*DAlexisStPierre

Colorist/Comic Artist

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My Brush Pack 2.0 by `DanLuVisiArt

Vulcan Princess (Video Making of in description) by *Katikut

Shared infoI have been giving a lot of thought into what makes a great cover (or even a pin-up) as of late. I find myself falling into a bit of a rut when I draw these. I have my sort of 'set', images and concepts I feel are my bread and butter. Which is fine, to a point. But to become better I know I need to move out of that and really look into what makes an image great.
So I am setting off to look into this and see what I can find that makes a cover great. And I figure, why not share this with you?
So my first thought was, 'What are the most common types of images used that invoke a response? An image itself has no real emotional punch. No matter how beautiful and technically perfect it is, if it says nothing, it gives the viewer noting. All art is about telling a story. Now every image is different and there is no one 'right' thing. But I have found 17 types of covers used in comics. There are more but they tend to be story specific. But these 15 are good all around starting points.
1: HShared info by =dlx-csc

Brushes: Fur part: 4 by =Snow-Body

my brushes by =domirine

My all and everything by =vishstudio

Basic Brush Set v2.0 by ~GrindGod

Inkining Brush by ~PANDORA-9

New Photoshop Pencil Set by =BenHickling

Suicide Note Preview by =dlx-csc

Zummerfish's Artistic N Texture Brushes by =zummerfish

What these Words Mean to You by *Demachic

Shivers by =firstfruits

Foliage, Dead Leaves, summer leaves, grass by =FrostBo

Words of wisdomCopied from :iconubermorte:
I CANNOT express how true this is. If you want to be in comics or any form of art, read and burn into your heart and mind.
I've been meaning to write this in some form or fashion for a while now. Orignally I was going to try to write it as a Cracked article (which I still may) but these are in my view among the most important things to remember when struggling to get into the comic business:
1. It's not just about how good you are. Comics are a highly competitve medium and everyone wants to get a shot at their favorite book. Many of the people trying to get that break have great skills, and i'm certain fine ideas. But can you meet a deadline? How well do you communicate your ideas or issues with your Editor/Writer/ Penciller/Inker? How reliable have you been on the books you've done in the past? How easy are you to work with?
Honestly most of these questions are more important in many ways than how talented you are. As an artist you are not an island unto yoWords of wisdom by =dlx-csc

you wanna get good....then don't be a hater!okay so here is a tip
i have seen in my life many artists who proclaimed they want to develop their skills, and kept bashing on everyone and everything on the way....and for some reason those guys never got anywhere...
here is why..
there is a value to different approaches, different styles. realism, manga , cartooney disney, my little pony, furries....don't waste your time tryint to bash any of the stuff you don't personally like
you are missing out, bigtime!
see there is a reason why that stuff is popular. and by that i mean on the visual side. so instead of flaming , trolling and bashing, try understanding the inner workings of it.
here are some specific examples
realism- it is a wonderfully complex base , reflects one's skill in capturing reality, but in it there are differences between photo referenced, real life work and no reference. ALL HAVE THEIR VALUE AND IMPORTANCE! from photos you can learn alot, gain analytic skills, develop an attention toyou wanna get good....then don't be a hater! by *nebezial

5 Reasons to WriteI wrote a blog once that urged comic artists to try writing their own books. I held back a bit on what I said--Punk Rock Jesus hadn't come out yet, so I didn't feel like I had the proper authority to really speak up.
Since then, there's been a lot more discussion about the etiquette of publishers toward their freelancers, the recent rise of creator owned books, and the effects of Hollywood moving into comics (or vice versa). And as friend of mine at Newsarama pointed out recently, I'm one of a few guys who's found a middle ground--not only because I'm writing and drawing my own book, but because my OGN is partially owned by DC Comics.
Certain events of the last year have created new concerns within our industry. Do you still need to work for big publishers if you want to "make it"? Do they deliver a better product than creator owned books? Are the Big Two treating creators as fairly as they've always been? Between the rise of digital comics and comic-based movies, are creators getting5 Reasons to Write by *seangordonmurphy

advice on some stuff to look up before tutorialsso im gonna be starting to make some tutorials soon
before that you should look up some informations
you probably noticed that in my work it is often hard to distinguish if im using a zbrush model or just painined it all in photoshop
reason for that is simple.
my realism rendering is greatly based on 3 d rendering processes.
by this i mean as i learned 3d i became aware of the stuff we usually visually take for granted.
qualities of material, importance of reflectivity, ambient occlusion, and subsurface scattering.
to any 3d  artist these are everyday terms, while 2d artists usually paint them without often even being aware of wheat they are really doing
for instance , a 3d artist will at any given point use 2 types of shadows. cast shadows from a direct lightsource, and ambient occlusion shadows which naturally appear  more intensively  the closer planes of an object are together.
i can get into this  and make it a long discussion , but easier wadvice on some stuff to look up before tutorials by *nebezial

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