>>7494868
>I think mimicking the actual grit of trad tools has to be done in the software/brush settings.
I've seen enough artists who get that paper textured magnetic screen protector to be sure that at least it's not a placebo. thing of it like VR, if you have a physical suite that resist your movement, you're more likely to be in sync with whatever you're seeing through the screen, if your body and the result does not match what you see however, it feels weird.
Personally I enjoy that physical resistance of the paper, you feel it while you're drawing the stroke. It's drawing on a rough surface vs a slippery surface, the rough surface will actually allow you to readjust while you draw, while the slippery surface you just slide, it's harder to correct the pen direction if you're sliding too much.
I also saw some artists legit ink at 100 stability, the results are there, but the feel is just weird.

>>7495038
Very nice, I was doing some closeup comparison and it seems it has to do with line width variation too, your line variation is too smooth and too long, while the original pic has harsher and shorter line variation.
Good result over all, can you share it?

>>7495182
I also thought about this, my solution is to simply color pick out of scans and old media, we should already have enough color palettes, hell you can even do color grading after the fact. I think being conscious about natural colors is a good skill to have. So maybe doing more studies of peak cel shading will help.

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Akira Toriyama's change from trad to digital was one of the saddest declines I've ever seen. What is it about trad that make it soulful?…