It’s Halloween, when ghoulies and ghosties and long-leggety beasties and goths and witches come out to play, so here’s some purple and black for you! First, a tree:
And second, a bed of pebbles – or is it? No, it probably isn’t some hideous bubbling spawn of unspeakable things from beyond the stars after all. Almost certainly not. No. Pebbles.
And here’s the shadow-frame from the first, suitable for putting anything you like in the centre!
As always, these are Creative Commons licensed (CC:BY), which means you can use them for anything you like, for free, but if you’re making money from the results you must attribute my work to me.
They’ll print out at 300 dpi at A4 size – click through from the picture to the high-res version.
And if you like these, please consider becoming a patron – even a few dollars a month will help keep me in tea & ink.
This set are all taken from the Sound of Iona, in the Inner Hebrides. First, some seafoam (the churned water beside the ferry, in fact) straight from the camera:
And the same, turned into a monochrome overlay with a transparent background:
And a marbled transparent overlay pattern made from a second picture in the same set:
And finally, a transparent overlay made from the first and a few chapters of Jane Austen’s Sense & Sensibility—the churning waters of the Hebrides make an excellent metaphor for Marianne’s acute Romantic sensibilities, though Mendelssohn’s Hebrides overture (“Fingal’s Cave”) was written nineteen years later than the book.
If these are useful to you, please consider becoming a patron. Even a few dollars a month will help me eat and sleep!
My darling readers, I have four more textures for you! The first two are made from September’s colour palettes – first, the leaves & berries of a hawthorn hedge, and secondly, two shades from a limpet shell. Both will print out at A4 (300dpi), and the polka-dotted limpets are fully tileable, too. As always, click through for the full size versions.
In addition, here’s a photograph, taken in cloudy October light, of linden leaves scattered on well-kept grass.
And finally for today, here’s another parchment texture, this time an aged and darkened one (in fact, dark enough to do well for badly kept acid paper) made from the colours of a tawny owl I met recently.
As always, everything is CC:BY licensed, meaning that you can use these however you like. (If you’re using them for commercial purposes, ie. making any money from them, then I need you to credit me.) And if these are useful to you, please consider becoming a patron, so I can keep myself in SF books and good poetry.
Have some rocks. As always, click on the image for a full-size high-res version. First, a beautiful flat piece of sandstone from the beach at Amble (and second, the other side of the same piece):
And thirdly, the beach at Druridge Bay has trails of glittering black swirled into the yellow sand, from smashed seacoal. Here’s a closeup of the contrast between them, to prove that sand is never just yellow any more than sea is just blue.
Here’s the first sandstone image, turned into a monochrome transparent overlay, and some green alien space rocks as a quick & dirty example.
And as a special bonus, here’s a pattern made using two colours from the Small Tortoiseshell palette I posted last week!
As always, if you find these useful, please consider becoming a patron – even a few dollars a week will keep me in bus tickets and camera battery!
Click on the image to download an SVG version. All of these are Creative Commons licensed (CC:BY) – use as you like, but credit me if you’re using them in commercial work, and give a thought to becoming a patron. Even a few dollars a month will help keep me in ink and flowers.
More free colour textures for graphic design and artwork! As always, these are licensed under Creative Commons (CC:BY) – credit me for commercial use, but otherwise, do what you like with them. They’ll print out nicely (300dpi) at at least A4 size – click on the thumbnails for full-size versions, or right-click and save-as.
And again, if you find these useful, please give a thought to becoming a patron – even a dollar a month helps keep me in fresh air and sunlight.
First up, we have some digitally altered clouds, lifted from a beautiful September day and layered over swirls of ultramarine acrylic.
Secondly, the same clouds over a rich Victorian sepia.
And thirdly (fourthly) some beautiful weathered wood, first plain and then with a prominent knot.
I’m afraid I haven’t had time to do any digital painting this week, because I’ve been rushing to finish off some stock for a JRR Tolkien fair, and also to make sure my partner Elly Hadaway’s CD gets out on time. Since the CD’s all about our mutual relationship with the landscape of the British Isles, though, I’ve been digging up a lot of photo references, which means it’s really easy for me to give you these, which I took on a beach on the Ross of Mull.
As always, click through for the full-size version – each is large enough to print at A4, and they’re all licensed under Creative Commons (CC:BY), which means you can use them for anything you like, but if you’re making money from it I want an acknowledgement that this part is my work.
Hello and welcome to a new episode of “What colour is it?” with me, Somhairle Kelly, in which I look closely at all sorts of common things and turn them into a set of hex codes for your web & graphic design pleasure. These are Creative Commons licensed (CC:BY), which means you can use them for anything you like, but if you’re using them as part of a commercial design, you need to credit me by name & URL.
Download an SVG version
I’m terribly sorry these are late – it’s been a hard few weeks. In recompense, here’s a double set of free textures, all of which are Creative Commons licensed (CC:BY) so you can use them freely in your own noncommercial work, and for commercial purposes if you credit me.
First up, here’s what expensive red velvet looks like if you cover a sofa in it and sit on it for several hundred years. (This is from the ballroom at Kedleston Hall in Derbyshire, so it was almost certainly sat on by this charmingly imperialist chap.)
This one’s an original painting in acrylics, which will doubtless become a much more complex original painting in acrylics at some point, but I always take a photo of the base layers for just this sort of purpose.
Again from Kedleston Hall, here’s some lovely characterful brickwork – I’m not sure whether this is eighteenth or nineteenth century work, but it’s been sheltered under an arch for all its life, so it’s picked up character without destruction.
Two digital paintings: a brown earth texture I made for a dirt path in a faux-mediaeval manuscript, and some loose, grainy blue chalk.
Again from Kedleston Hall, the bark of a tree I’ve tentatively identified as a Turkish tansy-leaved hawthorn.
If you like these, please consider becoming a Patron – not only will it keep me in toast & ink, but some of it will also go to supporting the National Trust and all the other lovely organisations I visit with my camera!
First, I have a skyscape – this is constructed in painterly layers by taking colours from the “Lammas evening” palette I put up last week.
Secondly, a lichen-dusted branch from a Victoria plum tree.
And thirdly, a piece of parchment, made out of digital sheepskin—that is, entirely using colours from July’s “Black & white sheep” palette.
As always, everything here is Creative Commons licensed (CC:BY) for personal & commercial use, no attribution required for personal use. And if any of these are useful to you, please consider becoming a patron—a few dollars a month helps keep me in tea & paintbrushes, and helps keep a roof over my head.