Blending. Checking Values: Ctrl+Y — Thomas Scholes. Out of the three elements of Color previously defined here: Digital Color Primer, I feel that Value is often the most important, especially with regards to visual clarity of subject.
An image with great color (Hue and Saturation) but poor Value is often unreadable, yet an image with great Value and poor color maintains legibility, indeed an image with only Value retains much of it's clarity and intent. As with all guidelines, this is of course bendable and even breakable but in the day to day business of a visual communicator it's a guideline that is useful more often than not. Royalboiler — 18 tips for comics artists by Moebius "brief manual for cartoonist "
The Uncanny Valley. Most people have heard of "The Uncanny Valley" by now.
I've heard people refer to it in two contexts in the animation industry: characters that are almost lifelike but are just enough off to be creepy, and stylized/cartoon characters who have an off-putting amount of realistic detail. I want to talk a little about the second one because I've run into it more often recently when artists have asked me for critiques. I don't think there is a hard and fast rule for this type of uncanny valley. When I watched The Adventures of Tintin, at first I was really bothered by the cartoon characters with realistic eyes and hands.
But by the end of the film I was engaged enough in the story that I didn't notice so much anymore. How to See in Value. One of the most important concepts to know and understand as a visual artist is that pictures, scenes and still images are arrangements of value; light, dark and gray shapes.
It’s these light, dark and gray shapes that the human mind assembles as a cohesive picture. Being able to see the world as shapes of value, especially colored shapes and objects, is a master skill to cultivate as a visual artist. It’s important to the artist because in order to compose and arrange shapes in our pictures, we must first see and understand their inherent grayscale value. The most basic and abstract pattern of dark and light shapes (A) is the first ‘read’ the mind makes. Cartoon Fundamentals: Create Emotions From Simple Changes in the Face. There are millions of eyes, mouths, noses, ears, chins in the world, each with their own characteristics.
However, to draw faces in a cartoon style, you just need to understand the basics of them. Once you have mastered these concepts, pay attention to the depth, make sure that the head of your characters give the impression of being three-dimensional and you have mastered the technique of drawing them from every imaginable angle. If you can do that, great! But if you really want to draw attention to your art, you have to master the technique to bring them to life with facial expressions! Practically anyone can draw a face. Filmmaker Miyazaki on Escaping Perfectionism: Start Your Next Project. Hour of Need. -By Jesper Ejsing This is a magic card illustration for the set called Journey into Nyx.
It is a setting much like the ancient Greece. I was asked to paint a card showing 2 sphinxes with tiny riders on the back charging down from the sky. When doing 2 figures on an image that is going to be as small as a magic card I always try to focus on one character and make the other less significant. ONESHEET-BOOTCAMP1 - ONESHEET-BOOTCAMP1.pdf. Temperature Structure. -By Dan dos Santos A few days ago, I discussed a basic Value Structure technique.
I showed how we can emphasize the spacial distance between Foreground, Middleground, and Background by restricting each area to a specific part of the value scale, either Black, White or Grey. That very same principal can be applied to Color Temperature as well. Try breaking your composition down into three distinct temperature ranges: Warm, Cool and Neutral. Just like value, restricting certain areas to a particular range of temperature will create a more legible composition and a greater sense of depth. Value Structure. Loomis's Scheme for Tonal Organization. Illustrator Andrew Loomis developed a practical scheme for organizing the tonal values of a picture.
In his book Creative Illustration he presents squares of four different tones: white, light gray, dark gray, and black.If you let one of those tones dominate, you can arrange them four different ways: 1. Grays and black on white, 2. Collecting. How much time and energy do you spend chasing “likes”, “retweets”, “shares”, and the host of additional measurables in the social media sphere?
Do you find yourself wondering what it is going to take to go “viral”? Maybe you are worrying about the wrong things… Cheating. Above: Me shooting the breeze at the Illustration Academy by Arnie Fenner A few weeks ago Jon Foster and I gave an on-line lecture about the history of Spectrum at The Illustration Academy followed by a series of reviews of portfolios that had been submitted for consideration in advance by members of the audience.
I generally don't like to do portfolio reviews for the simple reason that I don't view them the same way an educator does. A teacher or mentor offers critiques to help an artist improve and hopefully move on to the next level. As an art director looking at someone's book my position is less nurturing and more black and white: would I hire this person or wouldn't I? Jean “Moebius” Giraud on drawing from the work of other artists, from life, and from photos… — via — [KIM] THOMPSON: You attended art school, right?
[JEAN] GIRAUD: Yes. The Art Connection Academy - Saturday Lectures. The ART CONNECTION ACADEMY is now offering free Saturday lectures on a variety of topics. From Animation and Foundations, to Portfolio Reviews, these lectures are designed for beginners and professionals alike. Our schedule is always changing as more lectures are added. Check in with us often to see what our acclaimed artist will offer in upcoming lectures! Let's Get Organized — Part 1 of 2. This is a cross-post with Muddy Colors — An Illustration Collective I have in my possession an artifact of great historical importance to myself and no one else: my digital calendar. Beginning on Monday, February 28, 2005, it records nearly every event of my life, both personal and professional (including the hours required to write this blog post). If accurate, during the course of that initial week I spent 6 hours at the gym, cleaned the bathroom for 1.5 hours (filthy, I'm sure), went to Costco, a friend's book signing, and Drew's party (I can't recall who Drew is at the moment).
The vast majority of the week, however, was spent making comics. I finished painting 2 covers, varnished and photographed 2 others, and began painting the 4th page of an X-Men book — all in all, 68.5 hours of work. I know this because I used iCal, Apple's default calendar app, not like an appointment book, but as a time log and to-do list. Digital Skin. -By Serge Birault I think I have to speak about skin because I had a lot of questions about this. Here's a list of tricks to do paint more "realistic" skin with your computer ... I. Skin Tones. Do What You Can & Be Happy Regardless. For somebody who drew a rather popular comic extolling the virtues of “Quitting Your Day Job and Doing What You Love,” I’ve come to understand that this idea is fairly problematic.
I’m not even necessarily referring to the classist implications like those that are presented in this well written piece on Slate, but the issues that “Doing What You Love” causes for the people who’ve followed that advice, or have at least attempted to convince ourselves we did. I don’t want to speak for others so I’ll try not to generalize (much) and instead focus on my own experiences. Why "The Process" is the Most Crucial Aspect of Achieving Your Goals. Reilly Vocabulary. Having a common vocabulary is essential in any field of study. Reilly used some common art terms like "local" and "value" for his teaching program, and modified or invented other terms like "wash-in" (imprimatura), "lay-in" (block-in), and "poster" (averages without the details).
Wash-in: A thin, translucent underpainting, usually made with Raw or Burnt Umber. An imprimatura. Order of the Blog. How to Work with Opacity. How to Work with Opacity. Ordering Art for Games. 10 Things...Evaluate Your Painting. 10 Things...Finding Your Audience. The Science of Vision and the Emergence of Art. Using images from the Web: A Guide to “Fair Use” For all who ❤ color. Creating Form – With Planes – Enliighten. Sketching & Drawing & Painting Software. Photoshop sketch process. Chaos&Evolution - Digital Painting 1h30 open tutorial. Alla Prima: Everything I Know About Painting. The Best Ways To Make Your Photos Black & White. Trendgraphy. ROBERT FAWCETT'S PATTERN OF LIGHTS AND DARKS.
Three important rules for painting. Quick Tips on Photographing Your Works of Art - How to Photograph Paintings, Drawings and Sculptures. How Did You Become A Freelance Artist? Pricing: The Key To Not Destroying Everyone's Career. ImagineFX hosts an epic Photoshop... Noah Bradley Painting Study. Photoshop sketch process. Hovering Art Directors.
45 Markets of Illustration. Summer School for Freelancers : The Institute of Awesome. Color Theory Crash Course by ~pronouncedyou on deviantART. Adobe Kuler or Adobe's Badly Named Colour Wheel. Rogue Warden. Best Practices For Effective Design Of "About me"-Pages. Art History Timelines: View Artwork: Caravaggio, David. Lois van Baarle. Brom Art. How to Start a Painting by Noah Bradley. College Portfolio - 1992. We are not done yet... Know your Allies. Eyecager: Gradients. Video: greyscale to color. Coloring with Layer Effects.