Friday, May 10, 2013
Friday, May 3, 2013
Selfy
Values are relative. Don't try to measure values when you're trying to sculpt form. After you rough in your planes, just control and refine gradients until it looks correct.
The more a plane faces the light, the less value change you need to "bend" it.
Probably gonna get some animal skulls to still life it up.
Ugh.. could not get that cheek/forehead to look right for the life of me. I'm so sorry.
The more a plane faces the light, the less value change you need to "bend" it.
Probably gonna get some animal skulls to still life it up.
Ugh.. could not get that cheek/forehead to look right for the life of me. I'm so sorry.
Tuesday, April 30, 2013
More More More...
So I was doing these today:
And then holy shit, I just realized I was doing everything wrong. I was focusing more on the drawing rather than the planes and form, which is actually what i'm trying to learn.
Here's how you do it:
Identify plane most important planes---> Put the right flat value on them ---> smear it into other planes
And then:
Learning!
And then holy shit, I just realized I was doing everything wrong. I was focusing more on the drawing rather than the planes and form, which is actually what i'm trying to learn.
Here's how you do it:
Identify plane most important planes---> Put the right flat value on them ---> smear it into other planes
And then:
Monday, April 29, 2013
Gnomon Live Will Change Your Life
It's over. I've had enough procrastination and complacency. It's time to get better. Talking with and listening to the dudes at the Gnomon Live Workshop this weekend finally put my head in the right place. After so many months.
Came to work last night and did these. Working on form and facial struture:
Came to work last night and did these. Working on form and facial struture:
Sunday, December 9, 2012
Tuesday, October 9, 2012
Kooki Kotaku
These are the notes I took from Kekai's demo at the Gnomon Live Workshop. I recommend all the people to go next year, I learned a lot. I'm trying to translate them into normal speak the best that I can, so I apologize if they're hard to understand.
*disclaimer: He didn't say most of this, it's just a summary of my personal revelations.
It's all about values.
Start with big brushes, and put most of your brush strokes in areas of focus. You don't need that much anywhere else.
Smudge shit together.
It's all about finding cool shapes. Have your own library of details and designs that you can pull out on any piece to add that little bit of coolness.
Minimal colour. Add it later.
When in doubt, do a portfolio piece. Don't explore at work.
Always be aware of your strokes. There's a lot that goes into every stroke.
Turn on scatter for your smudge tool in the brush presets.
Transform ->Warp gradients
To add dynamism, draw your figures like athletes. They're in the middle of action and always off balance.
Learn how to draw horses, and riders.
Be a curious human and act on your curiosity.
Develop your shapes by building up your brush strokes. Choose what to exaggerate and what to play down. Keep in mind the flows and ratios. Choose your implied lines and commit to them. In the end, it's all about making cool shapes.
Getting faster is about skipping steps and doing several different things with as few brushstrokes as possible. Decide what the important shit is, and "merge down" your process.
Modify your overlay or colour layers with colour balance. Easier than doing gradient maps.
Pure black adds more punch and contrast. Makes your illustrations more impressive from afar.
In brush presets, check the texture box, but make sure your texture is in "subtract" mode.
Filter - Polar coordinates. Makes shit round.
When you know an idea is good, but nobody else can see what's good about it, draw it again. If they still can't see it, draw it until they do. You will probably come up with your best ideas that way.
When your eye flows around the image, it should be like Morse code: _._._._. (dots are details and underscores are areas of rest)
Concentrate your effort on the focal points only. You actually don't need to render everything else.
Build up the design of your focal points organically, the same way you do values, colour balance, detail spread etc. Your design should get more refined as it approaches areas of focus, and more loose as it moves away from them.
HOPE THIS HELPS!
*disclaimer: He didn't say most of this, it's just a summary of my personal revelations.
It's all about values.
Start with big brushes, and put most of your brush strokes in areas of focus. You don't need that much anywhere else.
Smudge shit together.
It's all about finding cool shapes. Have your own library of details and designs that you can pull out on any piece to add that little bit of coolness.
Minimal colour. Add it later.
When in doubt, do a portfolio piece. Don't explore at work.
Always be aware of your strokes. There's a lot that goes into every stroke.
Turn on scatter for your smudge tool in the brush presets.
Transform ->Warp gradients
To add dynamism, draw your figures like athletes. They're in the middle of action and always off balance.
Learn how to draw horses, and riders.
Be a curious human and act on your curiosity.
Develop your shapes by building up your brush strokes. Choose what to exaggerate and what to play down. Keep in mind the flows and ratios. Choose your implied lines and commit to them. In the end, it's all about making cool shapes.
Getting faster is about skipping steps and doing several different things with as few brushstrokes as possible. Decide what the important shit is, and "merge down" your process.
Modify your overlay or colour layers with colour balance. Easier than doing gradient maps.
Pure black adds more punch and contrast. Makes your illustrations more impressive from afar.
In brush presets, check the texture box, but make sure your texture is in "subtract" mode.
Filter - Polar coordinates. Makes shit round.
When you know an idea is good, but nobody else can see what's good about it, draw it again. If they still can't see it, draw it until they do. You will probably come up with your best ideas that way.
When your eye flows around the image, it should be like Morse code: _._._._. (dots are details and underscores are areas of rest)
Concentrate your effort on the focal points only. You actually don't need to render everything else.
Build up the design of your focal points organically, the same way you do values, colour balance, detail spread etc. Your design should get more refined as it approaches areas of focus, and more loose as it moves away from them.
HOPE THIS HELPS!
Sunday, September 30, 2012
Holding Simple Ideas in Concert
First day of Gnomon Live Workshop complete. Probably some of the best tips and knowledge I've ever gotten. This was inspired by Laurel Austin's demo today. Man, that girl knows form. Hopefully someday I will too.
It's kind of funny how artists have to rely on clients for sustenance, even though the clients' goal clashes with the ultimate goal of any artist. The client wants you for a job, he/she wants you to adapt and more or less forsake your sensibilities in exchange for money. A lot of people think they've made it once they get paid for their skills, but that's actually where the real struggle begins. You must work twice as hard in order to fight away any kind of bland or boring from your day job with your personal work. Then, as you ascend in your career and personal development simultaneously, the client's grip will loosen and you will finally get to get paid to do what you want.
(Disclaimer: I'm speaking broadly. It's not about me or anyone in particular.)
It's kind of funny how artists have to rely on clients for sustenance, even though the clients' goal clashes with the ultimate goal of any artist. The client wants you for a job, he/she wants you to adapt and more or less forsake your sensibilities in exchange for money. A lot of people think they've made it once they get paid for their skills, but that's actually where the real struggle begins. You must work twice as hard in order to fight away any kind of bland or boring from your day job with your personal work. Then, as you ascend in your career and personal development simultaneously, the client's grip will loosen and you will finally get to get paid to do what you want.
(Disclaimer: I'm speaking broadly. It's not about me or anyone in particular.)
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