1. eyecager:

    Shape is one of those words that sound really weird when you say it over and over again.

    Welcome to your new curse.

     
  2.  
  3. atelier-sento:

    Hello! Your post a few weeks ago about the materials you’re currently using was lovely. I enjoy seeing how artists I admire create their works. I was wondering what journal you use to do your watercolor sketches. Is it also the Canson, C à grain? The one in the picture looks like a good, sturdy paper that took the washes well. Keep up the great work!

    Many thanks for your kind words!
    We love sketchbooks at the Atelier Sentô. Here are the ones we are using those days.

    From top to bottom:

    1- Sketchbook D&S, by Hahnemühle
    The paper (140g) is strong enough for watercolor sketches.
    This is the one you were asking about and you can learn more about it right here!

    2- The same in red and in a different size.

    3- A beautiful handmade sketchbook, by Elam
    Soft cover handbound of acid free laid Fabriano paper, 180g/m². Colour: cream. Middle-age cut.
    This one is wonderful for wash drawing and watercolors. The paper is perfect! You can learn more about it right here.

    4- A small sketchbook, by Ars Nova (120g)
    Cecile uses it for colored pencils drawings.

    5- A sketchbook from Italy, by Il Papiro
    It has a beautiful thin paper and we uses it to sketch ideas with a ball-point pen. You can learn more about it right here.

     
  4.  
  5. wannabeanimator:

    Digital Painting - The Danger of Painting Silhouettes (And Speed-Painting)

    (via faluliai)

     
     
  6.  
  7. lucyknisley:

    iamthetrainedcormorant:

    fiberistanora:

    The end of June marks a full six months of sky swatching in 2013! Once a day, every day, each month bearing a different theme. Last month’s theme was Other People Swatching: I provided the swatches, allowed the participant to find the match, and then directed them for the photograph. It allowed me to get a new sense of distance from the project while also forcing me to talk about it- from a general explanation to more detailed guidance for finding a good color match. As an extension of this, I’m looking for anyone who might be interested in taking a sky swatch for me during the month of July. (Yes, I know I’m cutting this a little late! Woops! But I’ve got the first week covered so, you know, buffer.) 

    I have no idea what you’re talking about.

    To put it artistcally, the body of work investigates our relationship with the sky, explores the distinctions between perception and reality, and investigates the importance of emotional response versus scientific analysis. You can see all of the photos from the whole year at my flickr or by searching “blue is the sky” in my tags where you can also find some bits of writing from along the way.

    What would taking a swatch entail?

    Use a set of Behr house paint swatches find the color of the sky at any given point and take a picture of the match. The time of day, location, direction and composition of the photograph would be up to the swatcher.

    Do I have to be local to be a swatcher?

    Heck no! I would LOVELOVELOVE to get some matches/photographs from as many places as possible!! 

    How on earth do I get enough paint swatches?

    Well, I got mine for free from a local Home Depot by just walking in and then taking one of every card with a blue color on it. (When I started swatching at dawn/dusk/night, I went back and added more colors.) As a swatcher, you could either provide your own swatch kit (seriously- they’re kind of fun to take/make and paint swatches come in handy surprisingly often) or I could send you one via the mail. We could work this out on a swatcher-by-swatcher basis.

    Do I have to provide my own camera?

    Yes! But I have done almost all of my photos with my iphone. If you’d like to use a nice, fancy camera that would, of course, be totes awesome.

    Will I have a specific day that I am scheduled to take my swatch?

    Yes! Once I have an idea of who is going to be participating, you and I can work out when would be best for you to swatch. We would probably also touch base on that day and, of course, afterwards so that I can get your photograph and add it to the project.

    If any of this sounds interesting to you I would love it if you got in touch!! Send me a tumblr ask! Still have questions? Also send me a tumblr ask!! 

    I’m having so much fun with this you, guys. Please think about participating!

     

    Come ooonnnnn you know you want to! 

    I am doing the HECK outta this! 

    Even though Nora’s already let me do a couple. This is a really beautiful, fun project, and I love that she’s making it participatory this month! Join in— swatch the world!

     
  8. blackparadox:

    InAisce x Taiana Collaboration 

    [muse: DINARA CHETYROVA]
    [outer: felted merino wool collab: TAIANA]
    [inner: silver-dusted cotton/ramie/washi paper]
    [hat: reverse resin-sprayed lamb]
    [skirt: waxed cotton]
    [boots: reverse horse ongoing collab: LAYER-0]

    InAisce

    (via faluliai)

     
  9. artofjasonkang:

    Digital landscape paintings I did on location and finished up at home :) Left to right: Eaton Canyon, Matador Beach, Joshua Tree, JPL hiking trail and Vasquez Rocks

     
  10. artmastered:

    Pagaruyung Palace, Sumatra, 1976

    This photo of Pagaruyung Palace is of the 1976-built replica of the original palace, which was burned down by the Dutch in 1805. This new version was sadly destroyed in a lightning strike in 2007. I have found lots of online articles asking for the palace to be rebuilt once again, but I cannot seem to find out if the project was funded! Does anyone know if Pagaruyung was rebuilt?

    This very distinctive style of architecture is known as the Rumah Gadang style of the Minangkabau people. The horn-like points of the rooftops are called gonjongs.

    (via faluliai)

     
  11. shoomlah:

    danipanteez asked:

    Hi Claire! Thanks so much for helping out! I’ve attached the sketch.

    So, for some clarification on what’s going on in the scene. It’s very slightly inspired by an old fairy tale about broken porcelain dolls. In the picture I wanted the story to be this girl is holding one of the dolls from the hutch behind her, but the man who owns them has just entered the room, and she looks up at him. Want him to be casting a shadow on about half the comp. (Which you can faintly see in the sketch.)

    The thing is. I wanted this picture to be a super drastic angle and really push three point perspective. But I’m having trouble doing so and without it looking too weird. haha! Especially the girl. I keep trying to bring the horizon line down to about her knees. But somehow it just keeps going back to where it was everytime I redraw it. And last but not least, I even tried taking some reference photos and I still can’t quite capture the the angle and perspective I want.

    That was a mouthful. My apologies for the novel! So my questions to you would be, do you have any advice in exaggerating an angle that we can’t quite get in real life? Any ideas as to how I can better capture this correctly. And for composition. i still feel it’s a bit weak since I made it a head-on shot. I thought of making the corner of the room visible and so her back is not against the hutch, if that makes sense. But then i worry it might take away from the story I want it to tell? And if i can even pull that off. haha. okay! I’m done now! So sorry for being so wordy!

    You can feel free to make a post about it on tumblr, as others can always benefit from a critique! But if you just reply here, I don’t mind either. :) Thanks so much love!

    So you found me out, I’m actually a total perspective junkie!  I don’t use it a ton in my own work, weirdly enough, but drawing things in perspective is one of my secret artsy happy places.  This stuff is like candy. :)

    So first things first, composition aside, you do have a nice handle on perspective- while the composition can definitely use some tweaking, there’s definitely nothing innately wrong about your sketch!  It’s just a matter of shaking up the camera angle a little bit and being less tied to that idea of “placing the horizon line.”

    If you look at your current composition, it’s actually (almost!) a vertical 2-point perspective- if you rotate the image 90 degrees you’ll notice that one of the perspective planes is straight-on!  Totally valid composition, but it also lacks the dynamism/imbalance that’s usually associated with full-on three-point perspective:

    (Quick aside- props to you for taking the time to design/draw an actual clutch!  I feel like a lot of people phone it in when they’re drawing environments, so the specificity and details you’re hinting at are really compelling.  Makes the clutch a character in its own right.)

    —-

    Let’s talk about designing three-point perspective in a small space.

    So I find it immensely weird that a lot of perspective surveys stop at three-point perspective, or at least don’t touch on the fact that, once you bring the horizon into play, you have to take into account the fourth perspective point as objects start to diminish in the other direction.  If you don’t, things look less like proper perspective and more like actual shape distortion:

    …I’m not gonna go too deep into this right now but, suffice to say for our immediate purposes, forget the horizon line.  Throw it out the window.  INTO THE HORIZON you might say, hohohohoho.

    In a (confined) indoor space, it takes tilting your head/camera pretty damn dramatically to get the vertical lines of a room to diminish á la three-point perspective.  Because of this, you probably aren’t going to be able to see the horizon line from that camera angle- you’re either staring at the floor or the ceiling, so the horizon line becomes less of a tool and more of a crutch that’s limiting your options.  That dude’s such an asshole.

    So to make your life easier, worry less about horizon lines, and more about your individual vanishing points.  When you’re thumbnailing, a great way to solidify your perspective (or come up with new ideas, honestly), is to do this:

    If you want to push a vanishing point even further away you can just enlarge the pinwheel!  pretty cut and dry.

     —-

    Using compositional hierarchy to reflect narrative.

    So now that we’ve covered the actual mechanics of three-point perspective, let’s talk about how to make it work for the story you’re trying to tell.


    Option no. 1:
    (see above) My first instinct would be to consider shifting the camera angle so it’s looking down on her, as opposed to the other way around.  It puts us, the viewer, in (or near) the position of the figure in the doorway, and has the added benefit of making her smaller and more vulnerable in the composition- it visually traps her in the space of the room by showing the surrounding walls.

    Option no. 1b: never overestimate the value of tilting/canting a composition for a quick Dutch angle!  Kinda cheating if you use it too much, but WHAM POW instant drama.

    Option no. 2: There are an infinite number of variations on this idea- a sharper angle, cropping in closer on her, etc.- so my solution is by no means the PERFECT BEST COMPOSITION EVER, but it gives you some idea of a different direction you could take with this piece while maintaining your sense of drama/tension.

    Option no. 3: Aaaaand of course, as I defiantly drew the previous angles, I started thinking about how it could work from her perspective, kinda closer to your original piece.  I do agree with your concerns about a straightforward, “head-on” composition, so I’d imagine at that point you’d have to show the figure silhouetted in the door- your main character would be reacting either to his shadow, or turning to face him.

    This methodology for finding narrative compositions is by no means an absolute rule of illustration, by the by- visually “choosing a side” is a great way to immediately interject some drama into an image, but it’s also entirely up to you!  You want to end up with something you’re happy with.

     —-

    Being a “fly in the room.”
    One of the best pieces of advice I got from one of my professors, Mary Jane-Begin, was to be a fly in the room.  We all tend to settle on certain camera angles, either out of convenience of experience,  so letting your mind wander and just sketching out some absurd alternatives can help you stumble across something unexpectedly cool. :)

    So tl;dr, it feels like you know what you want out of this piece- these might not be the exact solutions for your tastes, but they might be enough of a push in the right direction that you don’t feel like you’re stalling anymore.  I hope all of this is helpful/relevant!

    Best of luck, and I can’t wait to see the finished piece! CLAIRE OUT <3

     
  12. clevergirlhelps:

    Biology

    Constructed Language (Conlang)

    Culture Guides

    Economy

    Everyday Life

    Government

    Read More

    (via yutaan)

     
  13. jaybeep:

    Werewolf lady going shopping who wants to join

    (via dustyfinchinspirations)

     
  14. ignissannat:

    Dark mermaids by *hoooook

    (via gawkrr)

     
  15. happydorid:

    a new technique I found while working on my latest comic page. Thought I’d share the process!

    I’m not sure if this is a really obvious tip, but I can’t believe I didn’t think of doing this earlier.

    All those concrete walls I painted in perspective ;-; They could have been painted in 2d! Hope this is helpful to someone. I’m pretty excited to use this in future environment paintings