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Itchy animation - quirky illustration and characters by Richard Yot

Itchy animation - quirky illustration and characters by Richard Yot
LIGHT - a detailed tutorial Throughout this article I will be using a diagram of a white ball on white card to demonstrate how light behaves in different everyday situations: Here it illustrates a sunny afternoon. The main source of light is the sun, whilst the blue sky supplies a second source of light with very different characteristics. Some light is also bouncing between the white base and the ball and supplies a third source of light. The brightest light is coming from the sun and is white light emanating from a small source, which causes it to cast sharp edged shadows. The light coming from the blue sky has a very strong colour cast which affects everything in this scene. Finally the light that is reflected between the card and the ball is also predominantly blue (even though the card and ball are white) since it is blue skylight that is being reflected by the white objects. Why is the terminator the darkest area on the ball? Why is the light from the sky blue? Light bounces High key Related:  ColourLighting/Color Theory

Digital Painting & Concept Art with Photoshop You must consider many things while painting: Layers, Exposure/Lighting, Shadows, Highlights, Surfaces, Materials, Textures, Translucency, Reflections, Composition, and Color Temperatures Article by Arne Niklas Jansson The onion (Thinking in layers) Before laying down a stroke, there's a number of things you need to think about. Feel volume and angle of the form. Note that this mainly goes for realistic styles. Light stuff There's really just one kind of light. Note that all surfaces have speculars, because speculars is just reflected light. Depending on where the eye/beholder is, it'll see different light and different specular spots on a curved surface such as this. Photo - Speculars do exist on cloth, diluted and subtle. Here on earth we have lots of stuff around us that the light can bounce off, so things here are more or less lit from all angles. When light hits a surface and bounces, it also change color. (Too orange to be some sort of skintone anyways.) Exposure Materials Shadows Hues

color theory Vision and color are at the heart of painting. Here is the most comprehensive discussion for artists of color perception, color psychology, "color theory" and color mixing available online, and one of the most comprehensive available anywhere in any format. modern color theory (concepts) talking about color • misconceptions in tradtional color theory • additive & subtractive color mixing • visual color relationships modern color theory (applications) material color relationships • talking about paints • many painters' palettes • principles of color contrast • color symbolism • summary learning color through paints three guiding principles • 27 color study topics tonal value the dominance of value • the value scale • hue, lightness and saturation • the artist's value wheel • grayscales & gamut mapping • painting values. the artist's value wheel (HTML • PDF) color temperature color wheels creating a color wheel • "primary" color wheel • secondary color wheel • tertiary color wheel • more is less?

Drawing1 I know you are all looking at this image and wondering, uh you lost it or something? I see no fancy colors, no stylized brushwork ugh argh why waste my time with this? Well, I think you’ll all be surprised in where this goes. The thought process behind all this is simply, simple form. The problem most everyone seems to have with painting the human head is they paint colors that they see them in a photograph, but they don't paint a guy, a 3-dimensional man. What I have done here is construct in 3D, the four basic shapes that make up just about anything the artist is going to draw or paint, the cone, sphere, cube and cylinder. If you look at all these objects in the photos, they are 3d objects photographed 2 dimensionally, i.e. a flat picture plane. Moving onto our shapes; the sphere, cone and cylinder are all rounded in form. The biggest problem most people have is that they don’t paint in light and dark. With our cube, we have defined planes, with no soft transition between them.

Explore more. Web pages, photos, and videos | Photoshop allows designers with unlimited possibilities when it comes to creative effects, including lighting effects. There are plenty of different ways to create lighting effects in Photoshop, and there are equally as many different possible uses for them. If you’re interested in learning more about how to create awesome lighting effects in your own work, here are 25 tutorials that can help. Looking for hosting? How to Pick the Right Color Palette for Your Designs Color is very important especially to designers. A design would certainly look dull without the element of colors. No doubt, colors are indeed very important. To help you with that, we will give you ten tips that can be your guide in creating your own color palettes. 1. Image: shutterstock This is the first thing you need to know so that the colors you will choose will be suitable for the project. 2. Image: shutterstock Before you start creating and choosing a palette, review the basics of colors. 3. Image: shutterstock When we say custom, you will do away with the usual, traditional schemes and make your own. 4. Image: shutterstock Even if we have mentioned to do away with the traditional color scheme, this does not include monochromatic. 5. Image: shutterstock Try colors that have the same chroma and saturation levels. 6. Image: shutterstock These three would add a different life to your color palette. 7. Image: shutterstock To have some balance, consider adding some neutral colors. 8. Ads

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

The Dimensions of Colour Figure 2.1. Glossy sphere (billiard ball) under a single direct light source, showing effects of specular and diffuse reflection. Photograph by David Briggs. Light is reflected from most surfaces by two simultaneous processes, known as specular (or surface) reflection and diffuse (or body) reflection. In specular reflection, light bounces according to the rule that the angle of incidence (measured against a line perpendicular to the surface) equals the angle of reflection. Figure 2.2. Many art instruction texts erroneously show the position of the highlight at the point directly facing the light source (Figure 2.3). Figure 2.3. The diffuse reflection consists of light that does not (macroscopically) obey the rule of angle of incidence equals angle of reflection, but instead is reflected equally in all directions. Subsurface scattering in some materials is extensive enough to cause visible subsurface light transport, resulting in macroscopic translucency.

The Unique Banana Spilt If you enjoy body art, you will probably like viewing this collection of hand paintings by Ray Massey. The image with pen and paper (within post) really tricked me! Photos © Ray Massey Link via Mighty Optical Illusions Coloring in PSD-Orange is what you are Photoshop is your friend. Certainly, you'll say, the camera doesn't see as we do, it alters colors, etc. That is besides the point. The color prejudices of the XIXth century have been substituted by the color prejudices of the more recent years. Note: on the picture I have also placed patches of maximum value at constant chroma and null-chroma patches.