reference photos

Hey, @Jerald Dorado! I’m colorblind 😁 Protanopia (reduced sensitivity to reds, and sometimes exchanging shades of reds, greens, browns, purples and pinks). What usually helps me paint is sort of a combination of four things: 1. Color theory - I’ve taken time in the past to learn about the color spectrum, lighting, value, temperature, saturation, mixing, complementarity, harmonies etc. so, when painting, I try to use these things to guide me through my color choices. I know most artists with normal color vision do this too, but, to me, being familiar with the theory is especially helpful since I need to make some color decisions based on what I know will work rather than relying solely on my perception. 2. The “grisaille” method - It’s the process of starting with grayscale and adding the colors on top afterwards. I find it especially help for colorblind people, but many artists with normal color vision use it too. 3. Digital features (such as HSB sliders, adjustment layers and blending modes) - I paint mostly digitally, so these uniquely digital tools come in very handy, since they give me more control over the colors I’m not sure about, as well as flexibility to change things at any stage in case something doesn’t work. I sometimes also use colorblind aiding softwares/apps, such as ColorblindPal, Chroma and What A Color. 4. Feedback - I’ll simply ask people with normal color vision to check out my painting and tell me of anything looks off. These strategies are no guarantee of a mistake-free process, but they sure help! One thing to have in mind is that color is actually made up of three components: hue and saturation (the two components we are mostly affected by as colorblind people) are often a little less dominant compared to value (the third component, which, thankfully, we perceive normally). Often, when the value relationships in a painting are strong and effective, hue and saturation come in almost as icing on the cake: relevant, of course (and delicious), but not structural. Hope this helps. Cheers!

I find all work in different fun levels. Also when it comes to drawing. If I have done a hard study, then I treat myself afterwords working on something I find more enjoyable. I like to have more than one project going at the time, so when I burn out on one, I can gain new energy from the other. I try to keep my workspace cleaned up. And remove potential distractions. (This is very challenging for me. How is this so hard xD )

Drawing the subject (human figure or whatever else) many many times from many different angles, and leaning or stepping back from your drawings to get a good look at the 'whole' rather than being too up close to any one area. It's best to try and develop an intuitive sense for proportion than rely too much on measuring!

My guess is after some time, you should have a fleshed out central theme, any things that take away from it are considered mistakes, while others are considered flairs. I like to use spikes as an example. They're good on a leather jacket of a motorcycle gang member, but awful on a nurse(if you're trying to portray the generic personality traits associated with nurses, instead of something ironic).

sinix, please, notice meeee :(