I want a tribe, too.
PSG Art tutorial
Foreword I believe there is logic behind why a picture works or not. I also believe that humans are meat machines, and that one day computers will be able to emulate humans and what we do. Since logic can be formulated into rules, guidelines and theories, these can be shared. I will attempt to do so here. Note that I have just empirically deduced the theories I present here, and that I'm a highly fallible meat machine. Many rules also play against each other and may cancel each other out, or become invalidated because of a stylistic approach . The far most useful critique I can give developing artist is: Practice. Updates 2012 May02: Clarified stuff in the Terminology section. Table of contents Licence This tutorial is, in its current form, free to translate and 'mirror' in that form. Because I may be updating it and new versions are generally better, I'd rather not have it mirrored too much. I guess this licence comes pretty close: Terminology (Upd. 2012) Seeing (Upd. 2012) Light stuff Exposure
CG Education
Primary, Secondary, and Tertiary ShapesBy Neil BlevinsCreated On: Sept 28th 2006Updated On: Nov 30th 2013 Go here to read this tutorial in Indonesian. This theory in composition comes in many names. Primary, Secondary, and Tertiary Shapes Big, Medium, Small 1st Read, 2nd Read, 3rd Read (as in, the 3rd time I read (looked at) this image I saw these shapes) Whatever the name, the idea is the same, if your image has a nice distribution of big (primary), medium (secondary) and small (tertiary) shapes, the resulting image will tend to be more pleasing to the eye. First, a definition. Secondary shapes are the smaller shapes that either sit ontop of, or help make up the primary shapes. Tertiary shapes are again smaller than the secondary shapes. Here's three 2D diagrams showing primary, secondary and tertiary shapes in a fake composition. First off, what should the size of these details be? So these could be primary, secondary and tertiary shapes.... But so can these... And these... Looking better.
CAE'S COLOUR TUTORIAL - everything is going to be daijobu
David Chelsea - Perspective for Comic Book Artists
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Thumb War - Design Iteration Combat Simulation
THUMB WAR : Design Iteration Combat Simulation by Paul Richards Updated 07/04/09 Ten-hut, fellow concept grunts! The following text is a condensed adaptation of some recent workshops I've spoken at on the theory/practice of thumbnailing, and is not a verbatim transcript. Oorah! If you've ever been in the military, you know advertisements only show half the picture. It's the glamorous half, the one depicting acts of extreme heroism, glossing over much of the arduous and mundane aspects of military life. In the military, you serve your country. War is hell, and so, in its own way, is design. In a perfect world, there would be no war. But this isn't a perfect world. Our abilities give us some control over the outcome, but like generals in their tents on the mountain, the client is calling the shots. We win wars by coming face to face with our enemies. Internal Uncertainty // The artist's lament of "I don't know where to begin!" External This is akin to marksmanship. Layout // Use the page!
Drawing Realistic Hair with Pencil Part One » OnlyPencil Drawing Tutorials
This will be an introduction on how i draw hair and the tools that i use. I will split this tutorial into sections because i want you to have time to practice and for you to understand the technique. In this tutorial i will explain how understanding hair and fur will help in developing realistic textures and hair. Like ive mentioned before drawing hair/fur is not about actually drawing each and every hair. Something else that you will notice is that hair is not all pointing in the same direction. So how do i draw hair. Negative Drawing is a big part of drawing hair and i recommend that you first understand what im talking about before going on. The tools that use are a pen with no ink and a pen with a needle inserted on the tip. Ok, you now have your pen and your needle, now were ready to test it out. Now take the pen and do the same but this time cross hatch them. Remember i mentioned that hair clumps up. Look at the image below and draw it using what i just showed you.
Building Harmonious Color »
Building Harmonious Color By Howard Lyon - Last updated: Monday, September 24, 2012 - 30 Comments “One more step, Mr. Hands,” said I, “and I’ll blow your brains out!” by N.C. I struggled early in my career with the application of color. The reality was that I had no clue how to put a palette together for a painting. I do feel I have come a long way in my understanding of color, but I also know that it is something that will provide a deep and satisfying challenge for the rest of my life. Cymon and Iphigenia by Lord Frederick Leighton Creating Harmony Let’s start with a color wheel. The color of the light in your scene limits the colors in the spectrum available for you to paint with. The image above is simulating a scene as if you placed a 50% red filter over your eyes, or as if your scene were lit with light the color of the circle in the middle of the color wheel. Look at how the red light has limited the colors. Below is a more extreme version, with the red light at 90%. – see fig. 2a
Gestalt
GESTALT The study of gestalt originated in Germany in the 1920s. It is a form of psychology that is interested in higher order cognitive processes relative to behaviorism. The aspects of gestalt theory that interests designers are related to gestalt's investigations of visual perception, principally the relationship between the parts and the whole of visual experience. The visual world is so complex that the mind has developed strategies for coping with the confusion. Most of what you will study about gestalt is concerned with how these groups are formed and what effect they have on perception. The same concepts that form groups can be reversed to ungroup items -- to make them look unique and stand alone. The trick is to strike a balance between unity and variety.
TOOLS I USE for Graphite Pencil Drawing ~ tips and techniques
Click any item for a full description of its uses and properties Clutch/drafting pencils or lead holders Stylus for indenting / incising Graphite leads for clutch pencils Progresso solid graphite pencil Wood-cased graphite pencil Stump and Tortillon for blending Soft art erasers in holders Soft art eraser Blu-Tack used as eraser Sharpener for clutch pencils Sharpener for wood-cased pencils and eraser cores Colour Shaper Brushes... Never brush eraser crumbs or dust off your drawing using your hand. Pencils... Almost since the day I started drawing in earnest, over 20 years ago, I have eschewed the use of conventional, cedar-cased pencils. These mechanical pencils (known to me as Clutch pencils but also known as Drafting pencils or Lead Holders) remain a known constant at all times. Progresso pencils Progresso pencils are solid sticks of graphite and very versatile tools. Wood-cased pencils Graphite leads... Staedtler 2mm diameter leads are available in tubes of 2 and packs of 12. Sharpeners...
