40+ Digital Painting Tutorials You Should Study
If you’re one of those designers who aspire to create digitally painted artwork like these, we think you’d learn more than a thing or two in this collection of tutorials. Read through them, study the variety of techniques they employ, and come out an accomplished digital painter in your own right! Painting Wavy Hair Learn how to paint wavy hair digitally. Get all sorts of helpful advice, from which brushes to use to what steps to take to make the hair shine. Spacecraft Prototyping This tutorial will show you how to make this prototype from start to finish. Advanced Tutorial: Creating Broken Link Learn how to create the highlights and shadows on this mutated version of Link, from the Legend of Zelda. Suberb Tutorial of Digital Painting President Obama Learn how to create a digital painting of President Obama using Photoshop and a graphic tablet. Equilibrium Learn how to paint a realistic female digitally starting from grayscale! Paint Realistic Looking Lips Making of Spanish Girl Spider Harp
Mixing Up Illustration: Combining Analog And Digital Techniques
Advertisement In the digital age, don’t forget to use your digits! Your hands are the original digital devices— Lynda Barry People often ask how I arrived at a finished illustration. Honestly, it’s different every time, but it always starts with a hand-drawn sketch. Sketching It Out Concepting for me always starts with pencil and paper. Researching This is the most underestimated part of the process, but one of the most important. Some artists who always inspire me are Mary Blair, Alice Provensen, Charley Harper, Maurice Noble and Eyvind Earle. Also, if I’m drawing an elephant’s skin, or wood on a camera, or a band on a helmet, I’ll want to take a close look at the real thing. Crafting Your Own Brushes I do this because I want my brushes to be my own. Some rough crosshatching for the elephant’s skin, with an oil pastel on drawing paper. Scanning It All In Scan everything: the initial sketch, the textures, anything you’ve made to this point. Here is a scan of my original sketch. (al)
3) The Block-In, Part One « Georgetown Atelier
Abrieviated steps of this tutorial (click to enlarge) To view a high resolution file of the finished drawing click Here. I like to approach any drawing or painting project in these simple terms: 1) Envision what you want to express and what is most critical to communicate. 2) Work towards that vision, and take advantage of any unexpected discoveries that further it. 3) Solve the problems that are compromising your vision. In constructing a figure drawing, depending on the pose I will use different variations of a technique commonly referred to as a ‘Block-In’. Learning to work from the ‘Broad to the Specific’ is a reoccurring theme and educational cornerstone of the curriculum I teach. The design structure of the block-in (left) translates into the rendered version (right) Take notice of how the block-in on the left is a simplified or ‘distilled’ version of the further developed image on the right. Some design themes highlighted (click to enlarge) 2 ten minute quick Block-Ins (click to enlarge)
Survival Guide for Art Students
I met with the editors of Dover Publishing a while ago. They publish a lot of classic books on art instruction from days of yore. I told them that most of what I know about drawing and painting comes from studying their books. They asked me for a list of the ten art instruction books that I thought were most useful, with a blurb about why I love each one. Bridgman's Life Drawing by George Bridgman Bridgman's legendary figure drawing demonstrations at the Art Students League of New York have inspired generations of artists, from Norman Rockwell to Frank Frazetta. John Vanderpoel, who studied in France at the Académie Julian, offers a classical approach to figure drawing, noteworthy for its timeless grace. Harold Speed's classic text bridges the often-difficult gap between drawing and painting. Speed's book on painting builds on his drawing book, offering painting instruction as it was practiced in the Royal Academy. Here's the list again in no particular order.
Why Beauty Matters | RCL Video
Art Why Beauty Matters <p>JavaScript required to play <a hreflang="en" type="video/mp4" href=" Why Beauty Matters</a>.</p> Philosopher Roger Scruton presents a provocative essay on the importance of beauty in the arts and in our lives. In the 20th century, Scruton argues, art, architecture and music turned their backs on beauty, making a cult of ugliness and leading us into a spiritual desert. Using the thoughts of philosophers from Plato to Kant, and by talking to artists Michael Craig-Martin and Alexander Stoddart, Scruton analyses where art went wrong and presents his own impassioned case for restoring beauty to its traditional position at the center of our civilization. (For low bandwidth connection) Why Beauty Matters <p>JavaScript required to play <a hreflang="en" type="video/mp4" href=" Beauty Matters</a>. Like this: Like Loading...
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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. This happens on a visceral, almost subconscious level. How do we train our eyes to see the world in value? To see these strategies in action, watch the video below or continue reading for the in-depth breakdown. Step 1: Ignore color information One way to see color as value is to simply ignore the color. Step 2: Look for Edges and Borders
