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. 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: If you have translated it, or have seen a transated version, please let me know so I can link it here. Terminology (Upd. 2012) I'll try to stay away from complicated words. Hues
Human Anatomy for Artist - Ultra-high resolution human photo references – Human-Anatomy-for-Artist.com How can I make paint stick to my castings? | Mold Making and Casting Materials Rubber, Plastic, Lifecasting, and More You’ve made the perfect mold and have just poured Smooth-Cast liquid plastic into the mold to make a reproduction. The plastic cures, and you demold the piece to reveal a casting that looks exactly like the original. Your next step is to paint the casting for outdoor display, but when you try to apply the paint, it beads up on the casting surface and won’t stick. Urethane plastics can be hard to paint, and there are a number of variables that can affect the outcome. Using a release agent to release the casting from the mold, for example, makes painting a casting almost impossible. Removing release agent from the casting surface can be difficult and is another labor step. If you are using a urethane rubber mold and casting urethane resin, you must use a release agent to facilitate demold. There are a couple of ways to get the benefits of using a release agent and still have a casting ready for painting following demold. An air hose is used to blow any excess powder from the mold.
AUSTIN KLEON : BLOG Links to Anatomy Tutorials and Guides! by #Manga-Apps on deviantART NECA - National Entertainment Collectibles Association WetCanvas: Online Living for Artists MODELAGE - étude anatomique Artiste buste Anatomytools Je ne vais pas vous parler d’un artiste en particulier, qu’il soit un “écorché de la vie” ou en phase avec la société. Mon article porte sur le savoir que ceux-ci ont “bien voulu” léguer aux humbles “artistes débutants” que nous sommes. Dans votre quête aux informations, vous devrez faire la part des choses, l’autodidacte devra en permanence réfléchir à la pertinence des informations qui récoltera, celles-ci devront être analysées et comparées, vous ne prendrez rien “pour argent comptant”. Idem pour ceux qui suivent des cours sous la direction d’un artiste réputé (ou non), vous devrez aussi analyser, comparées toutes les connaissances qui vous seront transmise, en aucun cas vous ne devrez suivre aveuglement son enseignement. Artiste buste pour le modelage Écorché statue Anatomytools Les écorchés et autre reproduction du squelette humain existent depuis des siècles. Statue écorché Anatomytools Prochain article MODELAGE - étude des proportions A bientôt
Latex Mask Central LMC: Why did you become interested in making creatures? JS: I think that my first interest, or fascination, was the art of simulation. This fascination led me to be very curious and obsessed with practical jokes like fake dog crap, fake puke, fake rocks, etc.,etc. I had tons of this stuff as a kid—it was all I wanted to buy with my allowance. LMC: Did you create monsters as a kid? JS: Oh yeah. LMC: Did your parents work as artists? JS: Neither of my parents were particularly drawn to visual art, although they definitely had talent in a number of areas. LMC: What artists and monsters inspired you growing up? JS: The first movie I can remember that really scared the shit out of me was “The Brain That Wouldn’t Die”. LMC: What brought you out to L.A.? JS: I was running a mask company out of my basement in Philadelphia, and I took some of my masks to a convention in Albany, New York in 1989. LMC: Talk about Screaming Mad George--the man himself. LMC: Did you catch any big breaks? Page 2
MIGHTY ART DEMOS and TUTORIALS