Art/Construction/Costume References -currently under minor construction-
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tmirai:

Foam and Worbla armour MEGA TUTORIAL

Tutorial by AmenoKitarou

Super duper awesome and helpful! I am totally going to try this out for my Garrosh cosplay.

fileextension:

here ill post these together!! luv this water brush

nayrosartrefs:

Some awesome leg tutorials done by n3m0s1s.

The Relative Color and the Absolute Color

colours-theory:

Since the colors are never what they look like, It’s useful to understand the color in two ways : the RELATIVE color and the ABSOLUTE color.

The Relative color is the color as it is seen, according to the perception of the eye and the translation from the brain to the mind.
The Absolute color is the color as it is, in reality.

This is part of the colors relationship, and the contrast of the colors.

To be able to get the right relative color (meaning without any false notes), it’s crucial to know what its absolute color really is.
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For example, the absolute color of grey is very often the relative complementary color of its surrounding color.
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Depending of the kind of picture and depending of your color’s intentions (that is off special effect or narrative effect),
using an absolute complementary (that is, for the previous e.g, a true blue) in direct contact to its surrounding colors may easily create
a so much strong contrast that the mind will perceive it as a false note, then causing a global unbalance on all other colors in the image.

E.g, here is the page 05 from “Detectives” vol.02 (Hanna/Sure/Lou, ©Delcourt editions)
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The “grey” panels 05 and 09 have a cold vibration, almost blue, because they are in a direct relationship within a yellow hot tan.
This two panels, in minority, are also secondary in the narration of the page.


Using a true absolute blue would reverse this narrative order because the color contrast would became so much strong that they would became the primary focal point of the page.
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Let us look a little closer at the 3rd strip.
The mind read the left panel as cold, in a subtle blue. The shirts are read as white, and the bottles of champagne as greenish…
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…but by isolating the absolute colors, in comparison with a Titanium white, none of this previously mentioned relatives colors exist in this picture.
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…And if they were, the balance of the colors would be broken, and the falses notes would be made.
Notice how the eye now read differently the picture, it can’t stop looking at those white shirts and then those bottles.
It almost forget to look at the balloons and the characters. ( i’ll talk about the narration through the contrast of colors later, in another post)
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It is the same for the values.
A relative value defines itself compared with its surrounding values.
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Let’s look back at our 3rd strip.
Watch the contrast between the shirts, and the light jacket in the front, how they seem to be so much lighter in comparison with the other clothes.
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When in reality, if we compare them to each other, the difference became a lot more subtle than it seemed to be.
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This is a side effect of the relative color.
The mind analyzes et translates a color based on its database stocked in its memory, trying to identify the color in the most simple and efficient way possible.
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The shirt itself is light indeed, and white. But it’s simply its “name”. Its “classification”, its “identity” (see the flat step of my quick step by step).
What we’ll ask in a store.

In reality, this shirt is not white, and not much lighter than the light face of the grey jacket or the blue shirt.
But for our mind, white means light. Lighter than everything.
However, a white shirt in shadow is often darker than a back shirt in the light, whatever the mind is saying.

So, compare, isolate, compare, isolate, compare, always.


You can change your “mind database” with some practice.
By using a paper sheet with holes to isolate outside colors. ( grey paper is best)
Or by opening some pictures in a software and use the color-picker to learn what is going on with the color relationship.
Testing yourself to find out the absolute color of your surrounding whenever you can.

Then, colorisation will become much easier, and like a musician able to reproduce a song he heard a the first try,
you’ll develop the Golden eye.

storyshots:

Drawing from films

Drawing from films is a ridiculously useful exercise. It’s not enough to watch films; it’s not enough to look at someone else’s drawings from films. If you want to be in story, there’s no excuse for not doing this.

The way this works: you draw tons of tiny little panels, tiny enough that you won’t be tempted to fuss about drawing details. You put on a movie - I recommend Raiders, E.T., or Jaws… but honestly if there’s some other movie you love enough to freeze frame the shit out of, do what works for you. It’s good to do this with a movie you already know by heart.

Hit play. Every time there’s a cut, you hit pause, draw the frame, and hit play til it cuts again. If there’s a pan or camera move, draw the first and last frames.

Note on movies: Spielberg is great for this because he’s both evocative and efficient. Michael Bay is good at what he does, but part of what he does is cut so often that you will be sorry you picked his movie to draw from. Haneke is magnificent at what he does, but cuts so little that you will wind up with three drawings of a chair. Peter Jackson… he’s great, but not efficient. If you love a Spielberg movie enough to spend a month with it, do yourself a favor and use Spielberg.

What to look for:

  • Foreground, middle ground, background: where is the character? What is the point of the shot? What is it showing? What’s being used as a framing device? How does that help tie this shot into the geography of the scene? Is the background flat, or a location that lends itself to depth?
  • Composition: How is the frame divided? What takes up most of the space? How are the angles and lines in the shot leading your eye?
  • Reusing setups, economy: Does the film keep coming back to the same shot? The way liveaction works, that means they set up the camera and filmed one long take from that angle. Sometimes this includes a camera move, recomposing one long take into what look like separate shots. If you pay attention, you can catch them.
  • Camera position, angle, height: Is the camera fixed at shoulder height? Eye height? Sitting on the floor? Angled up? Down? Is it shooting straight on towards a wall, or at an angle? Does it favor the floor or the ceiling?
  • Lenses: wide-angle lens or long lens? Basic rule of thumb: If the character is large in frame and you can still see plenty of their surroundings, the lens is wide and the character is very close to camera. If the character’s surroundings seem to dwarf them, the lens is long (zoomed in).
  • Lighting: Notice it, but don’t draw it. What in the scene is lit? How is this directing your eye? How many lights? Do they make sense in the scene, or do they just FEEL right?

This seems like a lot to keep in mind, and honestly, don’t worry about any of that. Draw 100 thumbnails at a time, pat yourself on the back, and you will start to notice these things as you go.


Don’t worry about the drawings, either. You can see from my drawings that these aren’t for show. They’re notes to yourself. They’re strictly for learning. 

Now get out there and do a set! Tweet me at @lawnrocket and I’ll give you extra backpats for actually following through on it. Just be aware - your friends will look at you super weird when you start going off about how that one shot in Raiders was a pickup - it HAD to be - because it doesn’t make sense except for to string these other two shots together…

vythefirst:

ON BEHALF OF MY FRIEND I’M GETTING REALLY ANGRY THAT MISINFORMATION IS BEING SPREAD ABOUT PRINTING AND IT’S RUINING HER PRINTS AND FILES AND DKSJFKLSDJFKS

OK HERE’S THE RUNDOWN

1. SAVE YOUR FILES AS PNG OR PDF.

Do NOT use JPEG FOR THE LIFE OF YOU DON’T DO IT because…

harteus:

super quick nose painting tutorial + a million examples, because i can’t get enough of these darn noses. i wanna stroke them forever.

curryuku:

tortle:

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Please!
What are you paying for? If it’s for an item that is physically being shipped to you, then by all means continue!
But if it is for digital art, please reconsider!

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This means that paypal is expecting me to ship a physical item to you!
And the more times that I receive money for goods, and do not ship through them, the more it counts against me.
Too many and paypal can elect to hold my funds for thirty days every time I receive them, until it reevaluates my account.
Which means while the customer has their deserved art, I do not technically have money yet.

So PLEASE always send payment for digital art via SERVICES and not GOODS!

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(you can get a refund if need be just as easily by selecting services as you can goods!)

Please read this!

artrubzow:

If you cant attend life drawing sessions. This is the best thing for you

Let me show you something I recently found : Croquis Cafe!

You get to see models of different colors and shapes in a life drawing setting. They move and breath while posing (breathing like in real life :O) ambient music is playing in the background and you have 1, 2  and 5 minute sessions. I find it very helpful , you should try it.

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