Some more thoughts about thinking...about things This is the not-so-long-awaited follow-up post to the 12-step program [i had too many coffees]...I’ve been wandering around…going to faraway places, riding airplanes, avoiding the touch of strangers... Back in June I quit my job in Singapore and moved to San Francisco to study at the Safehouse Atelier, then realized how expensive San Francisco is...and went back to Maine while I did some job interviews and more freelance work, and then in February moved [back] to Shanghai…I need to stop moving so much. Every time I move, I’m telling myself this, and then I end up moving again and again and again. Layers breakdown~! At the end of it, I'm able to swap out the patterns and get a new 'final render' with minimal amount of work....the possibilities are endless here, can just keep messing around with layer settings and etc and doing mash-ups of different pattern combos and etc. And just to give you an idea of what it looks like at 100%
Guide du Digital Painting #7 : La Couleur Dans ce septième opus, nous développerons le thème de la couleur car bien savoir peindre la couleur et maîtriser certaines règles est primordial. [Article mis à jour en avril 2014] Pour information, les textes en bleus et certains schémas dans cet article sont tirés d’un tutoriel de Niklas Jansson, traduit par Herz3leid. Cet article fait partie d’un guide divisé en plusieurs articles dont le sommaire se trouve ici : Guide du Digital Painting : Sommaire Avant de lire la suite, si vous avez manqué le numéro précédent de ce guide, c’est par ici : Guide du Digital Painting #6 : Lumière, Radiosité… Maintenant que tout ce qui concerne la lumière et la reproduction des matières, voyons comment jouer avec les couleurs et faire passer nos digital paintings à la vitesse supérieure. La couleur Ce qu’il faut connaître absolument sur la couleur, et cela ne touche pas qu’au digital painting, comme souvent, c’est le modèle Teinte-Saturation-Luminosité (TSL) utilisé dans Photoshop (cf schéma ci-dessous). 1.
Ambient Occlusion Painting Tutorial, sorta Newest Update: I made a new video tutorial about How to Paint Ambient Occlusion for Digital Painting. You can download it here: Ambient Occlusion Tutorial It's affordable and very cheap! ;) Hey guys! Why Ambient Occlusion or AO painting? 1. I sketch it in photoshop. 2. So, I started with blocking the character with light grey color, and in that light grey, I painted the shadow. 3. Okay, here is the tricky part. Make your painting looks almost like a 3d sculpt in this process. 4. So, when you satisfied with your shadow and AO layers, you may proceed to the next level which is awesome. 5. Actually this process could be done before you start the shadowing. 6. As you see, the painting would looks flat, so you should add more color temperature on each of your colors. 7. Here is the final Image. 8. This method is fun and really technical. You can ask me anything about this tutorial, I'll gladly answer it :)
Matthew Scott Cinematography Blog NOTE: If you enjoy this breakdown, please also check out my newest edition for Inglourious Basterds HERE :) Can you imagine being a chef and going out for dinner to a new restaurant? Or a builder who's looking to buy a new home? What are they looking for in a meal? Or a house? I recently watched PRISONERS, written by Aaron Guzikowski, Directed by Denis Villeneuve and shot by the cinematographer I admire the most, Roger Deakins ASC (visit his amazing cinematography site). Not only was I completely glued to the screen and scrambling for clues to solve the case, but nearly every single scene had me looking with awe at the masterful cinematography and film-making craftsmanship that was before me on screen. So, below I've picked some of my favorite scenes from the film and have outlined things that I noticed and appreciated about the cinematography and other interesting elements. Please keep in mind that I had nothing to do with this film!
20 Questions-réponses fréquentes sur le Digital Painting Le digital painting ou « peinture numérique » continue son essor. De plus en plus de monde est attiré par cette discipline et aimerait devenir un adepte du stylet ou un pro du digital painting. Bien souvent, on me pose des questions à ce sujet et ce sont souvent les mêmes qui reviennent. J’ai pensé qu’il était temps de faire un article regroupant les questions fréquemment posées sur le digital painting. 1. Qu’est-ce que le digital painting ? La palme de la question la plus posée revient à celle-ci. Voici un bel exemple de digital painting : « Don’t be afraid, monsters » par MartaNael 2. Oui et non. En revanche il est très dur de devenir un véritable as du digital painting si on est débutant en dessin et/ou en peinture, même traditionnels. 3. Oui il faut savoir dessiner. 4. Non, on peut très bien progresser soi-même ou entre amis. 5. Oui une tablette graphique est absolument nécessaire. 6. Non, c’est même quelque chose que je déconseillerais. 7. 8. 9. 10. Bien sûr ! 11. 12. 13. 14. 15. 16.
Flooby Nooby: The Cinematography of "The Incredibles" Part 3 See Part 1 here, and Part 2 here.Continuing with my case study of the shot compositions from Pixar's film "The Incredibles". All images used here are ©Disney/Pixar (unless otherwise stated). Cinematography is the art of composing the scenes of the film so they can visually tell the story in a functional and creative way. The purpose of composition is to direct the viewer's eye to the central point or "story" in your scene. Regardless of the particular subject, composition of the frame is important. Over and over again, the Rule of Thirds, Perspective/Depth, Intersecting Lines, Negative Space, Leading Lines/Diagonal Lines, Triangular Composition, and Character Line of Action are all displayed through out the second half of the film - in ways that show visual balance, and the relationship / connection between objects and characters within the frame, while helping to emphasize the development of the characters, along with their performance and the progress of the story. Attraction Tricks
digital: Wield + Weld Hello, everyone! Firstly, as a self-plug, I'd like to thank Anjin Anhut for mentioning me in this article about concept art. Though most of my activity is on tumblr now, I'm taking my blog out of retirement to post what, for many of you, will be a remedial tutorial about form. While it might not be overly academic, it is an honest account of my structural thought process. WIELD + WELDwith Paul Richards What if constructive drawing could feel like wielding magic or weaponry, instead of some mathematical chore? In this talk, we'll temporarily set aside things like horizon lines and vanishing points, dealing only with our general sense of perspective. Mistakes will be made, but be forgiving! So, without further ado, let's begin with the first part : wielding! Trends in art come ago, but primitive geometry stays the same. Also, get to know the primitives in their inside-out states! Think of normals like thorns on a cactus, pointing in the direction of the planes they lie on.
Understanding Composition I once thought “I already know the rule of thirds, so I’m good.” But it wasn’t until reading countless books that I learned that it’s so much more. And once you’ve learned this you’ll never use Blender the same way again. I made this video because I don’t want you to make the same mistake I did – wasting 8 years of your life creating dull scenes that lack proper composition. Composition is one of the most things you can learn as a CG artist, and yet almost no one in the CG field is teaching it. Which is why I’ve made this video – because I truly believe it’s fundamental to becoming a better artist. In this video you’ll discover: Why a lack of composition knowledge can undermine your effortsThe 3 stages of a well composed imageThe most common mistake artists makeSimple rules to create more engaging artwork Text Summary coming soon! This video took a long while to research and put together, but I’m hoping it’ll be Want more videos like this?
pixelart_method_photoshop_Dan Fessler | Blog If you remember from last time; Index painting involves using "dirty" tools (tools which lay multiple colors at once) within a pre-defined indexed palette. Photoshop doesn't inherently allow for this behavior. If you index an image in Photoshop all of the "dirty" tools become locked or reduce their functionality to not be dirty. No more soft brushes, smudges, gradients, etc. The one way around this is to paint with dirty tools first, then index the image to either a generated palette or a pre-defined one (Kiwi has excellent tutorials on this method here). But with that method you never truly know what the end result is going to be until you index the image. HD Index Painting Why "HD?" You can download the PSD used to create the following gifs HERE So what can it do? Setup The first thing you'll want to do is make sure your eyedropper tool is set to sample "current and below." Second thing you'll want to do is make sure you have your dither patterns defined. Basic Layer Stack Examples: Cons:
Color Theory for Cinematographers - Outside Hollywood At this year’s San Antonio Film Academy, I gave two lectures on three Cs of cinematography, composition, contrast, and color. Color is often overlooked by beginning DPs, and it is an extremely powerful tool. I described color in cinematography as “the use of analogous or complimentary color tones to create contrasts between elements in the frame and communicate emotional ideas to the audience.” Not a great description, but good enough for starters. Color can be used to communicate information to audiences in all kinds of ways. For example, the storyline in Steven Soderbergh’s Traffic takes place in three different places, each of which is a very different color. Color can also communicate emotional information. It can be very helpful to depart from the expected if your film requires it. When we first see Scott’s Somalia it looks like this – dirty, grungy, and brown. By contrast, US soldiers live in high-tech steel barracks lit by cool halogen lights and laptop screens.
COMPOSITION The Ultimate Guide to Composition - Part One: Just Say "No"keh Note: This is Part One. For Part Two: Beyond the Basics, click here. Composition – it’s perhaps one of the most important elements of photography. And with today’s technological marvels in lenses, it’s an even easier thing to forget – especially when bokehliciousis is so much more fun to talk about. Obsession with bokeh is bad for your photography. Keep in mind that these compositional “rules” are really just “guides” and don’t need to be followed to exacting precision (or sometimes even at all). Center Composition Let’s begin with the most obvious type of composition – center composition. For truly great examples of center compositions, we refer to Wes Anderson. Center compositions can be broken down even farther than the overall objects and can use the position of things like facial features to actually indicate the next rule… Rule of Thirds Once we learn a thing or two about composition, we start to use this. Golden Triangles The Diagonals (Baroque and Sinister Diagonals)
Composition I arrived at the end of my search for the truth about the golden mean. But I had one last question. Is the "golden rectangle" really more attractive than other rectangles? The answer was not what I expected, and not what I wanted to hear. I had always accepted as an aesthetic axiom that the golden section rectangle (1.618 long by 1 wide) represented the ideal, even "divine" proportion. In the 1860s, a psychologist named Gustav Fechner conducted experiments to explore this question. The results showed that 76% of all choices focused on the three rectangles with ratios of 1.75:1, 1.62:1, and 1.50:1. That seemed to settle the question for decades. Unfortunately, Flechner's conclusion unraveled as later scientists tested the hypothesis more rigorously. So, it seems, no rectangle stands out from the others as "golden" or uniquely beautiful. The more I thought about it, the more it made sense. Perhaps there's a deeper aesthetic truth to be gleaned from all of this.