Hey there, my roomie and I have been following you and Gobi for a little while now and we lovin' you guys' stuff. Quick question for you in regards to brushes. I understand the idea that brushes don't REALLY matter in terms of making cool things, but in your case how picky are you when choosing a brush in whatever program you are painting in? Thanks in advance
Hey, thanks !
Brushes don’t matter but some brushes REALLY matter !Honnestly, I’m an awfull painter, when I have to take paper, gouaches, pastels… it’s a nightmare. Computers and drawing softwares saved my artistic life ! At first my digital work was very cold, I tried to change that when a friend gave me a set of brushes. One of them changed radically my work process. It forced me to let things go and to free my colour work.
Today, we can find a lot of incredible brushes, it’s insane !
How does one make a zine? Or, alternatively, do you mind explaining your particular zine process? I'm interested in making my own
Y’all don’t even know how happy I am when I get this question.
Okay, so, if anyone doesn’t already know, a zine is a wish your heart makes magazine/pamphlet/book-type creation. It’s usually self-published/published small-scale, and either sold, given away, traded, given to a distributor, or even just made for yourself. Because of the way they don’t require any outside permission or input to be made, they can and are made about pretty much anything under the sun. Poetry, diaries, art, collage, fiction, reviews, propaganda, advice, etc, etc forever.
Sooo, given the individuality of zinemaking, there are about ten million ways (approximately) to make them. You can probably find tutorials online that go into detail with sewing, gluing, stapling, or whatever.
My personal favorite zine process is the folding method. I’m a college student/librarian who doesn’t often have access to a lot of office supplies or special sized paper, so it’s nice because you don’t need staples or anything else like that, just paper and something to write/draw on it with.
little things that actually make a difference to general life happiness: •drinking lots of water •eating fresh fruit •thinking positively about yourself and others •washing your face twice a day •changing your sheets once a week •hot baths with Epsom salts •face masks using from things in your house •sleeping more than 7 hours per night •reorganizing your clothes, makeup, possessions etc •keeping your living space clean
As an illustrator and a professor of illustration, I am constantly asked by students about “Style”. First, I just want to say I hate that word. Forget that word. Just draw, draw, and draw some more. Keep drawing and informing yourself. You are still in school, absorb and take it all in. Try stuff, fail, and learn from it. Try other stuff, succeed, and learn from it. Trust what it is that makes you happy. “Style” is not about the medium you used or what color you decide to make things. “Style” is your upbringing, your opinions, your experiences, your likes, your dislikes, your instincts, your education, your knowledge…all combined to inform your art on a consistent level that is unique to you. So, stop obsessing and just work! It will find its way to you someday.
Hello! I was wondering what your opinion was on design vs. realistic/accurate portrayal of the model when figure drawing. How do you balance the two so that your figure drawings aren't copying the model while still staying true to what you're observing? Thank you for your help.
I see no point in just drawing what’s in front of me. Drawing is about making decisions, no matter what. Using lines or paint or any tool is a decision by itself. How you use these tools is personal as well.
I’ve always been interested in using life drawing to compliment and adapt to what I’m interested in (animation/character design/storyboarding). I feel like most of the design and animation principles I know can, and should be reflected into my life drawings. Same goes for life drawing instructing how I approach my “regular work”. In a perfect world, they should all inform each other. Easier said than done.
The problem that I’ve always had is time constraint. It’s easy to say: “think about line of action, squash & stretch, silhouette, volume, caricature, anatomy, weight, etc when you draw from life.” It’s especially hard to think about and apply those principles in real-time, in poses ranging from 30 seconds to 10 minutes.
My simple answer is: “Do as much as you can given those time constraints.” But, really, find what’s most important, and then build from it. For example, it’s impossible to apply a ton of critical thinking when sketching poses in 30 seconds. In 30 seconds, you should be able to at least draw a quick gesture, without worrying about details and specific anatomy too much. The more time you have, the more principles you should be able to apply. Most basic principles should be reflected in a 5 minutes pose for example. At 10 min, a more fleshed-out, toned version is something that can be achieved.
Honestly, there shouldn’t be any benchmarks, but you should always try to aim for something, even if it’s one principle, within each pose. Sometimes, a certain model (or real-life situation) might inspire you to explore a specific principle.
The more you do it, the more certain things will become second-nature. You can then apply more layers to your work and make it shine.
Thank you for this wonderful question. It’s a the core of what my mind is going through these days. There’s more to be said about how to balance figure drawing and design, but I will continue to explore this idea in upcoming Tuesday Tips.
I like to know the names of things. Would you happen to know the name for the type of stories in which multiple characters take turns telling stories? I enjoy the format. "Worlds' End" and "October In The Chair" are two of my favorites, along with Clarke's "Tales From The White Hart." The format seems to date at least as far back as Chaucer, but I can't seem to find the actual terminology for this style of storytelling. Do you know what it is called?
It tends to be referred to as a “Club story”. If you read the Encyclopedia of Science Fiction article at http://www.sf-encyclopedia.com/entry/club_story it will tell you everything you want to know and lots of things you didn’t know you wanted to know, in a long article by John Clute.
So let me show you all this one page I found out while doing homework. I had to do a floor plan for school and then found THIS
You can get an account for free, even if it only lets you make one plan you can edit it as much as you want so you should have no problem making different stuff.
Ok so you can do stuff like this one that is what I was lookign for
now you must be thinking “Chami what the fuck? what can I do with that?”
well if you click one little button that says 3D you BAM! You get this!
motherfucking 3D view!! but wait! you obviously want to see the insides more right? idk for painting or editing or reference or whatever, well you can do it and then you get this!
I dont know if you get why I am so excited but think about the endless posibilities! ok I know there’s stuff like google sketch up and yeah it is cool but I find it kind of difficult and this… this took me 30 minutes to finish! And there are so many stuff!! Look at what I did for school
1. Linguistic Intelligence: the capacity to use language to express what’s on your mind and to understand other people. Any kind of writer, orator, speaker, lawyer, or other person for whom language is an important stock in trade has great linguistic intelligence.
2. Logical/Mathematical Intelligence: the capacity to understand the underlying principles of some kind of causal system, the way a scientist or a logician does; or to manipulate numbers, quantities, and operations, the way a mathematician does.
3. Musical Rhythmic Intelligence: the capacity to think in music; to be able to hear patterns, recognize them, and perhaps manipulate them. People who have strong musical intelligence don’t just remember music easily, they can’t get it out of their minds, it’s so omnipresent.
4. Bodily/Kinesthetic Intelligence: the capacity to use your whole body or parts of your body (your hands, your fingers, your arms) to solve a problem, make something, or put on some kind of production. The most evident examples are people in athletics or the performing arts, particularly dancing or acting.
5. Spatial Intelligence: the ability to represent the spatial world internally in your mind — the way a sailor or airplane pilot navigates the large spatial world, or the way a chess player or sculptor represents a more circumscribed spatial world. Spatial intelligence can be used in the arts or in the sciences.
6. Naturalist Intelligence: the ability to discriminate among living things (plants, animals) and sensitivity to other features of the natural world (clouds, rock configurations). This ability was clearly of value in our evolutionary past as hunters, gatherers, and farmers; it continues to be central in such roles as botanist or chef.
7. Intrapersonal Intelligence: having an understanding of yourself; knowing who you are, what you can do, what you want to do, how you react to things, which things to avoid, and which things to gravitate toward. We are drawn to people who have a good understanding of themselves. They tend to know what they can and can’t do, and to know where to go if they need help.
8. Interpersonal Intelligence: the ability to understand other people. It’s an ability we all need, but is especially important for teachers, clinicians, salespersons, or politicians — anybody who deals with other people.
9. Existential Intelligence: the ability and proclivity to pose (and ponder) questions about life, death, and ultimate realities.
”—Howard Gardner's seminal Theory of Multiple Intelligences, originally published in 1983, which revolutionized psychology and education by offering a more dimensional conception of intelligence than the narrow measures traditional standardized tests had long applied. (via explore-blog)