Some of the slides from my color shading/rendering lecture.
Some of the slides from my color shading/rendering lecture.
"The Virtual Lighting Studio lets you light interactively a portrait with multiple lights and see their combined effect. Choose between simple bare strobes, ring lights or softboxes to model the mood of your portraits and find out what lighting equipment you need. Use it freely as a learning tool for photography, painting, cinema or CG scene lighting… or just have fun and play with it!"
Working with a mannikin frame from Figure Drawing For All It’s Worth by Andrew Loomis
Phil Straub Composition Tutorial (go to the original page for much more information, pictures, and different types of composition)
The Golden Rule — “The golden rule can and usually is applied to a paintings canvas proportions. As you read through the following text you’ll notice that most of the imagery presented utilizes similar dimensions and almost all of them fall into the golden rectangle. Today you can find the Golden Rectangle almost everywhere: from credit cards to phone cards to book covers, all are shaped with its proportions.
The imagery below represents the division of space when the “golden rule” is applied to a blank canvas. Basically it is the division of a line in two sections, where the ratio between the smallest section and the largest section is identical to the ratio between the largest section and the entire length of the line. In other words A/B = B/(A+B). The ratio is about 1/1.618. Honestly, I’m still not exactly sure what that all means? but, I do know that I used this grid layout a-lot when I first started painting and found it helpful. I still do.”
Rule of Thirds— “From the golden rule came the “rule of thirds” which is virtually the same concept but slightly altered to fit photographic proportions. I find it a bit easier to follow since it’s very simple in its origin.Here we have a look at the rule of thirds in action.
Notice that the main focal point sits right almost directly over one of the “golden means.” Additionally, other objects are placed near the other converging lines (the bird, for example) but, not directly on them, since that would create competition for the focal point.”
Implied Forms (Circular) — “The Circle is made up of a continuous ‘Curve’ and it’s circular movement keeps the eye in the picture frame. There are many circles in nature and man made objects. You can use the circle in a very obvious way in your composition or simply suggest it.”
Implied Forms (Radii) — “Is a connection of ‘Lines’ meeting in the Center and an expansion of ‘Lines’ leaving the Center. The Radii is usually found in Nature Subjects. The best example of the man made Radii is the spokes of a wheel.
The eye has two ways to go when it comes upon the Radii. It can either be drawn in to the picture area or it can be led out of the picture area. You must be careful how you used the Radii and try to have the eye led into the picture.”
Cross composition — “A showing of ‘Opposing Force’ that will give the picture a feeling of Cohesion and Relationship. The horizontal bar of the Cross will act as a “stopper’ while the vertical pole can act as a leading line. The windows in a large skyscraper will form crosses and will keep your interest in the building.”
L Composition — “This makes an attractive ‘frame’. It can be used to accentuate important subjects. Many times it is a ‘frame’ within a ‘frame’.
A tree with an overhanging branch at the ‘right’ side of the picture area will form a ‘Rectangle’ and help frame the Main Subject in the picture. By doing this you will make the Center of Interest stand out and be noticed clearly.”
SOME EFFECTS and stuff i use to color quickly/ to make flat colors a little less boring cause people asked
ALL DONE IN PHOTOSHOP THERE are like amillion more but i can’t fit it in LIES ON M SIDE
Cause some people asked me how to do that 3D effect
OH that hoodie is reffed off that octopus hoodie that has been going around tumblr
Hope this wa s HELPFUL
Saying that people of color cannot show any visible blushing is a big fat myth that only proves how little people actually know about skin tones.
I have seen a lot of skin-tone palettes that includes dark skin, but it is very rarely put in use as examples. And many times I’ve found them to only appear monochrome, while darker skin tones are just as rich in tone variation as fair skin.
And just to be extra nice, I even added the basic colors I used in these two examples. A big protip is to start with the darkest tone as a base and then work to light tones. Use the highlights sparingly, they should not be large but more like small spots. Dark skin is more “reflective”, meaning small highlights pop out more than on lighter skin tones.
I made this set mainly for all the anime artists out there who probably would love to color more poc characters but don’t really know if it’d work out as kawaii as their usual stuff.
News flash: it’s drop-dead super kawaii in all skin tones<3
the problem i have with dark skintones isn’t variation, but contrast; the lines don’t show up as well, and sometimes this looks really wonky.
anyone have solutions for that other than ‘lighten everything until the lines show’ aka ‘batman’s costume is purple’?
I dunno what you mean with “batman’s costume is purple”, but this is basically how most artists tackle the problem when it comes to cartoon/anime characters with very dark skin or similar:
In many cases, it’s a little bit of a unwritten rule to not make certain features in a character design too dark or completely black, since that can basically hide important details such as a face.
Let’s take a look at a black jaguar as an example:
The reflected light makes it possible for us to see the features despite the jaguar having black fur. But if you wanna draw a cartoony black jaguar without losing all the details and lineart due to coloring the fur coat almost 100% black.
Now look at how the artist tackle the problem in walt disney’s “Jungle book”:
We know Bagheera has black fur. But when you think about it, he literally just got a slightly darker gray tone here in the actual movie - but we still get the message that Bagheera is a jaguar with a black fur coat.
This is a good example of “knowing the rules in order to break them" ;)
It’s easy to think that if you wanna make a character with one of the more darker skin tones, it means that you just take brown color and darkens it even more.
However, when it comes to the really REALLY darker kinds of skintones, it’s best to look at the actual color and not just the “darkness”.
When the skin is so “dark” due to the amount of pigments in the skin it can in many cases appear less saturated - making the skin appear more gray or even purple or blue in tone than just regular brown.
So instead of coloring your drawing like this:
it might be better to instead color like one of these:
Of course this is only about the “base color”, things such as shadows, highlights and tonal variation such as blushing can be added on top of the base tone to make it a bit more “rich”. :)
One example of this can be seen on the characters from the teaser trailer for the “Urbance" project:
Of course there’s so many other skintones out there that probably doesn’t follow by my example. my best advice is to do studies from photographs of people in the whole color skin tone spectrum!
I hope I could help out in one way or another!
Okay so I followed this video about foreshortening and…
Sycra. I love you so much for making this video.
YOU GOTTA BE FUCKING SHITTING ME
simple reference tools make a great amount of difference.
Stare at this while scrolling up and down the page.
The pages don’t come coloured, I borrowed my room mates book to scan in. I did some studies in paintchat awhile back hope to do more sometime.
Section One of Part Three! Some interesting approaches to wrinkles in clothing.
Holy shit, someone translated Hitokaku tutorials into English?! GIEF TO ME