It’s tempting to use a photorealistic rendering of your 3d model on the background of a beautiful sunset as your base, but that’s a hindrance if you decide you want to change the lighting or color palette once you’ve added the characters and other elements of your painting. Especially when you’re new to integrating 3d and 2d art, you want to start simple so you can make most of your creative decisions during the painting process: An image that just gives you the object’s shape and lighting might be best.
Out of the ~16,000,000 colors a monitor can display, ~15,999,997 are formed by mixing others. Digital painting is like traditional in that way, except when dealing with pixels, which are pure light, the actual process is the total opposite.
Color is one of the most complicated and subjective topics in art. So I’m going to try to summarize it in the shortest terms possible. First off, I’ll skip covering the color wheel, the scheme types, and color symbolism here; this is just about the nuts and bolts of applying color to your drawings.
Drawing at a con is physically the same as doing a digital plein air painting, an art form that’s been taking off lately, and if you have a device that takes up a small enough amount of space (sadly, a Cintiq Pro 32” may not be the best choice), it won’t be any more obtrusive than a sketchbook. If your table’s packed to the brim, you can hold the device in your lap, prop it against the table edge, or invest in a tablet stand. If you have a camera tripod or a microphone stand, they also make attachments for those that hold a device at an optimal drawing angle.
The first video already contains one of my favorite quotes about studying art:
“Too frequently, students encounter the sheer difficulty of learning to draw while attempting something inappropriately advanced, and then prematurely decide that they simply can’t draw.”
This advice by itself might be worth the cost.
When Laurie was a ten-year-old anime fan, she dreamed up an alter ego. As kids do. When she grew up, she abandoned her. As teens do. She's eighteen now, with an isolated and troubled adolescence behind her. But when she goes to sleep, Princess Yume wakes up into a surreal world of nightmares. And she's not happy she was forgotten.
My first (and only planned) light novel. First written over the course of 2013, mostly rewritten and finally finished in February 2018. Currently illustrating it.
One of the biggest catch-22’s faced by new writers is that you can’t get gigs without a portfolio, but you can’t build a portfolio without gigs. This is similar to the “no jobs, no experience; no experience, no jobs” cycle faced by people starting a new career, but yours is much easier to break: Simply assign yourself a few topics relating to your chosen niche and write a few articles about them. Three to five 500-to 1000-word pieces will do. If you’re knowledgeable about the subject and have a few topics in mind, you can do it in a day or two.
Your first priority should be learning to think in 3D. When you look at a reference, think of it as a rotating 3-dimensional object, not what it looks like from that exact angle, in that exact lighting, taken with that exact lens. You should never let a reference photo dictate what you’ll draw. And the first key to that is learning how to break everything you draw down to five basic shapes: Cube, sphere, pyramid, cone, and cylinder. Everything else is just stretching and combining them.
Early this year, I moved a thousand miles and had to rebuild my bedroom studio from scratch, and a couple months later, my laptop bricked itself, forcing me to replace it and all its programs.
So I took that opportunity to tackle one of comics’ oldest questions: What are the cheapest supplies you need to make a good one?
Pretending you’re starting with an empty room, as I did, I’ll be covering as many types of art supplies as I can think of.
Months after its initial release, the Rift is still nowhere near the smash hit it was expected to be: early reviews have been mixed, with many complaining about uncomfortable headsets, an impractical interface, and a price tag that’s just too high. The video game industry, on the other hand, has already realized the future is in virtual reality: the focus of the last E3—the ultimate game developers’ convention—was on VR technologies and their uses.
In short, the Mozilla Foundation, the makers of Firefox and a global nonprofit that provides open-source software, is crowdsourcing ideas for their first major rebrand.
They insist the audience won’t be doing the whole thing. They’ll simply collect designs and invite comments before hiring professional designers to actually create it, though they’re open to the idea of directly pinching design elements from the community if they fit. “We have 30,000 volunteer contributors who contribute their time to Firefox and other Mozilla products, offering their service for the good of the Internet,” he says. “We’re hoping any designer who wants to contribute their own design ideas to Mozilla [will] look at it through the same lens.”
So, you’re a graphic designer. Or a web designer. Or a UX designer. And you’re wondering if you should bother learning to draw.
The answer, as any other article will tell you, is that you just need to know enough to be able to sketch out a design concept: there’s no need to learn more than that. That’s technically true, but I personally disagree with it. Here are the reasons I think you should be drawing, and as much as possible...
The goal was to symbolize Brazil’s famed vivaciousness, and to that end, they packed every aspect of it with symbolism, from its shape to its colors to the specific angles of its curves. According to the Olympics’ site, the key word is passion - for sports, victory, the country, and the games’ transformation of Rio from one of the world’s most infamously crime and inequality-plagued cities to a showpiece on the world’s stage. And it’s reception’s been overwhelmingly positive.
This is the golden age of the infographic, but the process behind them is still a mystery to the general public: where does the data come from? How do they come up with the ideas for all these stunning interactive ones? And what data should be made into an infographic in the first place?
Graphic design’s one of those fields everyone thinks they can do. …And a lot of them are right: there’s no universal standard for who should be allowed to practice design and what makes their work acceptable. That’s a good thing, in my opinion: it leaves it up to the designer and the client to come to an agreement on what works for them, with no formalities getting in the way. But it leaves us with another question: what makes a good designer?
In my opinion, it’s the ability to give and take criticism. “Not training?” You might ask. “Not even hard work?” Don’t get me wrong, those are crucial, but in isolation, what do they mean? There are people who go to school for graphic design, then never use what they learned. There are others who work for years but never improve, churning out the same quality work all their lives.
They say there’s a thin line between genius and insanity, but where is it?
It’s subjective, but in the ad industry, it’s defined by success: weirdness that doesn’t work is insanity, weirdness that does is genius. And when you come up with a stroke of genius, you give it the biggest canvas possible.
Cityscapes are fun to shoot. Since you can’t control the lighting or placement of the subjects, all you have to do is find a good vantage point and fire away. They’re also a good test of your eye when it comes to finding natural lighting and composition, and a really good way to hone your photography skills. Ever wondered how to start capturing city skyline shots?
The hallmarks we’re looking for are high contrast, usually with sharp borders between light and shadows, and a limited color palette, dominated by dark colors. In fact, there’s little functional difference between noir photography and plain old chiaroscuro photography. You could just say the first is a category of the second.
I believe it comes from emotion. Intense emotion. All-consuming, body-seizing, from-the-heart intense. The kind that drives you to share it with the world. But the specific type doesn’t matter.
More and more companies are engaging in rebranding campaigns. 20th century companies are beginning to hit their midlife crises, and as with people, that means lazy attempts to catch up with current trends. For a man, that might mean studying Urban Dictionary for too long and hitting up women his daughter’s age on OKCupid. But for a company, it means slapping on a flat-design logo and hiring that man to call their Twitter followers “bae.”
A t-shirt company is one of the fastest and least expensive types of merch business to set up. For many shirt makers, the designs are the hardest part: once you’ve got them, you can connect your store to a shirt printer or dropshipper in minutes. Entrepreneur Richard Lazazzera started a t-shirt business in 24 hours and on $24.
But it’s the bass guitar of e-commerce: starting’s easy, mastering it is deceptively hard. There are loads of options available, but that also means loads of bad ones. I’ll go over three of the most popular media, which you can either DIY or find a pro printer that specializes in.
Hand lettering can appear to be a daunting task, but when you break it down to the fundamentals, it’s simpler than it seems. So let’s talk about how to define it, what materials to use, and all the steps involved. By the end, you’ll be able to create unique lettering for anything from greeting cards to comics, invitations, or even banners for special occasions.
Kids, especially toddlers, don’t pose, can’t hide their true emotions for the camera, and resist any attempts to make them look or act like adults.
In other words, they radiate personality like no one else, making them some of the best subjects. But in order to capture them, you’ll need an entirely different approach than what you may be used to. So today, let’s go through some techniques…
A lot of what we know about this field can be traced back to John Flynn, a Penn State professor who wrote a lot about it in the ‘60s and ‘70s. He focused on architectural lighting, but it had significant implications for anyone who works with light: His work was based around the premise that as you change a room’s mood lighting from bright to dim, from uniform to non-uniform, from central to perimeter, and from warm to cool, peoples’ reactions to them visibly change as well.
The most important thing I’ve learned is that horror seems to follow an identifiable process. A lot of people have given us clues to this: Stephen King shed some light on it when he talked about the difference between a mere gross-out, the horrifying, and the truly terrifying. Someone else, I can’t remember who, said horror hits you in the brain, the heart, and the stomach all at once. Both of these are parts of the “formula,” but now I’m going to try to explain what I believe is the whole.
Our brain can’t compensate for small sections of a scene cast in a colored light, but it’s “very good at ignoring uniform changes in illumination.” He explains. “If you had an actually white and gold dress, and you took a small bluish transparency and laid it over one of the dress’s white stripes, this white stripe would look bluish. If you took a giant transparency and covered the entire dress, it would still look white and gold.”
...Lead singer Ben V storms out from backstage. Pardon the cliché, but the only word I can think of to describe his first impression is “ghoulish.” Coated in gray body paint like an undead Homestuck, he hunches over, claws his hands, and screeches through a harsh vocoder. When he gets close, I notice he has a mouthful of fake blood which dribbles down his chin throughout the set.
Once you've picked a color palette, you should make sure to consistently apply it to as many of your materials as possible. This starts with your logo and website, then continues down to your flyers, business cards, and merchandise. As you can see in the featured image at the top of this post, you might also want to consider coordinating your clothes for band photos.
Most photo and video tutorials about color casts are focused on how to remove them. Not this one! We're going the other way this time: how to embrace color. Tints, casts, and colorful subtexts are a powerful way to create emotional images.
Not every photoshoot is planned. Maybe you'll spot something interesting on your way home and want to stop for a few pictures. Maybe you'll come across a scenic place while travelling. Or maybe a friend will suddenly invite you to an event: parties, concerts, conventions, and art shows can all turn into great spontaneous photo opportunities if you're prepared. ... Having a well-stocked go-bag ready in advance will save you from heartache and makes photographing spontaneous situations much easier and more fun.