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Bawdy Falls Page 63 (Patreon)

Published:
2019-05-22 19:55:57
Imported:
2026-06
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LINE WEBTOON FORMAT

The colors for page 63 of Bawdy Falls are now complete. Dipper and Mabel finish their quickie together and Mabel wastes no time calling for food time. Dipper agrees, but notices something that catches his attention as Mabel runs off.

LINES:

Here are the lines for page 63 of Bawdy Falls. Mabel decides it's time for a food break, but something catches Dipper's attention as she bolts off.

That's right, another page for this week. As mentioned before this approach should hopefully allow me to get more done per week, so to start that off I should have both pages colored by Friday.

Also, I'm going to try uploading this part of the comic in JPEG format. I know some people swear by PNG for maintaining image data, but I've exported in both formats, and not only is JPEG smaller in file size when using the textured pen, but I find it looks better. The PNG format I find to be causing more hard pixelation, which is not how I wanted it to look. I want it to give more of a slight rough traditional look to the lines and not look like I'm using less anti-aliasing. I've made this adjustment to page 62 as well. We'll see what I go with exactly when I finalize the colors, but I'm sure it will have the same result.

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Comments

Dante

double is always good :V

Brett

Hmm, now I want Dipper to beat her to see just how limber she is; )P

Cebastian M

Mabel exudes such an infectious joy in just about any situation. Glad to see more of this comic and appreciate the technical stuff that goes along with each post. Really gives an insight into the creative process.

Guy343

Bwahahaha🤣

incognitymous
>>22974147

Agreed about Mabel. That's what made her such a great character. Infectious joy is seldom done well on a character, and Gravity Falls nailed it with Mabel. As for the technical stuff, I just like to share to let everyone know what I'm doing and why. I try not to leave answers so that most potential questions are already covered, so glad to hear at least some people read and appreciate the info.

RevyTwoHand

Both funny and HOT. And never really noticed the diff between JPEG and PNG honestly. But hey some say they can't see the diff between 720p 1080p and 4K. So maybe it like that? IDK. 8-P

incognitymous
>>23076292

There is a difference between JPEG and PNG, but it's more of a technical one. People have a lot of misunderstanding about the difference, which is that PNG is a lossless format, whereas JPEG is a compressed format. The misunderstanding comes from what that means. JPEGs are compressed, meaning they do suffer in some ways, but that depends on the quality settings you use when exporting. If you export a JPEG in a way that does not suffer any visual loss, then there is no difference, except I'd argue that the JPEG is more optimized at that point. The misunderstanding of JPEGs is that people think there's some degradation that happens to them whenever they're viewed/moved. What causes a further loss of quality in a JPEG is when it's edited and then saved, which happens because there will be further compression done to the image when it's saved from an image editor, due to that being the very point of saving as a JPEG. PNG is only really better for three things. First off, JPEGs can't export transparency, so for some things like logos and banners, PNG is the only viable option of the two. Then there are images that are small enough that there's no noticeable difference in file size between JPEG and PNG, but any amount of pixelation from JPEG compression is very noticeable, so you'll just want to go with PNG. The last reason you'd want to stick exclusively to PNG is if the image is intended to be edited again later. As I mentioned above, every time a JPEG is saved there will be further compression, so even if the quality looks perfect when you save it, it will not be that way if you keep saving new versions of it.

Julius Jacobsen

I think in that case the compression isn't "too good". A "good" compression decreases the filesize without damaging the image. If the image hurts too much, then the compression is too aggressive. For a b/w image, 64 shades of grey (there is a joke here) is plenty for aliasing imo. But when you have actual colors in your image, then there are not many colors left for aliasing and the algorithm can't reuse the inbetween colors. So I understand going with a different format. (Also type "F" in chat for the bpg format which is ten times better than jpg and will never be successful because of patent issues.)

incognitymous
>>23268281

Whoops, yeah, I actually worded that wrong. I meant that the "better" uncompressed format can be too much (in this case a lossless PNG), as the point I was making was that sometimes the compression is necessary to prevent detrimental effects like visual moire from resized textures/patterns.

Julius Jacobsen

I didn't realize that you were talking about lossless compression. So you're using lossy compression algorithms as a desired image manipulation to decrease moire effects that happen when you look at the images scaled down with a bad sampling algorithm? That is interesting. Wouldn't a blur some other step before saving lossless achieve the same thing?

incognitymous
>>23278646

Yeah, lossy compression seems to be the easiest way to remove the moire effects. It's not even just an issue of bad sampling algorithms when it comes to illustrations since it can sometimes just be information that cannot be properly placed into the determined area in any objective way, particularly when it comes to screentones that may be at a certain LPI that does not equate properly. If you have a 60LPI halftone in a lossless format, but then when scaled it can only fit a fractional LPI, there's going to be some clipping of the halftone, which is most likely going to create a checkered moire effect due to having sections of improperly spaced halftones. This is a concern not just for digital, but also for print, so it requires some prior planning. As you said, this can be combated a bit by blurring the halftone prior to export, as it's more likely to be read as an area of flat grey when it has the extra pixels caused by blur/anti-aliasing. The issue here though is that when working in an art program that's able to utilize vector and raster seamlessly, there's more extra steps to acquire this. For example, if the lines are giving me a moire effect, I have to rasterize the vector layer, then I have to apply a blur filter to that layer, and then I can export the image with the blurred lines. However, now there may also be some moire in any halftones or color textures used, so now those also have to be rasterized (if vector) and blurred. You could go for a total blur on export (Photoshop I know has this, although CSP does not, so I'd have to flatten the entire image and then apply a blur filter), but that then blurs anything that otherwise looked fine and didn't need fixing, so it's not typically an optimal solution. The easiest solution is to simply apply a small amount of compression to the image, or to export the image at a smaller size in order to minimize the scaling performed. The smaller export also does a sort of compression of the texture/halftone by itself, since it's not going to retain the full data of the 100% export size, thus meaning there's a less rigorous texture to be scaled. I find this to be a bit preferable, but both can be done for optimal effect. Even if I consider the blurring option, I consider that no better than simply using a lossy compression, especially since lossy compression can be controlled to have literally zero noticeable difference while having the added benefit of reducing file size, as opposed to a blurred lossless method, which will most likely actually increase the file size versus having the hard edges that can cause issues.