 😺

@nebulos
I often think about the greyscale before I move into color. From a design perspective, the greyscale value is visually more important than the chroma and hue. But it's only the relationship that is important so I rarely make an illustration that way - I just map the values in their own sketches.
However, I often pick a palette first and then do the values based on that so it's more of an iteration cycle than a linear process =D

@nebulos I almost exclusively work greyscale to color. I feel it's sometimes hard to envision the colored end result but it helps immensely with shading, values and atmosphere since all colours will somewhat bleed into each other.

@nebulos I've only tried it a few times, and I'll admit I don't think I've found a good workflow with it.

I find it's much easier than shading in full color (when done to a similar degree of precision and detail), but it reduces the amount of control I have over the color pallet -- which I don't like in my own art. It's not often that I'm doing a piece where it's worth the trouble to shade in detail but not to color it the way I like.

I'll also note I don't usually color long comics.

@nebulos One of the biggest issues that led me to do this is that my colors lacked contrast--instead of truly going darker, I tended to choose a greyer, similar value color as shadow, making everything look washed out. The only downside I find: if I lay color on top of grey, sometimes I have to finnagle the color choices to keep them from looking too desaturated. But I'm a digital artist, so often I can just choose a color the same value as my dark grey and paint with that!

@nebulos I "shadow key" all my comic pages before I "color key" them, so I lay black, white, and grey across the page to focus on contrast and lighting! I use light to lead the reader's eye across and down the page. It is absolutely worth the extra step. I spend way less time navigating which colors I want. It sucks to spend FOREVER on colors only to realize the light is off, the color combinations look wrong, etc.

This video is amazing. Mice in space adapt to microgravity.

https://www.nasa.gov/feature/ames/studying-behavior-in-space-shows-mice-adapt-to-microgravity/