Digital Art Tip: Resolution Dependence


I get the question often as to what size canvas I draw on. I’ve answered in responses to explain the basics numerous times, but I’m going to write a bit more detailed response so all can understand and reference. 


(I’ll use my Dirty Pair piece as the guinea pig for this explanation.)

A lot of artists, primarily painters, typically like to work at a large size for things like detail work. However, this is not necessary. When you think of a traditional painter, they don’t paint at rather huge sizes on whatever they’re illustrating (unless they’re painting a mural or some sort of wall art). 

Crossing over into the digital realm, I abide by that same logic. Unless you’re doing graphic design using vector-based visuals where things need to be crisp and clean, there is no need to draw/paint at a huge size (unless you just want to do it to achieve a visual effect or style).

The few people I’ve told know that I draw at a rather small resolution. My typical canvas size is 11x17 inches at 100 DPI. That equals 1100x1700 pixels total. (This image was drawn even smaller than that, at 1088x1245 pixels.) Why do I draw at such a small size? A few reasons:

  1. Much more control over your strokes. You’re working with fewer pixels at a low pixel count, resulting in less need of detail control. For example, drawing a curved stroke at 200DPI is harder to do than 100DPI because there are 2x the distance of the stroke. 300DPI, 3x the distance; 400DPI, 4x; 500DPI, 5x; you get it. The higher pixel count you have, the more care you have to take (and more ctrl+Zs you have to hit).
  2. Drawing small helps brainstorm. I tend to zoom in before roughing out my drawing, that’s right— at my base canvas size. It’s similar to the traditional thumbnailing approach where you don’t have to worry about details when you’re coming up with your pose. You just draw small, enlarge, draw in more detail, enlarge, rinse and repeat until you have all the detail you need for the illustration and then refine the lines. 
  3. Your drawing speed is faster. Because of the above two reasons, you just don’t make as many mistakes and don’t have to worry about strict control. The byproduct is that your drawing speed increases.

Here are the native lines to the DP illustration below:


Click here to view native size

Above is the exact size and resolution I drew these two in. As you can see, it’s not a crazy trick. People ask “How do you get your lines so clean!?” when they’re trying to draw at a huge size. Well, just don’t draw at a huge size. You can zoom in and see that it’s nothing special beyond that:


Click here to view native size

It looks hecka pixelated and stuff. 

Now at this point, you’re wondering “well, what if I have to worry about print and just having a huge version on hand in case I want to do something with it later on?” Well, this is answered when I’m ready to color my line art~

When I begin to color the piece, I enlarge it. For my refined illustration work, I usually color at 200DPI. I have a Photoshop Action that I run that resizes my linework to 200DPI. But an experienced digital artist knows that enlarging a low-resolution image results in blurriness. That’s why in that Action I also have a Smart Sharpen filter ran on my lines:


What this does is basically make it as if I drew the lines at 200DPI instead of 100DPI:


Click here to view native size

Everything carries over and you have crisp clean lines to get into coloring. Even after you color, it’s just enough:


Click here to view native size

Blending colors and stuff is even easier to do than at a higher resolution. Even at 200%, it’s not horrible:


Click here to view native size

We know 300DPI is the default that you should print at, so then just resize it to 300DPI then:


Click here to view native size

So, there’s no need to draw in a large resolution for your art, even when you’re worried about print. Drawing smaller makes your work cleaner and easier to manage and looks great when you enlarge it with the right settings. Photoshop has been advanced enough for some time now to utilize this method well. 

And that’s pretty much it for this explanation! I hope all that made sense.

So go on and try to draw smaller instead of drawing huge. You may notice yourself getting faster and using Undo less often. ;)






Click here to find out why these questions help you.

This is so important!

I never know what to ask and end up looking like a fool cause I don’t have a question prepared.

Don’t be me.

This is huge. When I do interviews at the job I hate, if people just shrugged when we ask “do you have questions” i pretty much write them off unless they were a bamf with at least two other areas of the interview.


suddenlyapples asked:


tmirai answered:

HEY KID! You wanna give your art a slick finish that ups the contrast and saturation of your colors, giving your art some extreme, eye-pleasin’ intensity while also smoothing it out like buttercream, sensually caressing that shit in a soft, sensual fuzzy glow like you’re watching dream porn and it looks something like this or this or this????

Then you should try….


Taught to me by doxolove, like the coolest most awesome artist ever, the Dox-Effect is a nifty post-production finishing effect. You will need Photoshop to do this!

STEP 1: So you’ve finished your masterpiece and it’s looking sexy but you want people to do more than swoon when they see it. You want them to swoon AND sigh. Longingly.

Merge your artwork into one layer. If you are importing from Paint Tool SAI or another program, a high-res JPEG is fine. Do whatever other post production work you need to (color correcting, adjusting your contrast, levels, and etc.).

After you’re done with that jazz, copy your merged artwork layer three times so that you have four identical layers.


STEP 2: Turn off the top 3 layers so that only your original Background layer (#1) is showing. Select that layer.

Go to Filter > Blur > Gaussian Blur. Blur the layer until your picture is a blob of vaguely unrecognizable colors.


STEP 3: Turn on the layer above the background layer (#2) and select that layer.

Go to Filter > Blur > Motion Blur. Blur the layer until, like the first, the picture is vaguely unrecognizable. I usually keep the angle at the 90 degrees, but you can play around this for added effect.


STEP 3 THE SEQUEL: We ain’t done with you, Layer #2.

In your Layers window, click the drop down menu for Blend Mode (this is the box that usually says “Normal”). You are going to select one of four Modes: Overlay, Soft Light, Hard Light, or Vivid Light.

Each Mode produces a different effect that will, ultimately, affect the way your finished Dox-Effect looks. My favorite is usually Hard Light. You can always go back and change the Mode of this layer (and the other we will change) to experiment with how it looks.


STEP 4: Turn on Layer #3. Again, click the drop down for Blend Mode. Select one of four Modes: Overlay, Soft Light, Hard Light, or Vivid Light. Usually, I just select the same Mode that I used on Layer #2, but you can mix and match to experiment.


STEP 5: Turn on your topmost layer, Layer #4. This layer’s Blend Mode will remain Normal. Next to the Blend Mode box, click the Opacity box. Use the slider to bring the Opacity of your layer gradually down until that shit lookin’ good. The Shit Lookin’ Good range is usually 65% - 85%.

The lower the Opacity, the more the effects of the layered Layers beneath will show through. So it’s up to you to decide how sexified you want your final product.


And that is it! Congratulations, you’ve put some sweet ass post-production finishing on your already awesome art.



(thanks Dox I’m sorry for abusing your technique and making this shitty tutorial)


Thats it everyone, the secret is out!