Chapter 1: The Right Tools Bad news: you don't draw a single pixel in this chapter! (And this isn't a reason to skip it, right?) If there's one saying I can't stand, it's that "there are no bad tools, only bad workers. itchy animation - quirky illustration and characters by Richard Yot Part 4: Artificial and indoor lighting Light indoors has a very different character to that found outside, mostly down to the lack of direct sunlight found indoors. With human beings in control of the light source there is an added twist in that the light is often designed for a specific purpose.
Getting Started in Digital Art « Concept Cookie Hello and welcome to the Concept Cookie Getting Started in Digital Art Series! It’s finally here! The Getting Started in Digital Art has arrived and is ready for the viewing. In this course, Tim Von Rueden takes a look at the first steps to begin understanding digital art! The entire course is less than a hour long and is a crash course for becoming more familiar with the basics of digital art from the technical side of setting up, installing, and locating options, to more artsy perspectives on lighting, color, and material basics. 5 ways to beat procrastination We've all been there. You've got a project that you really need to get started on, but you're just not feeling it and instead you find yourself browsing a bunch of free ebooks or deciding that now's the time to try out some desk exercises. It's amazing how much time you can kill when you ought to be getting on with something important; learn how to break the procrastination habit with these top tips. 01.
THE ART CENTER / Sharing Ideas And Tips From Artist To Artist Someone asked a question about the process of painting a character, so I'll take a stab at that one. There are many processes that each have their strengths, but for the sake of learning this is what I'd suggest. This process is based around the way 3d rendering programs work, using separate passes and combining them together for the final effect.
Watercolor Sketches And A video Tutorial Using Sketchbook Pro 6 I read once that an artist kept a folder of photos in his studio. In the morning he would just put his hand in the envelope and whatever photo he pulled out would be what he used for his warm up that morning. I liked this idea and I have tons of photos that I have taken using my digital camera. When I paint outdoors I would usually take a few pictures so that I could have reference to finish the painting at home if I wanted to.
Build a Trustworthy Design Process — The Year of the Looking Glass About four years ago, the arrival of three new grads from the University of Washington—Drew Hamlin, Francis Luu, and Joey Flynn—changed the DNA of the Facebook design team forever. It wasn’t the fact that they brought flavors of sitcom life into the office (though they did all work and live together in an apartment called Cloud City) or that they were heavyweights in the boxing ring of design (as talented as they were), or even that they were really really ridiculously good…er at puns (Drew today: “honor roll” to describe something that was, well, on a roll). No, what the Seattle boys brought to the team was the rigor of design critique, deeply instilled after four years in the visual design program. And what I learned from them is that if you place your trust in a good process, then the end result will probably be pretty good. It’s that simple. Oh, there are caveats, to be sure.
THE ART CENTER / Sharing Ideas And Tips From Artist To Artist I know a lot of people who like to paint their values first in black and white and then apply color to their values. I've never found an ideal way of doing this, but I've learned a couple tips that help it work out a little better. First off, I don't let any of the values get too dark, except where I want things to drop completely into shadow (ie. black) In this case, I lightened the "grayscale" image before applying any color to it. You can see the original values I painted on my blog.
The hand The hands are a notorious source of frustration. This section won't concentrate on the muscle structure, since the hand is very complex in this regard, and knowing this won't help much in drawing them. Instead, we'll look at proportions, range of motion, and possible simplifications. Structure and proportions Figure 2.20. Bone structure and proportions of the hand Learn Japanese, learn katakana and the o-koto Welcome to Genki Japan.net. Learn Japanese, in a fun, genki way. Japanese is a cool language to learn, and I'll show you how to make it easy! Some Basics... Maya Downloads This is an animation tool I wrote for Maya that provides a different approach to ghosting/onion-skinning in 3D. I was watching a recording of a live lecture with Jason Ryan (Dreamworks/iAnimate) when a student asked him if he used ghosting when animating in 3D. He mentioned a couple of reasons why he usually doesn't, even though he uses the lightbox feature all the time when animating in 2D. I realised I feel the same way about any 3D ghosting solutions I've tried.