When working with traditional media, I would normally place before me, the tools suitable for the job. this curation of drawing implements is imperative to developing a style that remains consistent. However, when working digitally the temptation to endlessly edit the brush settings, colours, and sizing it becomes very difficult to maintain a consistent mark making, that remains realistic. Furthermore, it is often a struggle for the digital illustrator when considering scaling of media. Because in most cases, the edged of the canvas can not be seen, and the screen itself is more often than not, too small to house the entire canvas scaled to 100%.
To address these problems in workflow methodologies i had built a network of rules, which link to my research concerning physicalism. In real life, brushes are fixed in size, and not infinitely scalable like within a digital drawing app, therefore to maintain the physical nature of the brush aimed at simulating, then the mark maker must resist from altering the shape and size of the brush - as this would break the physicalist essence of the brush.
This analysis is helpful when considering line work, however, when creating tonal aspects in the image making, this can become a new challenge.
To mitigate the uncertainty and enforce restrained, I build a process of creating digital style sheets. The visual documentation of all aspects of the vocabulary - line work quality, size and thickness selections, colour guidelines, tonal shading guidelines and finally a post proscessing guide.
In this instance, to disctress the line quality production i created a dynamyic ripple effect. Moreover this is not a simple matter of applying a filter - in this case the filter was applied on a number of layermasks; each layer contained a different ripple value, by cearfullt selecting area oif teh image with layermask i could create a deep textured effect that has enough variation to portray a realistic image with living breathing charector.