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Posted 14 years agoFacial expressions
Posted 14 years agoAmazingly good references:
http://lackadaisy.foxprints.com/exh.....?exhibitid=333
Draw from life. Draw from life and draw a lot. There is no way of getting around this.
http://lackadaisy.foxprints.com/exh.....?exhibitid=333
Draw from life. Draw from life and draw a lot. There is no way of getting around this.
I agree
Posted 14 years ago"Gesture is the single most important element in the drawing."
"The success of your drawing will be determined in first 30 seconds."
~Glenn Vilppu
I couldn't agree more.
"The success of your drawing will be determined in first 30 seconds."
~Glenn Vilppu
I couldn't agree more.
Words
Posted 15 years agoEvery word you use to explain the picture is an admission the picture doesn't work.
More from Revelations
Posted 17 years agoOther things I learned or Re-remembered at Revelations. I blends from one topic to another.
1. Each character should have a unique outline. They should be recognizable at a distance.
2. The necessity of inspiration - be brave in your creativity and rebel against social norms.
3. The secret to creativity... is knowing how to hide your sources. That is to say, base your "new" ideas off of real things that interest you but hide it in layers of metaphor or composition.
4. "Imagination is more important than knowledge" - Einstein
5. You see the world for yourself - Never let anyone tell you what you can or can't see.
6. The most valuable lessons in life are those that you probably don't want to hear... If you feel like something that someone tells you is wrong, look it up, you may be surprised (especially when getting critiques!)
7. What we see in the world is prepared FOR us. It's up to artists to lift the veil.
8. The work that you create should have less to do with specific technique and more to do with the final way you think it should be portrayed. If you think that a piece of artwork should look a certain way when it's finished, try to do it THAT WAY instead of relying on a specific style or technique.
9. "Your painting skills are fine... You just don't have any ideas." -Jack Goldstein
10. If you feel strongly about anything at all, you should use commentary and actually THINK about the things that you use in your images.
11. Base concept art off of a message - things that people don't usually see or think about.
12. Patterns of energy rule us and our bodies and our interactions and if shown in artwork they will convey meaning.
13. Allow your artwork to portray and explore your general outlook on life.
14. Paintings that evoke emotions in us the viewer are not done in a "style" - They represent the fundamental awakening within the artist that begins to see the world differently.
15. A character is expressed through a lot of little elements.
16. You should be able to dress a character many ways and still have them have the same mood and energy.
17. Design is far more important than detail
18. All the design should work towards the goals of the character - if it doesn't look right, then just fixing the little details won't change it.
19. Make sure you have all the technical aspects behind you. A client doesn't want to have to worry about whether his arm can actually bend that way; Once you're there, the only concern you'll have is the beliefs and motives of the character.
20. Every character should have a very distinct silhouette, and also should have different textures on them. ie. fabrics, metals and other materials should all be individual.
21. Characters' clothing should fold in a way that accentuates their personality.
22. Character creation
+Silhouette
+Building block of character design
+should make the character identifiable at first read.
+Interior shapes
+keep interior shapes iconic
+3/4 pose
+Solve with simple, graphic shapes and patterns
+Model Sheet
+Use the concept as a guide to make this
+Final Model should match silhouette
23. Use conflicting ideas to create interesting characters
24. EVERY MORNING WHEN YOU WAKE UP YOU ARE DESIGNING THE CHARACTER THAT YOU WILL BE THAT DAY. - Andrew Jones
25. Every character that has an original backstory, even if it sounds completely stupid, will be more individual.
26. Slow the HELL down when you start.... take your time, you're not on a deadline when you're sketching.
27. Do tons and tons of value scales, and take your time with these too. Make sure you know where each value you're using in your sketches falls.
28. Keep in mind that hair falls in soft clumps, not individual strands. Individually drawn hairs just look messy.
29. People often get caught up in drawing a specific feature instead of what said feature would actually look like - check with your friends and ask them what they see... If they don't see it correctly then look up reference and correct it.
30. "When your friends want to go out and go bowling or drinking, you have to be the guy that wants to stay home and draw. Make friends with the guys that want to stay home and draw." -Jason Manley.
31. To make a brush for hair:
+Open a new doc in PS
+Get a soft airbrush and set it on Dissolve
+Turn the opacity to about 10%
+Make a lite mark with the brush on the new doc
+edit> define brush preset
+Brush manager: spacing 1%
+Other dynamics: opacity - pen pressure flow - pen pressure
32. Check out cheetham's palette - http://americanartist.typepad.com/......e4_750x672.jpg
33. Define bone structure architecturally to set up proportions; don't concern yourself with the details. The skull shape is more important for likeness anyway.
34. The area between the eye sockets is "ground zero" and is the most important part of the face for defining likeness.
35. Likeness IS the architecture of the brow, cheekbones and jawline.
36. The initial drawing should be accurate but simple. Very few lines.
37. Begin by laying in your very darkest darks. Leave small areas of your canvas white to keep a full value range on your image.
38. Value in the portrait generally attempts to match the light side of the face.
39. The environment of the painting mixes into both the light and dark sides of the face.
40. Make sure you consider the eye as an orb; a beginner mistake is to go right for the almond shape without thinking three dimensionally.
41. Always try to simplify your value patterns.
42. Paintings will always without fail fall apart at some point; you have to have the perseverance to keep going.
43. The area within the triangle made from the pupils and the tip of the nose, and on the brow, define the likeness and readability.
44. Ghost your lines several times before making the stroke to make sure you have it right.
45. The iris part of the eye has a slightly raised edge.
46. Where the bone in your nose ends is the hardest-edged area of the face.
47. Every good portrait is something of a caricature.
48. You and the model are in constant movement so you have to try to capture their "soul" rather than exactly what they look like.
49. A lot of the difference in the color is temperature - make sure you evaluate value first. Sometimes, you think something is too light in your painting when really it's just too warm.
50. the color of a man's chin is much cooler than a woman's because of the subcutaneous hairs that grow into the beard.
51. Avoid anything "stuck on" to the figure. ie. tattoos, eyebrows, glasses... they'll trick you into making errors in your construction.
52. Remember that hair comes out of the skin - put the skin in first, and then put the hair coming out of it.
53. Eyebrows are rarely if ever black.
54. Black and white are both cool colors.
55. It's not that you shouldn't ever use black, but just consider your black thoroughly before you use it - it's a cool dark.
56. Almost create a full caricature at first; then the painting will tone it down to accuracy.
57. It's never a good idea to paint the shadow side and light side equally; control your emphasis. Also apply the rule of thirds to this... Emphasize 2/3 detail in the light side and 1/3 detail in the shadow side.
58. Mix oil painting mediums with linseed oil - this helps them mix with the paint since the vehicle is usually linseed anyway.
59. Limited Palette by Velasquez - Black, burnt sienna, indian red, yellow ochre, white.
60. Black+white = grey (blue, since black and white are cool colors)
61. Black+ochre=green
62. Value - Light to dark
63. Temperature - warm or cool, orange to blue
64. Saturation - Grey to chroma
65. Hue - What's the primary pigment?
66. Temperature is a means of describing any given hue in relation to its fellows.
67. You have to be able to identify problems with your work - the vocabulary of color allows you to communicate with others. Learning this vocabulary will also increase your own understanding, since you have a standard point of reference.
68. When you observe a painting, you can weigh the value scales in relation to each other (60% mid value, 20% each of light and dark)
69. Monochromatic - Very little, if any, color shift.
70. Digital value studies - practice making your own gradients to see how colors mix.
71. Depending on your lighting conditions, your light and shadow divide the value scale in different places. In other words, your contrast is defined by your darkest dark and your lightest light. All your darks fall within one range on the value scale, and all your lights fall within another.
72. When temperature of lighting is hard to discern, it's probably neutral.
73. The first thing you decide when doing a painting (besides composition) is the value of the lights and shadows. Then, decide the temperature of the light. Third, decide which value range (shadows, midtones, lights) will have the most saturation of color (2/3 rule also applies to saturation)
74. Typically, lights and darks are desaturated while the middle values are moreso.
75. Look for patterns of certain colors and color placement in good art and follow them.-
76. Decide on the properties of your light early, rather than on a per-case basis.
77. The darkest part of the light and the lightest part of the dark are very similar.
78. Decisions should be made individually for each light source.
79. Vance Kovacs - "Saturation is like the red pepper on your pizza..." Very little saturation is needed to create emphasis - use it sparingly to avoid overseasoning your image.
80. Colors should be mixed all about the painting for unity, but should build up in certain areas, crescendoing near the points of focus.
81. Reevaluate your paintings' saturation in relation to points of focus.
82. Focus comes from having a full range of contrast in an area (whether it's light and shade, focus/blur, warm/cool)
83. Take some time and analyze movie stills to see which colors create which moods in certain lighting conditions.
84. Atmospheric perspective is dynamic and not constructed in linear progressive steps. It can use saturation rather than value to show objects receding, and hue rather than contrast.
85. Change your color every stroke, just a tiny bit, to create dynamism in your color shapes.
86. If your light is one temperature and your shadow is the other, your lights and darks closest in temperature will still definitely belong to their individual scales of warm and cool.
87. There is a full range of color in every color area.
88. Basic color theory creates boring, "art school" images.
89. Understanding color theory and applying it as the image itself requires is what creates interest.
88. Add your most saturated colors last.
89. Whenever you mix colors, they desaturate.
90. Storyboarding BASICALLY just needs to tell the story.
91. Like other art, storyboards begin with the gesture, which equates to the basic story and scenes.
92. First think about the position of the viewer:
+Where does the viewer want to see from? High? eye level? low?
+then, think about what we are looking at; where is the subject of the shot?
93. Less nose room given to a character makes the viewer consider where they came from, whereas more nose room forces us to consider where they are going.
94. Looking up at a character is almost always optimistic.
95. Large black chunky shapes in the corners of the frames help the frames read individually when they're printed out on a white sheet of paper.
96. Often, a storyboard artist is told what sort of lens a scene will be shot with - this affects the images that will be created.
97.In any scene, the same level of exaggeration should be used for every shot in the scene.
98. "CHIN SALUTE"
99. http://en.wikipedia.org/wiki/180_degree_rule
100. The camera in a shot can move in one of two ways-
+pan (turning camera) or dolly (moving camera)
101. If the character in the scene moves, the movement arrow is inside the frame. If the camera moves, the arrow is positioned in a manner that relates to the frame.
102. Not getting finicky about detail allows you to tell the story.
103. Rhythm of shot angles and sizes depends on the mood of the story being told.
104. Gesture is the relationship of the body to space and the rest of the environment.
105. Gesture is the relationships of the connecting points of the body that create weight and rhythm.
106. A good way to find relationships of the form is to measure the "lowest points" or the points where the muscle comes closest to the bone. Then, no matter how accidentally bulgy anything becomes, you still have an accurate depiction of where the arm is.
107. A bend in the form can always be broken down into more gesture lines.
108. The hands are an extension of the gesture of the spine.
109. Shapes are thought about in terms of contrast - stretched/flexed, light/dark, etc. If one side is stretched, the other will be flexed and so on.
110. The top of the head to the bottom of the pelvis is about four heads. Half a head above that is the center of the body.
111. Make sure the weight and proportions are correct.
112. Add detail according to the gesture line.
113. Form and perspective describe three-dimensionality
114. In a standing pose, the head pushes forward. As a counterbalance, the chest pushes out.
115. Angles in the body tend to repeat themselves elsewhere in the pose.
116. A form is made solid by closing off the ends or by showing the connection to another form.
117. Whenever you have small contradictions in or on the form, have them conform to the larger idea and turning direction.
118. The eyebrow shows you the expression, and the shoulders are the eyebrow of the body.
119. When starting without an idea, compositing other images gives you a random, texturized start.
120. Start carving away at shapes on a small canvas - block in your large areas using colors picked up from the image with the eyedropper.
121. At the beginning, paint from a thumbnail size so you don't worry about the details.
122. Work from general to specific.
123. Start thinking about value early on, but don't let it hinder your ideation.
124. When the lighting begins to work in one area of your image, apply that same kind of lighting to the rest of the image.
125. Use a large, soft brush to brush light over the scene, then carve out of it with a hard eraser.
126. Develop foreground/midground/background early on using the direction of the light.
127. Color dodge adds color to your lighting, but overuse of this tool flattens the image and loses the spontaneity.
I have to go throw up now.
1. Each character should have a unique outline. They should be recognizable at a distance.
2. The necessity of inspiration - be brave in your creativity and rebel against social norms.
3. The secret to creativity... is knowing how to hide your sources. That is to say, base your "new" ideas off of real things that interest you but hide it in layers of metaphor or composition.
4. "Imagination is more important than knowledge" - Einstein
5. You see the world for yourself - Never let anyone tell you what you can or can't see.
6. The most valuable lessons in life are those that you probably don't want to hear... If you feel like something that someone tells you is wrong, look it up, you may be surprised (especially when getting critiques!)
7. What we see in the world is prepared FOR us. It's up to artists to lift the veil.
8. The work that you create should have less to do with specific technique and more to do with the final way you think it should be portrayed. If you think that a piece of artwork should look a certain way when it's finished, try to do it THAT WAY instead of relying on a specific style or technique.
9. "Your painting skills are fine... You just don't have any ideas." -Jack Goldstein
10. If you feel strongly about anything at all, you should use commentary and actually THINK about the things that you use in your images.
11. Base concept art off of a message - things that people don't usually see or think about.
12. Patterns of energy rule us and our bodies and our interactions and if shown in artwork they will convey meaning.
13. Allow your artwork to portray and explore your general outlook on life.
14. Paintings that evoke emotions in us the viewer are not done in a "style" - They represent the fundamental awakening within the artist that begins to see the world differently.
15. A character is expressed through a lot of little elements.
16. You should be able to dress a character many ways and still have them have the same mood and energy.
17. Design is far more important than detail
18. All the design should work towards the goals of the character - if it doesn't look right, then just fixing the little details won't change it.
19. Make sure you have all the technical aspects behind you. A client doesn't want to have to worry about whether his arm can actually bend that way; Once you're there, the only concern you'll have is the beliefs and motives of the character.
20. Every character should have a very distinct silhouette, and also should have different textures on them. ie. fabrics, metals and other materials should all be individual.
21. Characters' clothing should fold in a way that accentuates their personality.
22. Character creation
+Silhouette
+Building block of character design
+should make the character identifiable at first read.
+Interior shapes
+keep interior shapes iconic
+3/4 pose
+Solve with simple, graphic shapes and patterns
+Model Sheet
+Use the concept as a guide to make this
+Final Model should match silhouette
23. Use conflicting ideas to create interesting characters
24. EVERY MORNING WHEN YOU WAKE UP YOU ARE DESIGNING THE CHARACTER THAT YOU WILL BE THAT DAY. - Andrew Jones
25. Every character that has an original backstory, even if it sounds completely stupid, will be more individual.
26. Slow the HELL down when you start.... take your time, you're not on a deadline when you're sketching.
27. Do tons and tons of value scales, and take your time with these too. Make sure you know where each value you're using in your sketches falls.
28. Keep in mind that hair falls in soft clumps, not individual strands. Individually drawn hairs just look messy.
29. People often get caught up in drawing a specific feature instead of what said feature would actually look like - check with your friends and ask them what they see... If they don't see it correctly then look up reference and correct it.
30. "When your friends want to go out and go bowling or drinking, you have to be the guy that wants to stay home and draw. Make friends with the guys that want to stay home and draw." -Jason Manley.
31. To make a brush for hair:
+Open a new doc in PS
+Get a soft airbrush and set it on Dissolve
+Turn the opacity to about 10%
+Make a lite mark with the brush on the new doc
+edit> define brush preset
+Brush manager: spacing 1%
+Other dynamics: opacity - pen pressure flow - pen pressure
32. Check out cheetham's palette - http://americanartist.typepad.com/......e4_750x672.jpg
33. Define bone structure architecturally to set up proportions; don't concern yourself with the details. The skull shape is more important for likeness anyway.
34. The area between the eye sockets is "ground zero" and is the most important part of the face for defining likeness.
35. Likeness IS the architecture of the brow, cheekbones and jawline.
36. The initial drawing should be accurate but simple. Very few lines.
37. Begin by laying in your very darkest darks. Leave small areas of your canvas white to keep a full value range on your image.
38. Value in the portrait generally attempts to match the light side of the face.
39. The environment of the painting mixes into both the light and dark sides of the face.
40. Make sure you consider the eye as an orb; a beginner mistake is to go right for the almond shape without thinking three dimensionally.
41. Always try to simplify your value patterns.
42. Paintings will always without fail fall apart at some point; you have to have the perseverance to keep going.
43. The area within the triangle made from the pupils and the tip of the nose, and on the brow, define the likeness and readability.
44. Ghost your lines several times before making the stroke to make sure you have it right.
45. The iris part of the eye has a slightly raised edge.
46. Where the bone in your nose ends is the hardest-edged area of the face.
47. Every good portrait is something of a caricature.
48. You and the model are in constant movement so you have to try to capture their "soul" rather than exactly what they look like.
49. A lot of the difference in the color is temperature - make sure you evaluate value first. Sometimes, you think something is too light in your painting when really it's just too warm.
50. the color of a man's chin is much cooler than a woman's because of the subcutaneous hairs that grow into the beard.
51. Avoid anything "stuck on" to the figure. ie. tattoos, eyebrows, glasses... they'll trick you into making errors in your construction.
52. Remember that hair comes out of the skin - put the skin in first, and then put the hair coming out of it.
53. Eyebrows are rarely if ever black.
54. Black and white are both cool colors.
55. It's not that you shouldn't ever use black, but just consider your black thoroughly before you use it - it's a cool dark.
56. Almost create a full caricature at first; then the painting will tone it down to accuracy.
57. It's never a good idea to paint the shadow side and light side equally; control your emphasis. Also apply the rule of thirds to this... Emphasize 2/3 detail in the light side and 1/3 detail in the shadow side.
58. Mix oil painting mediums with linseed oil - this helps them mix with the paint since the vehicle is usually linseed anyway.
59. Limited Palette by Velasquez - Black, burnt sienna, indian red, yellow ochre, white.
60. Black+white = grey (blue, since black and white are cool colors)
61. Black+ochre=green
62. Value - Light to dark
63. Temperature - warm or cool, orange to blue
64. Saturation - Grey to chroma
65. Hue - What's the primary pigment?
66. Temperature is a means of describing any given hue in relation to its fellows.
67. You have to be able to identify problems with your work - the vocabulary of color allows you to communicate with others. Learning this vocabulary will also increase your own understanding, since you have a standard point of reference.
68. When you observe a painting, you can weigh the value scales in relation to each other (60% mid value, 20% each of light and dark)
69. Monochromatic - Very little, if any, color shift.
70. Digital value studies - practice making your own gradients to see how colors mix.
71. Depending on your lighting conditions, your light and shadow divide the value scale in different places. In other words, your contrast is defined by your darkest dark and your lightest light. All your darks fall within one range on the value scale, and all your lights fall within another.
72. When temperature of lighting is hard to discern, it's probably neutral.
73. The first thing you decide when doing a painting (besides composition) is the value of the lights and shadows. Then, decide the temperature of the light. Third, decide which value range (shadows, midtones, lights) will have the most saturation of color (2/3 rule also applies to saturation)
74. Typically, lights and darks are desaturated while the middle values are moreso.
75. Look for patterns of certain colors and color placement in good art and follow them.-
76. Decide on the properties of your light early, rather than on a per-case basis.
77. The darkest part of the light and the lightest part of the dark are very similar.
78. Decisions should be made individually for each light source.
79. Vance Kovacs - "Saturation is like the red pepper on your pizza..." Very little saturation is needed to create emphasis - use it sparingly to avoid overseasoning your image.
80. Colors should be mixed all about the painting for unity, but should build up in certain areas, crescendoing near the points of focus.
81. Reevaluate your paintings' saturation in relation to points of focus.
82. Focus comes from having a full range of contrast in an area (whether it's light and shade, focus/blur, warm/cool)
83. Take some time and analyze movie stills to see which colors create which moods in certain lighting conditions.
84. Atmospheric perspective is dynamic and not constructed in linear progressive steps. It can use saturation rather than value to show objects receding, and hue rather than contrast.
85. Change your color every stroke, just a tiny bit, to create dynamism in your color shapes.
86. If your light is one temperature and your shadow is the other, your lights and darks closest in temperature will still definitely belong to their individual scales of warm and cool.
87. There is a full range of color in every color area.
88. Basic color theory creates boring, "art school" images.
89. Understanding color theory and applying it as the image itself requires is what creates interest.
88. Add your most saturated colors last.
89. Whenever you mix colors, they desaturate.
90. Storyboarding BASICALLY just needs to tell the story.
91. Like other art, storyboards begin with the gesture, which equates to the basic story and scenes.
92. First think about the position of the viewer:
+Where does the viewer want to see from? High? eye level? low?
+then, think about what we are looking at; where is the subject of the shot?
93. Less nose room given to a character makes the viewer consider where they came from, whereas more nose room forces us to consider where they are going.
94. Looking up at a character is almost always optimistic.
95. Large black chunky shapes in the corners of the frames help the frames read individually when they're printed out on a white sheet of paper.
96. Often, a storyboard artist is told what sort of lens a scene will be shot with - this affects the images that will be created.
97.In any scene, the same level of exaggeration should be used for every shot in the scene.
98. "CHIN SALUTE"
99. http://en.wikipedia.org/wiki/180_degree_rule
100. The camera in a shot can move in one of two ways-
+pan (turning camera) or dolly (moving camera)
101. If the character in the scene moves, the movement arrow is inside the frame. If the camera moves, the arrow is positioned in a manner that relates to the frame.
102. Not getting finicky about detail allows you to tell the story.
103. Rhythm of shot angles and sizes depends on the mood of the story being told.
104. Gesture is the relationship of the body to space and the rest of the environment.
105. Gesture is the relationships of the connecting points of the body that create weight and rhythm.
106. A good way to find relationships of the form is to measure the "lowest points" or the points where the muscle comes closest to the bone. Then, no matter how accidentally bulgy anything becomes, you still have an accurate depiction of where the arm is.
107. A bend in the form can always be broken down into more gesture lines.
108. The hands are an extension of the gesture of the spine.
109. Shapes are thought about in terms of contrast - stretched/flexed, light/dark, etc. If one side is stretched, the other will be flexed and so on.
110. The top of the head to the bottom of the pelvis is about four heads. Half a head above that is the center of the body.
111. Make sure the weight and proportions are correct.
112. Add detail according to the gesture line.
113. Form and perspective describe three-dimensionality
114. In a standing pose, the head pushes forward. As a counterbalance, the chest pushes out.
115. Angles in the body tend to repeat themselves elsewhere in the pose.
116. A form is made solid by closing off the ends or by showing the connection to another form.
117. Whenever you have small contradictions in or on the form, have them conform to the larger idea and turning direction.
118. The eyebrow shows you the expression, and the shoulders are the eyebrow of the body.
119. When starting without an idea, compositing other images gives you a random, texturized start.
120. Start carving away at shapes on a small canvas - block in your large areas using colors picked up from the image with the eyedropper.
121. At the beginning, paint from a thumbnail size so you don't worry about the details.
122. Work from general to specific.
123. Start thinking about value early on, but don't let it hinder your ideation.
124. When the lighting begins to work in one area of your image, apply that same kind of lighting to the rest of the image.
125. Use a large, soft brush to brush light over the scene, then carve out of it with a hard eraser.
126. Develop foreground/midground/background early on using the direction of the light.
127. Color dodge adds color to your lighting, but overuse of this tool flattens the image and loses the spontaneity.
I have to go throw up now.
