tag:blogger.com,1999:blog-2936245858048456062024-03-18T00:36:51.941-07:00TulptorialsIn this blog I'll share everrything I know about drawing and painting. My processes creating illustrations, visual development and concept art. I'll share thoughts, techniques and ideas that have worked for me over the years. I hope they can inspire you, and maybe they'll work for you too!Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.comBlogger46125tag:blogger.com,1999:blog-293624585804845606.post-87596922993165589442018-05-04T02:39:00.002-07:002018-05-04T02:39:56.541-07:00Value study<div class="separator" style="clear: both; text-align: center;">
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<br />Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.com117tag:blogger.com,1999:blog-293624585804845606.post-12181462795368263952017-07-01T04:04:00.001-07:002017-07-01T04:07:11.070-07:00Notes from a Jeremy Lipking Workshop<div class="p1">
<span class="s1"><b>Jeremy Lipking workshop 2017 Mheer - Wouter Tulp<span class="Apple-converted-space"> </span></b></span></div>
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<span class="s2">JL = Jeremy Lipking</span></div>
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<span class="s2">In June 2017 I attended a five day workshop by Jeremy Lipking. In this workshop Jeremy did a portrait demonstration from a live model and an outdoor model painting demonstration.</span></div>
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<span class="s2">During the workshop I took notes. These notes are based on my personal observation, and on what I wanted to take out of the workshop.</span></div>
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<span class="s2">Jeremy is a very kind and modest man, who comes in quietly and starts painting.<span class="Apple-converted-space"> </span>The workshop itself does not have a clear structure, and what you can learn from him will come mostly from observing him while he’s painting, or asking him questions. He does not mind being interrupted for questions, and takes every question seriously and takes a lot of time answering them.</span></div>
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<span class="s2">Most students liked to watch him paint rather than to paint themselves, so most of the first two days of the workshop consisted of seeing him paint and asking questions.</span></div>
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<span class="s2">Jeremy uses a colourful palette, but earth tones like raw umber, or yellow ochre are not on there. Here’s an overview of the colours that were on his palette:</span></div>
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<span class="s2">-Titanium white</span></div>
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<span class="s2">-Cremnitz white</span></div>
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<span class="s2">-Lead tin yellow lemon</span></div>
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<span class="s2">-Lemon Yellow</span></div>
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<span class="s2">-Cad Yellow</span></div>
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<span class="s2">-Cad Orange</span></div>
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<span class="s2">-Cad Red</span></div>
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<span class="s2">-Alizarin Crimson</span></div>
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<span class="s2">-Transparent Oxide Red</span></div>
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<span class="s2">-Ultramarine</span></div>
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<span class="s2">-(Azure Blue) -not always</span></div>
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<span class="s2">-(Cobalt Blue ) -not always</span></div>
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<span class="s2">-Viridian</span></div>
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<span class="s2">-(Phtalo Blue) not always</span></div>
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<span class="s2">-(Permanent Green Light) -on his palette for the landscape, not the portrait</span></div>
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<span class="s2">-Golden Green</span></div>
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<span class="s2">-King’s Blue</span></div>
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<span class="s2">-Ivory Black</span></div>
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<span class="s2">JL takes a lot of time posing the model. He pays attention to the light, and what visual pattern it creates. When he is finally satisfied, he takes time to observe and create an idea in his mind of the composition and the concept for the painting. He is painting a front view, and tries to avoid a 50-50 division of light and dark in the face. The first posing session took 20 minutes, and although a big part of the time was filled with answering questions, still he spent most of the time just observing.<span class="Apple-converted-space"> </span></span></div>
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<span style="-webkit-text-stroke-width: initial;">By the end of the first 20 minutes, he only made 2 marks on the canvas marking the top and bottom of the face.</span></div>
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<span class="s2">Before he starts painting, he fills the canvas with a wash of mineral spirits and ivory black. He waits until the mineral spirits have evaporated before he starts painting.</span></div>
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<span class="s2">His painting approach is not always insightful. He does not start with an overall design to establish proportions and composition. Instead much of this takes place in his mind, and the start of the painting consists of a tonal value and color indication of the light area of the face. For this he used paint thinned with mineral spirits. On top of that he starts making marks of where the eye is going to be. He measures a lot, but the results of this measuring are hardly visible as marks on the canvas. Only a few brushstrokes indicating some heavy shadows, contrasting the value of the light area of the face.</span></div>
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<span class="s2">After that he starts developing the eye in full detail, in a very early stage of painting, using a 0 brush.</span></div>
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<span class="s2">His explanation for this approach is that he does not want to establish ‘almost right’ colours and values in an early stage, but exact ones instead, deciding at the moment he will arrive on that area in the painting.</span></div>
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<span class="s2">Notes:</span></div>
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<span class="s2">JL uses Long flat brushes series 279 Rosemary and co. For the first day of painting he used about 7 brushes. (two big Bristle brushes, two no. 4 brushes, two no. 3 and one 0 brush)</span></div>
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<span class="s2">In bigger paintings JL uses stiffer synthetic brushes for the bigger areas on the canvas</span></div>
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<span class="s2">JL uses as little colours as possible to mix the desired color, so it is easier later on to mix that same color again.</span></div>
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<span class="s2">He often uses Transparent oxide red, King’s blue and Veridian for his skin tone mixes.</span></div>
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<span class="s2">JL uses the brow-nose length as a unit to measure other parts of the face.</span></div>
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<span class="s2">His reason for not having earth colours on his palette is that these colours easily become muddy, and he has to clean his palette and brushes more often.</span></div>
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<span class="s2">I didn’t see JL clean his palette during the painting. (he did at the end of the day, starting with a clean palette the next day)</span></div>
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<span class="s2">JL did clean his brushes continuously, always holding a tissue in his left hand, cleaning his brush almost after every stroke,</span></div>
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<span class="s2">He uses a 0 brush both to lay down a stroke, but also to blend it until it becomes very soft.</span></div>
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<span class="s2">JL creates values in the face rather too dark than too light, as it is easier to lighten than to darken the painting.</span></div>
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<span class="s2">The model he was painting wore a red shirt. Because JL does not work on the full painting, but on a small detail instead, he premixes the color of the shirt on his palette, so he can compare the skin tones with the red color, so he can judge the relationships before putting the paint on the canvas.</span></div>
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<span class="s2">JL hardly uses titanium white in the portrait. In the demo he didn’t even touch the titanium white on his palette. When he does use it, it is for significant highlights at the very end of the painting.</span></div>
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<span class="s2">The first layer of paint serves the purpose of defining the colours and values of the ligt area. During the process JL completely covers this thin layer with thicker paint.</span></div>
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<span class="s2">JL mentions he add small cool accents on various places. For example where the forehead transitions in the hairline. These cool tones ( greens and violets) are visible, but he emphasises them to make sure it does not look as a monochromatic image. It brings life to the painting.</span></div>
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<span class="s2"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUTa83tyrYoL4h_6X1Fn1ETAgnVXSbUmu2T6CS8B1yrA4jt4kSUZU6Kf0SHK4EO6135aRvwJWi7YYfF1Rq6w3EVfYoGwxRsa4F_4D4f1cB49cihyphenhyphen4EjFwj6loGVh16a97KyWW5C49-v_86/s1600/Screen+Shot+2017-07-01+at+12.57.42.png" imageanchor="1"><img border="0" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUTa83tyrYoL4h_6X1Fn1ETAgnVXSbUmu2T6CS8B1yrA4jt4kSUZU6Kf0SHK4EO6135aRvwJWi7YYfF1Rq6w3EVfYoGwxRsa4F_4D4f1cB49cihyphenhyphen4EjFwj6loGVh16a97KyWW5C49-v_86/s320/Screen+Shot+2017-07-01+at+12.57.42.png" width="320" /></a></div>
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<span class="s2">The overal system seems to be<span class="Apple-converted-space"> </span>to lay in a color and value foundation. then accents of contrast are placed on top. Colour and value define structure, even when the placement is not set in stone yet. he uses a 0 brush to add details, but keeps working, wiping and adjusting.<span class="Apple-converted-space"> </span></span></div>
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<span class="s2">Every brushstroke is placed with the utmost attention and precision. Even broad strokes are placed with full focus, nothing is placed randomly.<span class="Apple-converted-space"> </span></span></div>
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<span class="s2">JL does not have big mixture supplies on his palette. He starts out mixing a light and a dark skin tone, and uses these to mix from.<span class="Apple-converted-space"> </span></span></div>
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<span class="s2">After a while he’ll start adding more cool colours to the painting. ( at this point all we see is the eye, which looks completely rendered already, the forehead and a cheek.<span class="Apple-converted-space"> </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvDiGhlml84prOICuQ6M8NRR8VeU8qDsNeu9LlHCWYJshiR-6MBLgW_Mq8Hgr2AgJiW8iVbeboEfphqWZRPM4aTyLckixTzv5Pku5-xCaDPpvg3D5TXRfO7jTYFLUmJE85g1Um4SV7rEWe/s1600/IMG_3732.JPG" imageanchor="1" style="-webkit-text-stroke-width: initial;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvDiGhlml84prOICuQ6M8NRR8VeU8qDsNeu9LlHCWYJshiR-6MBLgW_Mq8Hgr2AgJiW8iVbeboEfphqWZRPM4aTyLckixTzv5Pku5-xCaDPpvg3D5TXRfO7jTYFLUmJE85g1Um4SV7rEWe/s320/IMG_3732.JPG" width="320" /></a></div>
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<span class="s2">JL uses medium if a painting needs to be photographed quickly. It avoids dark areas to sink in. He tries not to oil these areas because it will be harder to varnish them, and also it attracts dust.</span></div>
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<span class="s2">He does not recommend isolating varnish. He mixes glossy and matte varnish in a 50/50 mix. JL waits as long as he can to varnish a painting. If it needs to be done fast, he’ll wait at least a month for small paintings with a thin layer of paint. Otherwise at least 3 months and preferably longer.</span></div>
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<span class="s2">Except for one specific area he’s working on, JL does not commit to much in the beginning of his painting. This way he can adapt to the changing light. He also tries to anticipate to changing circumstances.</span></div>
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<span class="s2">During the process JL keeps measuring<span class="Apple-converted-space"> </span>in order to find the right placement for the features.</span></div>
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<span class="s2">JL never rushes. He takes a lot of time in between brush strokes to observe and decide what to do next.</span></div>
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<span class="s2">The shadow areas in the painting consist of a lot of transparent oxide red, and this color has a short drying time. Still only a part of the face is visible on the canvas, but JL already finishes these areas so he won’t have to paint on top of dry paint the next day.</span></div>
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<span class="s2">In some portraits JL spends hours just fixing small details.</span></div>
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<span class="s2">The values in JL’s painting appear to be much closer to one another than visible on the actual model.</span></div>
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<span class="s2">JL changes, simplifies, and enhances for the sake of the painting. He pays attention to the abstract visual statement and makes changes to enhance those shapes. Quote: ‘Sometimes the painting wouldn’t even be recognisable to te original subject’)<span class="Apple-converted-space"> </span></span></div>
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<span class="s2">Whenever an area that is laid in becomes distracting, because of too many brush strokes, JL takes a clean brush to blend that area to a blurry value mass, so it is no longer distracting, and he can co back to the area he was working on.</span></div>
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<span class="s2">Even though JL works on very small areas at a time, the foundation is always the same: Simplifying color and value for that area, and then gradually narrowing it down, creating subtle color and value changes to establish form.</span></div>
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<span class="s2">While painting, JL holds his brush in his right hand, and two or three brushes in his left, along with a piece of tissue on which he very often cleans his brush. After a while a pile of used tissues lies under his easel.</span></div>
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<span class="s2">JL appears to break all academic rules. He starts working on a very small detail, uses a very small brush already at the beginning of his painting, and does not stand back to evaluate his painting<span class="Apple-converted-space"> </span>from a distance.</span></div>
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<span class="s2">By the end of day one, JL has painted the eyes, forehead and nose area. The mouth area is established only with a few values. He uses a big brush to even out the paint, so that if the paint should dry there will be no ridges he has to paint on top of.</span></div>
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<span class="s2">JL says he likes working on the painting the next day, because the paint has dried a bit, and is stickier.</span></div>
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<span class="s2">Quote: ‘ Likeness is sometimes less important than design choices when it comes to creating a good painting’</span></div>
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<span class="s2">In his studio, JL adjusts the height of his canvas during the process, so the area he is painting is always just a little below eye level.</span></div>
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<span class="s2">In his studio JL uses a Hughes easel<span class="Apple-converted-space"> </span></span></div>
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<span class="s2"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjACoWbKugeye0b6xdWXS2As1e3iBGBjhTLCjeF-NTUgFQZxBhft3vcIU_PdB9K4JK96w4hhfkqY4G-enn6-tzBbZW3uy_i17oG-xnB-lnS9woNqU5gsyjznM9iN0NRLi5Zxtoa1Hr543Le/s1600/Screen+Shot+2017-07-01+at+13.00.54.png" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjACoWbKugeye0b6xdWXS2As1e3iBGBjhTLCjeF-NTUgFQZxBhft3vcIU_PdB9K4JK96w4hhfkqY4G-enn6-tzBbZW3uy_i17oG-xnB-lnS9woNqU5gsyjznM9iN0NRLi5Zxtoa1Hr543Le/s320/Screen+Shot+2017-07-01+at+13.00.54.png" width="199" /></a><br />
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<span style="-webkit-text-stroke-width: initial;">JL measures his portrait bit by bit. This causes every part of the face to be in the correct place. However, it is hard to add gesture, or pushed features this way. In figure paintings where he finds gesture more important, he’ll start out with just a few lines to indicate gesture, but after that he’ll still work from one area to another.</span><span class="s2"></span></div>
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<span class="s2">JL uses photo reference for his paintings</span></div>
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<span class="s2">Small dark shapes surrounded by light stand out a lot. For example a nostril. It can be better to paint it a bit lighter than you see it, to make sure it does not get too much attention in the painting.<span class="Apple-converted-space"> </span></span></div>
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<span class="s2"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh73kr67BXeJmS_1GVNSPj_2K9QdPWeaalEFJ-GLJUQdJXTmsArmUv7fYwoa2qjnkWnckECLbIPIM5A5v8cf46aSogXAhhTYre336gdS_NG8SrAG6SwJNX1P1AQLMmTmHSfbx-jSq6bRfzo/s1600/IMG_3765.JPG" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh73kr67BXeJmS_1GVNSPj_2K9QdPWeaalEFJ-GLJUQdJXTmsArmUv7fYwoa2qjnkWnckECLbIPIM5A5v8cf46aSogXAhhTYre336gdS_NG8SrAG6SwJNX1P1AQLMmTmHSfbx-jSq6bRfzo/s320/IMG_3765.JPG" width="240" /></a></div>
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<span class="s2">In his studio JL does step back to judge the painting. He has a mirror opposite his painting to take even more distance.</span></div>
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<span class="s2">JL doesn’t work on top of dry paint much. especially in the face, because he feels things are more likely to go wrong then.</span></div>
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<span class="s2">JL suggests working with good materials. Your skills are intertwined with the materials you use, so don’t use cheap stuff.</span></div>
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<span class="s2">JL uses cremnitz white. It allows blending after 1 or 2 days. Titanium white tends to get hard, and it is unable to softly smoothe edges and shape forms.</span></div>
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<span class="s2">In female portraits JL tries to avoid painting too thickly.</span></div>
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<span class="s2">Walnut oil slows down the drying time a bit. Poppy oil even more.</span></div>
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<span class="s2"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD8xRlJ8JkuAR8cTSsa6u2SDvjRgaLNg4nsizsuhnXVlJWqUlkhBaKnn7lHcA5VE7Sg86LEOdE3W0HIN0K-i8FtJOoiiuArc9eM7oOHIUhCMzPhQktNCgrkrYXb_2O5XorcbPnapcUI6V3/s1600/IMG_3781.JPG" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD8xRlJ8JkuAR8cTSsa6u2SDvjRgaLNg4nsizsuhnXVlJWqUlkhBaKnn7lHcA5VE7Sg86LEOdE3W0HIN0K-i8FtJOoiiuArc9eM7oOHIUhCMzPhQktNCgrkrYXb_2O5XorcbPnapcUI6V3/s320/IMG_3781.JPG" width="240" /></a><br />
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<span class="s2">JL will leave some blending effects for the next day. For example he blends the hair in the background the next day. The paint is dryer then. He uses a brush dampened with mineral spirits to do so.<span class="Apple-converted-space"> </span></span></div>
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<span class="s2">Sometimes in his studio JL uses a retouch varnish spray during the process, to bring back sunken in areas, so he can judge the colors and values better.<span class="Apple-converted-space"> </span>He does not use spray varnish for the final painting.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-knp26lwi9BXslteQf8dX6SU4pdxVK6Hjc9R5_TKEbgMI3TWG4kmgymc1E7ofXIRKg7J4Yp7s_EE60fW1SXMg0pHmEGt0xbUlKV68YbolIN5syj3ODkRQv_LYOVA6QGncJWCSobjmIIa3/s1600/Screen+Shot+2017-07-01+at+10.26.19.png" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-knp26lwi9BXslteQf8dX6SU4pdxVK6Hjc9R5_TKEbgMI3TWG4kmgymc1E7ofXIRKg7J4Yp7s_EE60fW1SXMg0pHmEGt0xbUlKV68YbolIN5syj3ODkRQv_LYOVA6QGncJWCSobjmIIa3/s320/Screen+Shot+2017-07-01+at+10.26.19.png" width="191" /></a></div>
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<span class="s2">JL spends a lot of time developing a concept for a painting. When his idea is clear he takes photos for reference, and combines different photos to construct his desired composition.He does a lot of sketches, color ideas and tests before he starts on the actual painting. Some of these studies appear to be fully rendered paintings themselves. JL states that he sometimes just gets carried away doing these studies, but mostly these studies are much smaller than the final painting, and he uses them to solve problems in advance.</span></div>
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<span class="s2"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiThDj7e5lM3aRgfZs9lj_SAJqOq5UgGC6MC80aErjhTaKrE-Vh6tmVROE2CLrHA7gzWLNaeXSndCqU_sCGi9zbBG9j55inUmf78dC4mt5HlDJz10ObOYr3EsqfkYiEhwIRyPFAdyLkloqk/s1600/IMG_3799.JPG" imageanchor="1"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiThDj7e5lM3aRgfZs9lj_SAJqOq5UgGC6MC80aErjhTaKrE-Vh6tmVROE2CLrHA7gzWLNaeXSndCqU_sCGi9zbBG9j55inUmf78dC4mt5HlDJz10ObOYr3EsqfkYiEhwIRyPFAdyLkloqk/s320/IMG_3799.JPG" width="320" /></a></div>
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<span class="s1">Outdoor painting</span></div>
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<span class="s2">JL creates a small hole between his thumb and index finger to look through. He isolates a small area in the landscape and goes back and forth between those two areas to judge color.<span class="Apple-converted-space"> </span></span></div>
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<span class="s2">JL’s plein air paintings are highly idealised. In a way he uses the same technique as when he works on bigger studio paintings. He takes elements he sees and arranges them so he creates an appealing composition. He leaves stuff out as well as adding elements that aren’t there.</span></div>
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<span class="s2">During the demonstration, JL stood up and went for a walk. After a while he stopped and saw some hills in the background. He walked back to his painting and painted those hills in, even though none of them were visible from where he sat.</span></div>
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<span class="s2">In the same way he changes colors and composition in his painting.<span class="Apple-converted-space"> </span></span></div>
Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.com16tag:blogger.com,1999:blog-293624585804845606.post-11725850306817404052017-05-04T08:44:00.001-07:002017-05-04T08:44:31.534-07:00values and edges<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7nQI5vvLaOKKrMzFWHqySw9GcCSufQje_HkeeGK3iQVaCEHW5GusBZSUxFHPpP1eqdMP6dUZ-6ZOV2PlsT1n4LvXq71p8wgr4Ml0EIOXYLwkpO2dtqeqfOJZuoEEyK6eKAYeG16ojQtGn/s1600/valuesedgesw.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7nQI5vvLaOKKrMzFWHqySw9GcCSufQje_HkeeGK3iQVaCEHW5GusBZSUxFHPpP1eqdMP6dUZ-6ZOV2PlsT1n4LvXq71p8wgr4Ml0EIOXYLwkpO2dtqeqfOJZuoEEyK6eKAYeG16ojQtGn/s320/valuesedgesw.jpg" width="320" /></a></div>
<br />Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.com10tag:blogger.com,1999:blog-293624585804845606.post-12752172288175868572017-04-28T07:38:00.000-07:002017-04-28T07:38:10.581-07:00parallels vs angles<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC81D_53rEqy3QmPVzTAdqgh-ZSsIoReJ_MciDQw8BbMkatQDUDweZbUrX0xmNy3Fvh_VductvT7O4uG3YG0XPJmWZl3DHWhPEefNuE4oe7_ydSJb89QpcJaxl8BiihYH632s8k_eWvfkm/s1600/anglesparallels.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC81D_53rEqy3QmPVzTAdqgh-ZSsIoReJ_MciDQw8BbMkatQDUDweZbUrX0xmNy3Fvh_VductvT7O4uG3YG0XPJmWZl3DHWhPEefNuE4oe7_ydSJb89QpcJaxl8BiihYH632s8k_eWvfkm/s320/anglesparallels.jpg" width="320" /></a></div>
<br />Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.com6tag:blogger.com,1999:blog-293624585804845606.post-47568191592825182242017-04-06T00:38:00.000-07:002017-04-06T00:38:23.976-07:00Drawing on the right side of the brainMany people think drawing is a talent that you are either born with or not. I don't believe this. I think these people just never learned that much of what they perceive as 'magic' is in fact a set of techniques, that can be learned through study. They don't see the building blocks the artist uses to create his drawing. A huge part of being able to draw is being able to see. To see proportions, relationships, volumes, shapes, perspective, values, edges, colors. All of these can be learned through study. Betty Edwards teaches art classes to people of whom many think the are just born without the ability to draw. Below you see the 'before' and 'after' drawings of these students. Please note that this course lasted only 5 days!!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi23mNRVsiIGeEF5syDANNCf6rHtNxhfiTE_Fc19w4Vs_zleqe64wzz6VUYMYh5Y3fDgDPCNJzcd_XwkfLhQDzqdRPXKL4ukm0HA-VnyT4TuKgEgtE5saz52QN_EPLH19L4b1r2BOU9bL_3/s1600/01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi23mNRVsiIGeEF5syDANNCf6rHtNxhfiTE_Fc19w4Vs_zleqe64wzz6VUYMYh5Y3fDgDPCNJzcd_XwkfLhQDzqdRPXKL4ukm0HA-VnyT4TuKgEgtE5saz52QN_EPLH19L4b1r2BOU9bL_3/s320/01.jpg" width="242" /></a></div>
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Betty Edwards: Drawing from the right side of the brain</div>
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http://drawright.com</div>
Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.com7tag:blogger.com,1999:blog-293624585804845606.post-56309968713857436902017-04-05T00:41:00.002-07:002017-04-05T00:41:06.026-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHAWrIQUBUSy_H7MZNtNbnAG0gASwle42TB79B5xuyYcMa3OkSV3UYO5JRgg0KpygqAiOyWQ23u8Kr1VcnwrZweNS6YlrNnswLPCrbQCZEVA___ibZB3bDNcPbmflAioD-OeunfFS9Tjlp/s1600/cornwellw.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHAWrIQUBUSy_H7MZNtNbnAG0gASwle42TB79B5xuyYcMa3OkSV3UYO5JRgg0KpygqAiOyWQ23u8Kr1VcnwrZweNS6YlrNnswLPCrbQCZEVA___ibZB3bDNcPbmflAioD-OeunfFS9Tjlp/s320/cornwellw.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXNbI26rnb0E4tMPn4U4Gwbmsdsxvv9Eqy1Gsg4WNLGHABt4MyKqGNSXiW7AL61knEiORu_HM2TiNVK3jOzI9autj_n_DVNyNJvDc8hvTE9I2v0hH3eGiBuj_rgI0lgmXbIcJl1mFE_F8v/s1600/goodrichw.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXNbI26rnb0E4tMPn4U4Gwbmsdsxvv9Eqy1Gsg4WNLGHABt4MyKqGNSXiW7AL61knEiORu_HM2TiNVK3jOzI9autj_n_DVNyNJvDc8hvTE9I2v0hH3eGiBuj_rgI0lgmXbIcJl1mFE_F8v/s320/goodrichw.jpg" width="320" /></a></div>
<br />Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.com16tag:blogger.com,1999:blog-293624585804845606.post-6467844503879025872017-03-19T08:06:00.000-07:002017-03-19T08:06:22.500-07:00Henri Cartier Bresson composition analysis<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV0is9c24Fmwrl5YcdeZfBIWw58MdqaGIzEchLNkagNPpRuDf45iIJEI3IBczrNKRBEgJsztyd2mMQtPPuGEqWRi15wVhGuXfaxqHdK34nDpUeV5HqF2ZDTE96ti_9hZZtuaBApbKPaWxb/s1600/02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV0is9c24Fmwrl5YcdeZfBIWw58MdqaGIzEchLNkagNPpRuDf45iIJEI3IBczrNKRBEgJsztyd2mMQtPPuGEqWRi15wVhGuXfaxqHdK34nDpUeV5HqF2ZDTE96ti_9hZZtuaBApbKPaWxb/s320/02.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEtjAEBEQFCWXub3cL-xAMyBpuPUedM7Kvl9d9p25ncWadpi4vBBBzsB9Z6GB7bWcivqeG7Y-73coOcpu1cry5tnUSjUJKBMTuNNFaqN8xoIV_l2kzCKfckEuJCNf8ijNumNYsmH-so43v/s1600/Untitled-11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEtjAEBEQFCWXub3cL-xAMyBpuPUedM7Kvl9d9p25ncWadpi4vBBBzsB9Z6GB7bWcivqeG7Y-73coOcpu1cry5tnUSjUJKBMTuNNFaqN8xoIV_l2kzCKfckEuJCNf8ijNumNYsmH-so43v/s320/Untitled-11.jpg" width="320" /></a></div>
<br />Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.com12tag:blogger.com,1999:blog-293624585804845606.post-60460901366197833042016-06-08T11:30:00.000-07:002016-06-08T11:30:23.404-07:00Caricature Tulptorial<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF6M5FRV6lrSLVRgsKEVIuaM-medzxdtJiZMPG7Lziq2ygI1ydUwFtZpMdbaNUdWYVj-9JSLQFS7dpvdabzrh5zzbRJrmEsBSlIepCvo12vsOtP6fbNG5HrZbq03zbMBgpPPW272P2_SU1/s1600/ali2w.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF6M5FRV6lrSLVRgsKEVIuaM-medzxdtJiZMPG7Lziq2ygI1ydUwFtZpMdbaNUdWYVj-9JSLQFS7dpvdabzrh5zzbRJrmEsBSlIepCvo12vsOtP6fbNG5HrZbq03zbMBgpPPW272P2_SU1/s320/ali2w.jpg" width="320" /></a></div>
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Hi all. So there's a first time for everything. This is my first gumroad tutorial. In this demo I show my process of setting up a caricature, based on the gesture in the face and adding volumes by adding tonality. In the video I talk you through the process from the very first line to the final result you can see as the cover for this product. </div>
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With first times come first time mistakes, and as I played back the recording, I discovered the sound is a bit crunchy from time to time. So why not start my launch at gumroad with a discount. Only $5 for this demo, that lasts over an hour!!</div>
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The full tutorial can be found here:</div>
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<span style="color: #797874; font-family: , , "helvetica neue" , "helvetica" , "arial" , sans-serif;"><span style="font-size: 17px; line-height: 26px;">https://gumroad.com/woutertulp</span></span></div>
Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.com4tag:blogger.com,1999:blog-293624585804845606.post-74408679806494919762016-01-04T01:16:00.001-08:002016-01-04T01:16:34.906-08:00Markersketch<div class="separator" style="clear: both; text-align: center;">
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<br />Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.com24tag:blogger.com,1999:blog-293624585804845606.post-85295423383234806412015-05-02T12:50:00.002-07:002015-05-02T12:50:17.384-07:00Portricature<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmjExSc6bhLyUXcgtzPXLweNAXfgd1gxvXgVoSsNUgI4Nq4eaiwS5RXOmsxIUCNuBI_f-uP6wl8eV3Yldih9kkYjcG06Ktp1fLVFa0xbWTfPuGbYWrNPCgqSojaNabg0DaIp7TZIYu0bC5/s1600/Caricature.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmjExSc6bhLyUXcgtzPXLweNAXfgd1gxvXgVoSsNUgI4Nq4eaiwS5RXOmsxIUCNuBI_f-uP6wl8eV3Yldih9kkYjcG06Ktp1fLVFa0xbWTfPuGbYWrNPCgqSojaNabg0DaIp7TZIYu0bC5/s1600/Caricature.jpg" height="320" width="271" /></a></div>
<span style="background-color: white; color: #141823; font-family: helvetica, arial, 'lucida grande', sans-serif; font-size: 13px; line-height: 18px;">From a young age I have been fascinated by the art of caricature. In art school caricatures were looked at as low art, and I wasn’t allowed to create caricatures there. </span><br style="background-color: white; color: #141823; font-family: helvetica, arial, 'lucida grande', sans-serif; font-size: 13px; line-height: 18px;" /><span style="background-color: white; color: #141823; font-family: helvetica, arial, 'lucida grande', sans-serif; font-size: 13px; line-height: 18px;">After school I got paid to do caricatures for magazines and newspapers. </span><br style="background-color: white; color: #141823; font-family: helvetica, arial, 'lucida grande', sans-serif; font-size: 13px; line-height: 18px;" /><span style="background-color: white; color: #141823; font-family: helvetica, arial, 'lucida grande', sans-serif; font-size: 13px; line-height: 18px;">Although I have always disagreed with the teachers who told me caricatures were not ‘real’ art, it is amazing how much impact their response had to how I loo</span><span class="text_exposed_show" style="background-color: white; color: #141823; display: inline; font-family: helvetica, arial, 'lucida grande', sans-serif; font-size: 13px; line-height: 18px;">ked at caricatures. After a while I even stopped drawing caricatures at all, because I felt I wouldn’t be taken seriously as an artist.<br /><br />When I realised I started to have the same viewpoint on caricatures as the people who forbid me to draw them in art school, I realised something had gone very wrong. I started looking at the work of the people whose work had inspired me for so long. Caricaturists, like C.F.<a data-hovercard="/ajax/hovercard/user.php?id=100006267160021&extragetparams=%7B%22directed_target_id%22%3A0%7D" href="https://www.facebook.com/profile.php?id=100006267160021" style="color: #3b5998; cursor: pointer; text-decoration: none;">Payne</a>, <a data-hovercard="/ajax/hovercard/user.php?id=100001043286560&extragetparams=%7B%22directed_target_id%22%3A0%7D" href="https://www.facebook.com/paul.vandersteen1" style="color: #3b5998; cursor: pointer; text-decoration: none;">Paul van der Steen</a> , David Levine, Natalie Ascencios but also painters from long ago. Then I realised there is no such thing as high art and low art. A portrait artist looks at his subject and decides what he wants to express. he chooses what he wants to emphasise, wether it is shapes, colors, textures, attitude… A painter exaggerates. he makes you look at the subject like he does, by showing this to you with his painting. Over time painters have done many portraits in many different ways.<br />Some of the portraits that are considered ‘high art’ by some, are not much different than how I would have loved to paint a caricature in art school</span>Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.com7tag:blogger.com,1999:blog-293624585804845606.post-81263286867768650482015-05-02T12:49:00.001-07:002015-05-02T12:49:28.454-07:00X<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiskfUmOC-JpwDu2SMdaDoJeFoCvcvalZjQ1Qbbx6CNKm1CJxPwm6XGnzGmHvEUL9fMiYRhwQBZdz9ZWEpBx9abO5bk7BQClvaPmGkAgSmXmt26qRWOd1guZpDxta0gi8-e0zQHX82e-fnJ/s1600/10917193_864104376964617_4865576083377717584_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiskfUmOC-JpwDu2SMdaDoJeFoCvcvalZjQ1Qbbx6CNKm1CJxPwm6XGnzGmHvEUL9fMiYRhwQBZdz9ZWEpBx9abO5bk7BQClvaPmGkAgSmXmt26qRWOd1guZpDxta0gi8-e0zQHX82e-fnJ/s1600/10917193_864104376964617_4865576083377717584_o.jpg" height="298" width="320" /></a></div>
<span style="background-color: white; color: #141823; font-family: helvetica, arial, 'lucida grande', sans-serif; font-size: 13px; line-height: 18px;">I always like seeing the same subject painted by different artists. Very interesting to see what the artist chooses to focus on, and how he wants to tell his story. These are both portraits of Mme Pierre Gautreau. </span><br style="background-color: white; color: #141823; font-family: helvetica, arial, 'lucida grande', sans-serif; font-size: 13px; line-height: 18px;" /><span style="background-color: white; color: #141823; font-family: helvetica, arial, 'lucida grande', sans-serif; font-size: 13px; line-height: 18px;">Left: John Singer Sargent, Madame X (Madame Pierre Gautreau) (1883-1884), Metropolitan Museum of Art, New York, oil on canvas, 208.6 x 109.9cm</span><br style="background-color: white; color: #141823; font-family: helvetica, arial, 'lucida grande', sans-serif; font-size: 13px; line-height: 18px;" /><span style="background-color: white; color: #141823; font-family: helvetica, arial, 'lucida grande', sans-serif; font-size: 13px; line-height: 18px;">Right: Gustave Courtois, Madame Gautreau (1891), Musée d'Orsay, Paris, oil on canvas, 62.01 x 58.5cm</span>Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.com1tag:blogger.com,1999:blog-293624585804845606.post-9074563788352271972015-05-02T12:48:00.001-07:002015-05-02T12:48:41.501-07:00Dean Cornwell<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF5V2mpTJjFwm92Nhvcfi1rb3ZdKtPYKiw8iikvSdTrKkS3TMGhmT14AP9mfyO9NQOtyJhyphenhyphenARJ96vwBWHT-W1NKeOiUxO1HR-NHPjf5U_U3zfj2080n01mx3LIQpfuALdMuUm1PYaQytBR/s1600/Cornwell.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF5V2mpTJjFwm92Nhvcfi1rb3ZdKtPYKiw8iikvSdTrKkS3TMGhmT14AP9mfyO9NQOtyJhyphenhyphenARJ96vwBWHT-W1NKeOiUxO1HR-NHPjf5U_U3zfj2080n01mx3LIQpfuALdMuUm1PYaQytBR/s1600/Cornwell.jpg" height="316" width="320" /></a></div>
<br style="background-color: white; color: #141823; font-family: helvetica, arial, 'lucida grande', sans-serif; font-size: 13px; line-height: 18px;" /><a data-hovercard="/ajax/hovercard/user.php?id=1359527119&extragetparams=%7B%22directed_target_id%22%3A0%7D" href="https://www.facebook.com/james.gurney.9" style="background-color: white; color: #3b5998; cursor: pointer; font-family: helvetica, arial, 'lucida grande', sans-serif; font-size: 13px; line-height: 18px; text-decoration: none;">James Gurney</a><span style="background-color: white; color: #141823; font-family: helvetica, arial, 'lucida grande', sans-serif; font-size: 13px; line-height: 18px;">: Imaginative realism:</span><a href="http://www.amazon.com/Imaginative-Realism-Paint-Doesnt-Exist/dp/0740785508" rel="nofollow nofollow" style="background-color: white; color: #3b5998; cursor: pointer; font-family: helvetica, arial, 'lucida grande', sans-serif; font-size: 13px; line-height: 18px; text-decoration: none;" target="_blank">http://www.amazon.com/<wbr></wbr><span class="word_break" style="display: inline-block;"></span>Imaginative-Realism-Paint-D<wbr></wbr><span class="word_break" style="display: inline-block;"></span>oesnt-Exist/dp/0740785508</a>Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.com0tag:blogger.com,1999:blog-293624585804845606.post-41077980560038797392015-05-02T12:47:00.002-07:002015-05-02T12:47:56.884-07:00Norman Rockwell<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGa7qs2aD_D1qOdPCNRCGfAZyxvUPNx3hzBkHjEvKym8IuToiXBbiY8b7cX56Qa3UnI8w8j7_Nb8Vr0qupt_qSi0bNXA0hZVKA6W4_MyVWBn3XgDwtYh1WrpU0ZbW4QYM-z8K8-dOX605L/s1600/rockwell.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGa7qs2aD_D1qOdPCNRCGfAZyxvUPNx3hzBkHjEvKym8IuToiXBbiY8b7cX56Qa3UnI8w8j7_Nb8Vr0qupt_qSi0bNXA0hZVKA6W4_MyVWBn3XgDwtYh1WrpU0ZbW4QYM-z8K8-dOX605L/s1600/rockwell.jpg" height="320" width="174" /></a></div>
<span style="background-color: white; color: #141823; font-family: helvetica, arial, 'lucida grande', sans-serif; font-size: 13px; line-height: 18px;">High res verion of the painting can be found here:</span><a href="https://www.google.com/culturalinstitute/asset-viewer/fishing-trip-they-ll-be-coming-back-next-week/ZQGS3jWsjWsXqA?hl=nl&projectId=art-project" rel="nofollow nofollow" style="background-color: white; color: #3b5998; cursor: pointer; font-family: helvetica, arial, 'lucida grande', sans-serif; font-size: 13px; line-height: 18px; text-decoration: none;" target="_blank">https://www.google.com/<wbr></wbr><span class="word_break" style="display: inline-block;"></span>culturalinstitute/<wbr></wbr><span class="word_break" style="display: inline-block;"></span>asset-viewer/<wbr></wbr><span class="word_break" style="display: inline-block;"></span>fishing-trip-they-ll-be-com<wbr></wbr><span class="word_break" style="display: inline-block;"></span>ing-back-next-week/<wbr></wbr><span class="word_break" style="display: inline-block;"></span>ZQGS3jWsjWsXqA?hl=nl&projec<wbr></wbr><span class="word_break" style="display: inline-block;"></span>tId=art-project</a>Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.com0tag:blogger.com,1999:blog-293624585804845606.post-6689974128071194292015-05-02T12:47:00.000-07:002015-05-02T12:47:17.632-07:00The Daughters of Edward Darley Boit<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMh-LChSkQcHseY75AW4P_dh0rDviKELPMVMFq4X2cswr8_fctYruzrhWubY361oNzoRKHptV3RorCIVS84vi5sshPjqCcFLInnTMb2LnAJzBNBaCu9d85cARJxlP3yE5WosPIrJb2qCJX/s1600/darleyBoit.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMh-LChSkQcHseY75AW4P_dh0rDviKELPMVMFq4X2cswr8_fctYruzrhWubY361oNzoRKHptV3RorCIVS84vi5sshPjqCcFLInnTMb2LnAJzBNBaCu9d85cARJxlP3yE5WosPIrJb2qCJX/s1600/darleyBoit.jpg" height="320" width="195" /></a></div>
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<span style="background-color: white; color: #141823; font-family: helvetica, arial, 'lucida grande', sans-serif; font-size: 13px; line-height: 18px;">I love looking at art, I love great stories. I thought it would be nice to share some art and show what it is I like about it. In this painting: The Daughters of Edward Darley Boit, by John Singer Sargent, we see a family portrait. Although the way the girls pose may look coincidental, it was all planned. If we look at the way Sargent places color accents, lines, light and color choices, it becomes clear that he is in charge of what he wants to show us. I love the way the girl on the left is framed, as if it is a picture within the picture. The White dresses stand out in the dark colors he used. A beautiful example of storytelling.</span>Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.com0tag:blogger.com,1999:blog-293624585804845606.post-45877801962890151282014-04-02T08:26:00.001-07:002017-04-28T07:38:55.880-07:00Anatomy<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj4YYH7LfVPtg2-m4If8KxY55wbXbMwD89_8OyJW7DRnLJpU7m2r67iUloUIBG9hDpZWoJgUIAzrXzuVkgBmmsAK3aG6B-k-AGyD5KWSJVZP9wLnoUnXotGxod4J5TttTl61o4CYXjzLQf/s1600/001w.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj4YYH7LfVPtg2-m4If8KxY55wbXbMwD89_8OyJW7DRnLJpU7m2r67iUloUIBG9hDpZWoJgUIAzrXzuVkgBmmsAK3aG6B-k-AGyD5KWSJVZP9wLnoUnXotGxod4J5TttTl61o4CYXjzLQf/s1600/001w.jpg" width="221" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT1AmOcnYA0Oj3dr04KVUIg6aiO8bv10rvMuZBdFupKM6qkWbOXaSAoS1lc052qWuc52jx8m_7EbEyMzhBWvIcABEJn9m8Kwft4sN1awOSWFy-YISCZjmPEbRnsWPQSKBHlT7UQd5MoiAl/s1600/002w.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT1AmOcnYA0Oj3dr04KVUIg6aiO8bv10rvMuZBdFupKM6qkWbOXaSAoS1lc052qWuc52jx8m_7EbEyMzhBWvIcABEJn9m8Kwft4sN1awOSWFy-YISCZjmPEbRnsWPQSKBHlT7UQd5MoiAl/s1600/002w.jpg" width="227" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGFwzPStSEKfhLk4D909xbBd6TXmRuQsihtEULxNI0HfarlmeCL8ToSIhY1B44qripuILq7Y64f1GTiVGc9vLtUgqi5hMXGT2Wt3HdeQNPJV_77put4g_qrjlADhCbCvTIx43MKTDbVJV_/s1600/003w.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGFwzPStSEKfhLk4D909xbBd6TXmRuQsihtEULxNI0HfarlmeCL8ToSIhY1B44qripuILq7Y64f1GTiVGc9vLtUgqi5hMXGT2Wt3HdeQNPJV_77put4g_qrjlADhCbCvTIx43MKTDbVJV_/s1600/003w.jpg" width="232" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk8-AQDE-eBoStOzIZObUpyfKHxVKYG7zFpYFeQTk784NxVOj1WnqPLwa3XDv6LGnRPka7fJB6Cw5J-HfV6_BYIU_MH-qRhq0M1dUfZ56PgrsVobyBwIaI2irrHhtMaPgp6APuzuFD_gYL/s1600/004w.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk8-AQDE-eBoStOzIZObUpyfKHxVKYG7zFpYFeQTk784NxVOj1WnqPLwa3XDv6LGnRPka7fJB6Cw5J-HfV6_BYIU_MH-qRhq0M1dUfZ56PgrsVobyBwIaI2irrHhtMaPgp6APuzuFD_gYL/s1600/004w.jpg" width="228" /></a></div>
I've been working on my anatomy lately. Here some pages from my sketchbook.Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.com0tag:blogger.com,1999:blog-293624585804845606.post-71884174096963212492014-03-20T01:28:00.001-07:002014-03-20T02:17:52.719-07:00Translating what you see into what you paintTo me painting is not just copying reality. You can even ask yourself if there is a true reality, because maybe we all perceive the things we see hear and feel differently.<br />
With that in mind, I try to think of painting as putting my personal impression on the canvas, rather than trying to copy reality.<br />
This goes for painting from life, but also when I am constructing a composition for an illustration.<br />
Studying perspective, color, light, anatomy, using different media all help to be able to translate your experience to marks on the canvas, that, hopefully, communicates my concept to the viewer.<br />
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I added some examples of some works of great artists and how they use their references. None of them just copies what's in front of them. They use it to absorb as much information about their subject as they can, in order to create their personal version of it.<br />
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Monet:<br />
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Norman Rockwell:</div>
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<span style="text-align: center;"> Gil Elvgren:</span></div>
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Steve Huston:</div>
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Tom Fluharty:</div>
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Marc Dalessio:</div>
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Gregory Manchess:</div>
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James Gurney:</div>
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<br />Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.com0tag:blogger.com,1999:blog-293624585804845606.post-22207957261634327442013-04-26T04:26:00.001-07:002013-04-26T04:26:35.501-07:00Character painting video<iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="http://player.vimeo.com/video/64874690" webkitallowfullscreen="" width="500"></iframe> <br />
In addition to the previous post on sketching a character here's the gouache painting video.Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.com0tag:blogger.com,1999:blog-293624585804845606.post-3284937898472562042013-04-09T00:35:00.002-07:002013-04-09T00:37:06.701-07:00Drawing tip<div class="separator" style="clear: both; text-align: center;">
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<br />Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.com0tag:blogger.com,1999:blog-293624585804845606.post-43442198749540119962013-01-28T00:49:00.002-08:002013-01-28T00:49:36.900-08:00Drawing tip #1<div class="separator" style="clear: both; text-align: center;">
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<br />Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.com2tag:blogger.com,1999:blog-293624585804845606.post-53920429243339397362012-12-06T00:34:00.000-08:002012-12-06T00:34:02.319-08:00Dan dos Santos: How to photograph your paintings<br />
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<a href="http://muddycolors.blogspot.nl/2012/12/how-to-photograph-your-paintings.html" style="color: black; text-decoration: initial;">How to Photograph Your Paintings</a></h3>
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<span class="Apple-style-span" style="color: #666666;">-By Dan dos Santos</span></div>
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<br />I've been asked this question a <i>lot</i> here on Muddy Colors, and I guess it's about </div>
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time I finally got around to it. </div>
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<br />One of the reasons it's taken me so long to do a post about photographing my</div>
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work, is because photographing a piece is the <i>very</i> last phase of a commission.</div>
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Which means when I do it, I'm usually strung out, on my 40th hour of being </div>
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awake, trying my hardest to make a deadline, and just don't havethe time </div>
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(or stamina) to snap pictures of my setup. Which is shame, because it is arguable </div>
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the most important part of a commission.</div>
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<br />Getting a good photograph of your work is absolutely essential to the reproduction</div>
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process, and deserves just as much consideration as any phase of an illustration </div>
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assignment. After all, it doesn't matter how beautiful the original art is, the </div>
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Art Director is not going to be impressed if the cover it was commissioned for </div>
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looks bad.</div>
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<br />It is important to know, <b>different types of reproduction are better suited to </b></div>
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<b>different types of paintings</b>. I work in oils, on a smooth untextured surface, with </div>
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a decent amount of transparent layers. The process I am going to explain is what </div>
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works for MY WORK. You may find alternative methods work better for you. The </div>
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key is to experiment.</div>
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<br />So let's get to it!<br /><br /><i>Why photograph a painting myself?</i><br /><br />Typically, it is the Publisher's responsibility to scan a piece of original art. So why do even have to bother doing it ourselves? Well, for a few reasons...<br /><br />Firstly, I find my work reproduces a LOT better when I photograph and color-balance the image myself. Different artists use different mediums, and no one means of reproduction are great for all of them. A studio photographer will default to what method works best for the majority, which means you are not always getting the best results possible.<br /><br />Secondly, it's more convenient for my Publisher, who would otherwise have to send the art out to be scanned and lose at least a day in the process. Sometimes a day is really important when you're working against a deadline. Even if I hand deliver an original, I still bring a scan of the image as a courtesy.<br /><br />Lastly, cost. Sending a painting to get scanned professionally will cost upwards of $100. If you are doing this a few times a month, that will add up quickly. That money can be better invested in nice photo equipment.<br /><br />For particularly large, or particularly important pieces, I will sometimes go to a professional photographer to get my work scanned. But 9 times out of 10, I just do it myself.<br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8r0lH88unpIL5emjvwuvt5BVFiXDUNugbvsUY1HBS4OTTpMstlnYdNw5J9sXJqMt30hVrVZvTJnYbhaIIMiepm8nihdX0T11fo3S90DOk-buPsz94TWJzt9Y6Qlpox-1AznGkI60_ZXg/s1600/image.jpg" imageanchor="1" style="color: #e52828; margin-left: auto; margin-right: auto; text-decoration: initial;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8r0lH88unpIL5emjvwuvt5BVFiXDUNugbvsUY1HBS4OTTpMstlnYdNw5J9sXJqMt30hVrVZvTJnYbhaIIMiepm8nihdX0T11fo3S90DOk-buPsz94TWJzt9Y6Qlpox-1AznGkI60_ZXg/s400/image.jpg" style="-webkit-box-shadow: rgba(0, 0, 0, 0.2) 0px 0px 16px; background-color: transparent; background-position: initial initial; background-repeat: initial initial; border-bottom-left-radius: 0px; border-bottom-right-radius: 0px; border-top-left-radius: 0px; border-top-right-radius: 0px; border: 1px solid rgb(153, 153, 153); box-shadow: rgba(0, 0, 0, 0.2) 0px 0px 16px; padding: 8px; position: relative;" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 11px;">I often visit a local professional who has a 12 foot bed scanner.</td></tr>
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<br /><i>Should I use a Camera or Scanner?</i><br /><br />Personally, I choose to photograph my work instead of scanning it. This is for two reasons:<br /><br />1. Scanners tend to be quite small, and I don't want to stitch together 20 scans to get a single image.<br /><br />2. The light a scanner uses is really harsh, and tends to overpower the appearance of subtle glazes.<br /><br />For me, I find a camera better captures the way a human eye perceives the original art, particularly if you work with multiple layers of glazes. It seems to better retain the sense of luminosity and transparency.<br /><br />Of course, this will vary depending on what type of surface you work on, what mediums you use, etc. For instance, if you work on paper in a medium with a matte finish like gouache or watercolor, you will likely have better results with a scanner.<br /><br /><i>Should I shoot inside or outside?</i><br /><br />I always shoot indoors. On a cloudy day, you can get a decent shot outdoors, but it will never compare to the consistency of a controlled studio environment.<br /><br /><br /><div style="text-align: center;">
And now the Set up....</div>
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The most basic premise of getting a good photo is to light your painting with as <b>soft</b> and <b>even</b> of a light as possible.</div>
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The easiest way to do this is with strobes and bounce umbrellas. Bounce umbrellas not only reflect the light backwards, but they soften and spread it in the process. Soft light is very important. If the light is too direct, some areas of the painting will be brighter than others creating 'hot spots' or washed out colors. A soft light also helps to avoid harsh shadows and highlights.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfDDwL7LRxU_b93SY_rD3JJD6_qBiN9jYuJ0TPb2pBTOdmm_VigGEH-SvFgp96C-iqAhfGbm3g1cqKaa8bOHKMRp00uS6jQxp6CBwUbIHLO11y64NAUBEp8-m_GOjiUIT9AlvKXe0l-fE/s1600/calumet.jpg" imageanchor="1" style="color: #e52828; margin-left: 1em; margin-right: 1em; text-decoration: initial;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfDDwL7LRxU_b93SY_rD3JJD6_qBiN9jYuJ0TPb2pBTOdmm_VigGEH-SvFgp96C-iqAhfGbm3g1cqKaa8bOHKMRp00uS6jQxp6CBwUbIHLO11y64NAUBEp8-m_GOjiUIT9AlvKXe0l-fE/s320/calumet.jpg" style="-webkit-box-shadow: rgba(0, 0, 0, 0.2) 0px 0px 16px; background-color: transparent; background-position: initial initial; background-repeat: initial initial; border-bottom-left-radius: 0px; border-bottom-right-radius: 0px; border-top-left-radius: 0px; border-top-right-radius: 0px; border: 1px solid rgb(153, 153, 153); box-shadow: rgba(0, 0, 0, 0.2) 0px 0px 16px; padding: 8px; position: relative;" width="320" /></a></div>
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I use the same lights to photograph my paintings, that I use to photograph my models. It is a monolight kit, consisting of 2 x 750 watt/second strobes (1500 total), complete with umbrellas and stands. I use the exact kit found <a href="http://www.calumetphoto.com/eng/product/calumet_travelite_1500ws_2_head_kit_with_pulsar_tx/ce13102" style="color: #e52828; text-decoration: initial;" target="_blank">HERE</a>. A set up like this costs about $1000.<br /><br />If you are looking for something less expensive, I recommend a 'continuous light' kit. For the first 10 years of my career, I used this kit <a href="http://www.bhphotovideo.com/c/product/48828-REG/Smith_Victor_401429_K22U_A_Location_Tungsten_Two.html" style="color: #e52828; text-decoration: initial;" target="_blank">HERE</a>. A set up like this will cost about $350<br /><br />The advantage of the strobes is a <i>much</i> brighter and <i>much</i> whiter light. Having a lot of light is important if you want a lot of detail, and the whiter light makes color balancing your image a lot easier. The strobes also have an adjustable intensity, which the continuous light do not. Lastly, strobes do not put out as much heat as the continuous lights. Continuous lights are commonly referred to as 'hot lights', and for a very good reason. It may not seem like a big deal, but trust me, after 40 minutes under a 650 watt bulb, your model WILL be sweating.<br /><br />So what if you can't afford <i>either</i> set-up?<br /><br />You can achieve similar, albeit diminished, results with common lighting tools found at a WalMart or Home Depot.<br /><br />I would recommend:<br />4 x clamp lights, like THESE<br />4 x 120W compact fluorescent bulbs, in the 5000K range, like <a href="http://www.homedepot.com/h_d1/N-25ecodZ5yc1v/R-100687002/h_d2/ProductDisplay?catalogId=10053#.ULG6Lo7A5JM" style="color: #e52828; text-decoration: initial;" target="_blank">THESE</a><br />2 large sheets of white foam core.<br /><b>Total cost: $50</b><br /><br />If you do not have umbrellas, you can use a white piece of foam core. Just angle it appropriately so that the light bounces back at the painting the same way the umbrella would. You can even score and bend the foam core to create more a concave shape.<br /><br />Once you have the necessary lights, the next step is <b>positioning</b>.<br /><br />I photograph my paintings upright, at a 90º angle. To either side of my painting, is one of my strobes. I aim the strobes AWAY from the painting, and let the umbrellas bounce the light BACK toward the painting at roughly a 160º angle. This is called a 'raking' light.<br /><br />This angle is extremely important! If you place your lights in such a manner that the light strikes the painting at an acute angle (less than 90º), the light will bounce off the painting, and back into the camera lens... causing glare. Glare, is quite literally a reflection of the light source on your painting's surface. The more acute this angle is, the worse the glare will be. An on camera flash would result in the absolute worst glare possible, since it is striking the surface at an angle of 0º degrees.<br /><br /><div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFhu5qt3kGWPH8NrAp97JCyDw4y05lQFjhKYyzbYqN2TR2FRHaXa1sdyCdmc7Log0HlYvxOp37r7njR0sZSq_FvaxKsPUe-Rg6I30DRkshScbJYMgDYZbOH_XjumyU2bkPlNIpH3XNXHk/s1600/photo_good.jpg" imageanchor="1" style="color: #e52828; margin-left: 1em; margin-right: 1em; text-decoration: initial;"><img border="0" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFhu5qt3kGWPH8NrAp97JCyDw4y05lQFjhKYyzbYqN2TR2FRHaXa1sdyCdmc7Log0HlYvxOp37r7njR0sZSq_FvaxKsPUe-Rg6I30DRkshScbJYMgDYZbOH_XjumyU2bkPlNIpH3XNXHk/s400/photo_good.jpg" style="-webkit-box-shadow: rgba(0, 0, 0, 0.2) 0px 0px 16px; background-color: transparent; background-position: initial initial; background-repeat: initial initial; border-bottom-left-radius: 0px; border-bottom-right-radius: 0px; border-top-left-radius: 0px; border-top-right-radius: 0px; border: 1px solid rgb(153, 153, 153); box-shadow: rgba(0, 0, 0, 0.2) 0px 0px 16px; padding: 8px; position: relative;" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitJGU1mWlbHlzZhwyhp95fgk58zrRHAG4rFSOqg9s291X9h8woCFsZxqw6TMYl0JuoG8iJBruJj7KKZT0HMwL8eiHaZnvMUDFJkMvJexwFPdtrZ5wLabbIGKxoWMPwP58MVT43a-znuQ8/s1600/photo_bad.jpg" imageanchor="1" style="color: #e52828; margin-left: 1em; margin-right: 1em; text-decoration: initial;"><img border="0" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitJGU1mWlbHlzZhwyhp95fgk58zrRHAG4rFSOqg9s291X9h8woCFsZxqw6TMYl0JuoG8iJBruJj7KKZT0HMwL8eiHaZnvMUDFJkMvJexwFPdtrZ5wLabbIGKxoWMPwP58MVT43a-znuQ8/s400/photo_bad.jpg" style="-webkit-box-shadow: rgba(0, 0, 0, 0.2) 0px 0px 16px; background-color: transparent; background-position: initial initial; background-repeat: initial initial; border-bottom-left-radius: 0px; border-bottom-right-radius: 0px; border-top-left-radius: 0px; border-top-right-radius: 0px; border: 1px solid rgb(153, 153, 153); box-shadow: rgba(0, 0, 0, 0.2) 0px 0px 16px; padding: 8px; position: relative;" width="400" /></a></div>
<br />Once the lights are in position, I set up my camera and tripod. Now cameras and lenses are a great big bag of worms that I am <i>not</i> going to open here. We could talk about that for days! Suffice it to say, the better camera you have, and the better lens you have, the better your image is going to be.<br /><br />I will say this though...<br /><br /><b>Lenses:</b><br />I shoot with a 50mm prime lens. A prime lens is one that does not zoom in or out. Instead, you have to move the camera forwards and backwards. That is annoying for reference shoots, but the advantage of a prime lens is that the image is crisper, and has much less distortion around the edges. A prime lens is not necessary (I only got mine a year ago), but it is a big help. If you <i>do</i> get a lot of lens distortion with your camera, there are several features in Photoshop that can help correct that.<br /><br /><b>Aperture:</b><br /><div style="margin: 0px;">
Many people assume that narrowing your aperture to F/22 will always give you the crispest shot. <b>This is not true</b>. Any adjustable zoom lens has a 'sweet spot', a perfect combination of aperture and zoom where the light is most focused. (Think of it like sun through a magnifying glass). This sweet spot is usually somewhere in the middle of a lens' zoom/aperture range. To find it, you need to experiment. </div>
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To find mine, I shot some fine magazine print in every zoom range possible. I went through those shots, found the one with the most detail, and then shot at that zoom range in every aperture possible. The crispest amongst those will tell you where your sweet spot is.</div>
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<b>File Format:</b><br />Always shoot in RAW format if possible. Check your camera's settings, and try to find the highest quality/compression possible. Many high end cameras offer a RAW format option. RAW format does very little compressing, and allows you to alter your exposure/color settings <i>after</i> you shoot the image.<br /><br /><b>ISO:</b><br />Always shoot at the lowest ISO possible (Sometimes called ASA). I typically shoot at 100 ISO. If you go above 400, you are likely going to get a lot of noise in the dark areas. It's better to have a really slow shutter speed than to try to bump up the ISO.<br /><br /><b>White Balance:</b><br />White balance is imperative! Look at your lightbulbs, and find out the exact color rating. The closer to 5000K (or above), the better. Anything less than 3000K, and your image is going to be too yellow. Yes, your camera will correct for it, but in doing so will lose the difference between subtle whites and yellows. Once you know the temperature rating of your bulbs, set your camera to that exact white balance. On my camera, I can set it in 100K increments. Your camera may only have 'custom' option. In this case, you will need to photograph a '<a href="http://news.dphotographer.co.uk/wp-content/uploads/2008/10/ept-ii-a-side.jpg" style="color: #e52828; text-decoration: initial;" target="_blank">grey card</a>', in order to accurately calibrate your camera.<br /><br /><b>Tripods:</b><br />Do not attempt to hand hold a camera when reproducing your work. Even the subtlest of vibrations will ruin the detail. In fact, not only do I use a sturdy tripod, but I usually set my camera on a delayed timer, because the simple action of even pressing the shutter button by hand is often enough to shake the camera. Like wise, if your camera lens has a Vibration Reduction feature, turn it <i>off</i>. If there is no vibration, that feature actually does more bad than good.<br /><br />OK!<br />So we've got our lights set up with no glare...<br />Have our lenses zoomed into their sweet spots...<br />Set our ISO to 100...<br />Adjusted our White Balance...<br />And leveled our tripods to ensure they are perfectly straight with our painting...<br /><br />We are ready to shoot!!!<br /><br /><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBrOeiTdq0EYfih8zeCeJ-VGSPA36TpVmk8SRXianP1n5nBJTzQ6loZurjoONt8JaU9Z6sA3S33uRLbi8o9B-TG0ETJO370egbJeSjoAMypAAHgbKGjdNKGc-KMrHShOqkhuxqvf5SKmM/s1600/photo_setup.jpg" imageanchor="1" style="color: #e52828; text-decoration: initial;"><img border="0" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBrOeiTdq0EYfih8zeCeJ-VGSPA36TpVmk8SRXianP1n5nBJTzQ6loZurjoONt8JaU9Z6sA3S33uRLbi8o9B-TG0ETJO370egbJeSjoAMypAAHgbKGjdNKGc-KMrHShOqkhuxqvf5SKmM/s640/photo_setup.jpg" style="-webkit-box-shadow: rgba(0, 0, 0, 0.2) 0px 0px 16px; background-color: transparent; background-position: initial initial; background-repeat: initial initial; border-bottom-left-radius: 0px; border-bottom-right-radius: 0px; border-top-left-radius: 0px; border-top-right-radius: 0px; border: 1px solid rgb(153, 153, 153); box-shadow: rgba(0, 0, 0, 0.2) 0px 0px 16px; padding: 8px; position: relative;" width="640" /></a></div>
<br />Now my camera is by no means 'top of line'. I shoot with a slightly outdated, 10 megapixel, Nikon D200. The image this gives me isn't <i>huge</i>, but it is certainly large enough for a 6x9 inch book cover at 300 dpi. However, I'm worried about <b>more</b> than just the book cover.<br /><br />What if my client wants to zoom in on the painting, and use just a detail of a the face?<br />What if I want to make a poster of the painting?<br />What if I finally do a book of my art?<br /><br />I am going to need a MUCH larger image for any of these purposes.<br /><br />Because of this, I actually shoot my painting in 3 separate shots, and then stitch them together later. I take a shot of the top, the middle, and the bottom of my painting, all with significant overlap. When shooting the middle, I take special care not to crop on any particularly important areas like a face.<br /><br /><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVImS9T54P6bwGJ6lNzzprNHL4WznYzsngIBvTM-6VUeHBZUshtfnwHn4MpA6ilO32y2Jcm0c4Pk3r29GexzjblZ8_CHDmd2EcU6vKXwUYd308jqY7lEvt_5AijoP4RlWUM8bBlS1I7DI/s1600/photo_1.jpg" imageanchor="1" style="color: #e52828; margin-left: 1em; margin-right: 1em; text-decoration: initial;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVImS9T54P6bwGJ6lNzzprNHL4WznYzsngIBvTM-6VUeHBZUshtfnwHn4MpA6ilO32y2Jcm0c4Pk3r29GexzjblZ8_CHDmd2EcU6vKXwUYd308jqY7lEvt_5AijoP4RlWUM8bBlS1I7DI/s640/photo_1.jpg" style="-webkit-box-shadow: rgba(0, 0, 0, 0.2) 0px 0px 16px; background-color: transparent; background-position: initial initial; background-repeat: initial initial; border-bottom-left-radius: 0px; border-bottom-right-radius: 0px; border-top-left-radius: 0px; border-top-right-radius: 0px; border: 1px solid rgb(153, 153, 153); box-shadow: rgba(0, 0, 0, 0.2) 0px 0px 16px; padding: 8px; position: relative;" width="435" /></a></div>
<br />I then import these RAW images into Photoshop. Using the built in RAW editor, I can adjust any exposure/color inaccuracies I see.<br /><br /><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc0b0KA0syWP6QRzeJZGONwZZ8LujgEjJxLWh3SStEDqBQFy7IaIBgPsGg58rNwGTO5AyZz9_mY_yHPQLNaowNs6iII84RO-i6Jg8Zcg3c4nxwtm2RHXrbcLQHuGxgHw6f5moBNQl5GcE/s1600/Screen+shot+2012-11-25+at+3.11.52+PM.png" imageanchor="1" style="color: #e52828; margin-left: 1em; margin-right: 1em; text-decoration: initial;"><img border="0" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc0b0KA0syWP6QRzeJZGONwZZ8LujgEjJxLWh3SStEDqBQFy7IaIBgPsGg58rNwGTO5AyZz9_mY_yHPQLNaowNs6iII84RO-i6Jg8Zcg3c4nxwtm2RHXrbcLQHuGxgHw6f5moBNQl5GcE/s400/Screen+shot+2012-11-25+at+3.11.52+PM.png" style="-webkit-box-shadow: rgba(0, 0, 0, 0.2) 0px 0px 16px; background-color: transparent; background-position: initial initial; background-repeat: initial initial; border-bottom-left-radius: 0px; border-bottom-right-radius: 0px; border-top-left-radius: 0px; border-top-right-radius: 0px; border: 1px solid rgb(153, 153, 153); box-shadow: rgba(0, 0, 0, 0.2) 0px 0px 16px; padding: 8px; position: relative;" width="400" /></a></div>
<br />Once I am content with the exposure/color balance, I splice the images together. Photoshop actually has a really nifty Photomerge tool just for this sort of thing. Go to: (File > Automate > Photomerge). If I <i>still</i> see some color imbalances, I usually remedy it using the 'color balance' tool, or 'selective color' tool.<br /><br />The final result is a file that is about 20 inches tall at 300 dpi... more than enough for most professional applications!<br /><br />I tend to keep this original file for my own personal records. I usually give my Art Director a slightly smaller file, roughly 11x17 (300 dpi), which is still more than enough for any of their needs.<br /><br />I then make a low-rez version (800-900 pixels) for my website, add a small watermark, <b>and I am done!!!</b><br /><br /><div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHBQD4cjVNdC7VO8ykW4Mvjt2MEfRCGZAWtdKYeA-hLN3MgByywGsNaY0xSom40kz3cx427s4a-i1kPcKSbgKC77JUxNBPMVj-zpPqLvn46ksyYKMsKE0S32r5DsJF2lok1UDZ3B9rf8Y/s1600/dan_dos_santos_swamp_goddess.jpg" imageanchor="1" style="color: #e52828; margin-left: 1em; margin-right: 1em; text-decoration: initial;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHBQD4cjVNdC7VO8ykW4Mvjt2MEfRCGZAWtdKYeA-hLN3MgByywGsNaY0xSom40kz3cx427s4a-i1kPcKSbgKC77JUxNBPMVj-zpPqLvn46ksyYKMsKE0S32r5DsJF2lok1UDZ3B9rf8Y/s640/dan_dos_santos_swamp_goddess.jpg" style="-webkit-box-shadow: rgba(0, 0, 0, 0.2) 0px 0px 16px; background-color: transparent; background-position: initial initial; background-repeat: initial initial; border-bottom-left-radius: 0px; border-bottom-right-radius: 0px; border-top-left-radius: 0px; border-top-right-radius: 0px; border: 1px solid rgb(153, 153, 153); box-shadow: rgba(0, 0, 0, 0.2) 0px 0px 16px; padding: 8px; position: relative;" width="420" /></a></div>
<br /><i><a href="http://muddycolors.blogspot.nl/2012/12/how-to-photograph-your-paintings.html" target="_blank">LINK </a>to the original post at Muddycolors</i><div style="clear: both;">
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Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.com7tag:blogger.com,1999:blog-293624585804845606.post-29825230568358115462012-10-04T13:14:00.000-07:002012-10-04T13:38:10.255-07:00Thoughts on character design<!--[if gte mso 9]><xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>167</o:Words> <o:Characters>955</o:Characters> <o:Company>Wouter Tulp</o:Company> <o:Lines>7</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>1172</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings></xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting/> <w:HyphenationZone>21</w:HyphenationZone> <w:PunctuationKerning/> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables/> <w:DontGrowAutofit/> <w:DontAutofitConstrainedTables/> <w:DontVertAlignInTxbx/> </w:Compatibility> </w:WordDocument></xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles></xml><![endif]--><!--[if gte mso 10]><style> /* Style Definitions */table.MsoNormalTable {mso-style-name:Standaardtabel; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0cm; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;}</style><![endif]--><!--StartFragment--><br />
<div class="MsoNormal"><b><u><span lang="NL">Somethings I think are important in character design.<o:p></o:p></span></u></b></div><div class="MsoNormal"><u><br />
</u></div><div class="MsoNormal"><!--[if gte mso 9]><xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>70</o:Words> <o:Characters>402</o:Characters> <o:Company>Wouter Tulp</o:Company> <o:Lines>3</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>493</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings></xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting/> <w:HyphenationZone>21</w:HyphenationZone> <w:PunctuationKerning/> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables/> <w:DontGrowAutofit/> <w:DontAutofitConstrainedTables/> <w:DontVertAlignInTxbx/> </w:Compatibility> </w:WordDocument></xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles></xml><![endif]--><!--[if gte mso 10]><style> /* Style Definitions */table.MsoNormalTable {mso-style-name:Standaardtabel; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;}</style><![endif]--><!--StartFragment--></div><div class="MsoNormal"><span lang="NL">This post is about thoughts I have about character desing, not a ‘how to draw’tutorial. Besides knowing how to draw a character, how to use perspective, howto draw expressions, there is also an internal process going on when I design a character. I tried to write down some thoughts about designing characters, and I’d like to share them with you. I hope they can be ofuse for you. If you have comments or additions, please leave a message in the commentssection. </span></div><div class="MsoNormal"><span lang="NL"><u><br />
</u></span></div><div class="MsoNormal"><span lang="NL"><u>1. Observation</u></span></div><div class="MsoNormal"><span lang="NL"><u><br />
</u></span></div><div class="MsoNormal">I make a habit of constantly observing people.I found that for me to understand a character, I need a certain understandingof people, how they act, how they convey their emotions, why they wear certainclothes, how they use body language to emphasize or contradict what they aresaying. A man who just got robbed,will walk into a police station completely different than a man who was justcalled his stolen car has just been found. Someone who is genuinly happy foryou will smile at you differentlythan a salesman giving you his smiling talk.</div><div class="MsoNormal"><span lang="NL">I find it really useful to study actors, andthe way they ‘get to know’ their character. How they use body language, facialexpressions, clothing, make up etc. to define a character. Some actors have really mastered the art of ‘becoming’ a character. They are very much aware of every gesture, howthey move, talk and breathe. It can be really helpful to approach the desing ofa character in a similar way</span></div><div class="MsoNormal"><span lang="NL">It is the task of a character designer to usehis knowledge of how people and translate this into a design that is believable. </span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU9i6qkDX7AW6ypicf9JY5i4Bx4u9vhuXyTz6ew-Dm8OxCF36kisj0Gij5d5he3d7vyMyU5OeWFbt6lSXoeFT5Nzo3ecaxAIx9qnoCLrsPJtHcUyIiF4j3qWdkRnanlaKLNOPjqljaxvzi/s1600/kriebelmensen.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU9i6qkDX7AW6ypicf9JY5i4Bx4u9vhuXyTz6ew-Dm8OxCF36kisj0Gij5d5he3d7vyMyU5OeWFbt6lSXoeFT5Nzo3ecaxAIx9qnoCLrsPJtHcUyIiF4j3qWdkRnanlaKLNOPjqljaxvzi/s320/kriebelmensen.jpg" width="320" /></a></div><div class="MsoNormal"><span lang="NL"><!--[if gte mso 9]><xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>82</o:Words> <o:Characters>468</o:Characters> <o:Company>Wouter Tulp</o:Company> <o:Lines>3</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>574</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings></xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting/> <w:HyphenationZone>21</w:HyphenationZone> <w:PunctuationKerning/> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables/> <w:DontGrowAutofit/> <w:DontAutofitConstrainedTables/> <w:DontVertAlignInTxbx/> </w:Compatibility> </w:WordDocument></xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles></xml><![endif]--><!--[if gte mso 10]><style> /* Style Definitions */table.MsoNormalTable {mso-style-name:Standaardtabel; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0cm; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;}</style><![endif]--><!--StartFragment--></span></div><div class="MsoNormal"><u><span lang="NL"><br />
</span></u></div><div class="MsoNormal"><!--[if gte mso 9]><xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>82</o:Words> <o:Characters>473</o:Characters> <o:Company>Wouter Tulp</o:Company> <o:Lines>3</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>580</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings></xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting/> <w:HyphenationZone>21</w:HyphenationZone> <w:PunctuationKerning/> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables/> <w:DontGrowAutofit/> <w:DontAutofitConstrainedTables/> <w:DontVertAlignInTxbx/> </w:Compatibility> </w:WordDocument></xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles></xml><![endif]--><!--[if gte mso 10]><style> /* Style Definitions */table.MsoNormalTable {mso-style-name:Standaardtabel; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;}</style><![endif]--><!--StartFragment--></div><div class="MsoNormal"><u><span lang="NL">2. Reading the script<o:p></o:p></span></u></div><div class="MsoNormal"><span lang="NL">I thoroughly read the script, speak with thewriter in order to get as much information as possible about the character tocreate an idea in your mind tounderstand who this characteris. Designing a character is notjust playing around with shapes; it really is finding and defining the character’spersonality.</span></div><span lang="NL" style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: NL; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Cambria; mso-fareast-language: EN-US;">When I read the script I focus on: How does the character feel, but alsohow he uses subtext in his expressions; If he’s scared, does he show it, ordoes he hide it, how does he relate to his environment. If he’s big, does hefeel big?</span><!--EndFragment--><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA7foIdEgwLszWoZz3YAYAxjqVAMXH7ZqohMRQxRmbCqDE9qk3zQg9gXPQijUyQMwsrlw87mwiQLnh3JYrXTOc4avkHZpLboo12SmfvgLEvq4MqKNyV6SFzxVX5zGio70P8gNxcbLLcIo/s1600/reading_web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA7foIdEgwLszWoZz3YAYAxjqVAMXH7ZqohMRQxRmbCqDE9qk3zQg9gXPQijUyQMwsrlw87mwiQLnh3JYrXTOc4avkHZpLboo12SmfvgLEvq4MqKNyV6SFzxVX5zGio70P8gNxcbLLcIo/s320/reading_web.jpg" width="311" /></a></div><div class="separator" style="clear: both; text-align: center;"><!--[if gte mso 9]><xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>193</o:Words> <o:Characters>1105</o:Characters> <o:Company>Wouter Tulp</o:Company> <o:Lines>9</o:Lines> <o:Paragraphs>2</o:Paragraphs> <o:CharactersWithSpaces>1357</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings></xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting/> <w:HyphenationZone>21</w:HyphenationZone> <w:PunctuationKerning/> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables/> <w:DontGrowAutofit/> <w:DontAutofitConstrainedTables/> <w:DontVertAlignInTxbx/> </w:Compatibility> </w:WordDocument></xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles></xml><![endif]--><!--[if gte mso 10]><style> /* Style Definitions */table.MsoNormalTable {mso-style-name:Standaardtabel; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin-top:0cm; mso-para-margin-right:0cm; mso-para-margin-bottom:10.0pt; mso-para-margin-left:0cm; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;}</style><![endif]--><!--StartFragment--></div><div class="MsoNormal" style="text-align: left;"><u><span lang="NL">3. Documentation<o:p></o:p></span></u></div><div class="MsoNormal" style="text-align: left;"><span lang="NL">There is more to the character than just howhe feels. ‘personality’ can be added to the character by how he dresses, how hecombs his hair. If I want the character to be believable and convincing I need to use elements from the world we know, and use and alter them in my design. The choices I make arebased on the script, and from this, I try to be creative, and come up with manydifferent ‘solutions’ for what the character could look like. </span></div><div class="MsoNormal" style="text-align: left;"><span lang="NL">Google is a very helpful tool in referencingclothes, and assecoiries, but going out and looking at the real stuff, andmaking sketches on location can be very important as well. When I need to findout what dress a dancer has to wear, it can sometimes be more useful to go to adance club and speak with dancers, and understand what is important for a dancedress, than to randomly combine google images into one dress. Someone who knows all about dance dresses should also be convinced by my design...</span></div><div class="MsoNormal" style="text-align: left;"><span lang="NL">I like to combine ‘direct’ documentation withassociative documentation. For instance when I need to design a certain dress, I look for dresses in real life(direct documentation) but also for things I associate with the mood it has to have,or the personality of the character, or something random that comes up when Ithink of the character. (associative documentation.) Combinig these twoelements, often lead to believable, but also creative design.</span></div><!--EndFragment--><br />
<div class="MsoNormal"><span lang="NL"><br />
</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAlqfLMJsY45RfYN-EgZalxPTMSMclMm9JtU1bni2cHdFEvDvfLeXTnzxaDLH5LA7Y9vt4FW7pdEIIqarh4mEVeCZyIUmysNZgV8b_nttHnczE9GGIlu0o0DgNJmni-NAuTKWXccPhmW8a/s1600/documentation.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAlqfLMJsY45RfYN-EgZalxPTMSMclMm9JtU1bni2cHdFEvDvfLeXTnzxaDLH5LA7Y9vt4FW7pdEIIqarh4mEVeCZyIUmysNZgV8b_nttHnczE9GGIlu0o0DgNJmni-NAuTKWXccPhmW8a/s320/documentation.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><!--[if gte mso 9]><xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>166</o:Words> <o:Characters>949</o:Characters> <o:Company>Wouter Tulp</o:Company> <o:Lines>7</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>1165</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings></xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting/> <w:HyphenationZone>21</w:HyphenationZone> <w:PunctuationKerning/> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables/> <w:DontGrowAutofit/> <w:DontAutofitConstrainedTables/> <w:DontVertAlignInTxbx/> </w:Compatibility> </w:WordDocument></xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles></xml><![endif]--><!--[if gte mso 10]><style> /* Style Definitions */table.MsoNormalTable {mso-style-name:Standaardtabel; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;}</style><![endif]--><!--StartFragment--></div><div class="MsoNormal" style="text-align: left;"><u><span lang="NL">4. Trial and error<o:p></o:p></span></u></div><div class="MsoNormal" style="text-align: left;"><span lang="NL">It takes more than one drawing to come up witha final character design. Sketching often is no more than thinking visually. Someideas are good, some are bad, but there’s always room for improvement. </span></div><div class="MsoNormal" style="text-align: left;"><span lang="NL">Step 1, 2 and 3 are essential to come up withvarious ideas and concepts. A character designer comes up with many differentideas and approaches to the subject. Allowing myself to try things that don’twork, is essential to eventually come up with great ideas. Nobody likes to showtheir bad drawings, but in order to be creative, it is neccesary to exploremany different directions. I hateit when a drawing or a conceptdoesn’t work, or when I make a bad drawing. The alternative however, is not allowing myself to make anymistakes, wich would mean doing the same thing over and over again...that’s notan option for me.</span></div><div class="MsoNormal" style="text-align: left;"><span lang="NL">The great thing in designig a character thisway, is that I ‘get to know’ thecharacter during the process. Whena drawing doesn’t communicate what I want it to, it means it doesn’t portray thecharacter. Trying againdifferently makes me slowly but surely discover who this character actually is.</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCkVijVakCBstDbVRhpxnUABMhrpHcY7rzlbZzIh4ppvfuaLzqC_qzDX4jb8NdzTlfdoXBbnRRPNXLmmAO3L6o1M1IL52Nse5hIwvPwogQZmQPQe-3_De0kIibzYTmECRppqJYPDY3_P1r/s1600/rabbits.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCkVijVakCBstDbVRhpxnUABMhrpHcY7rzlbZzIh4ppvfuaLzqC_qzDX4jb8NdzTlfdoXBbnRRPNXLmmAO3L6o1M1IL52Nse5hIwvPwogQZmQPQe-3_De0kIibzYTmECRppqJYPDY3_P1r/s320/rabbits.jpg" width="320" /></a></div><div class="MsoNormal" style="text-align: left;"><!--[if gte mso 9]><xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>167</o:Words> <o:Characters>953</o:Characters> <o:Company>Wouter Tulp</o:Company> <o:Lines>7</o:Lines> <o:Paragraphs>1</o:Paragraphs> <o:CharactersWithSpaces>1170</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings></xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting/> <w:HyphenationZone>21</w:HyphenationZone> <w:PunctuationKerning/> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables/> <w:DontGrowAutofit/> <w:DontAutofitConstrainedTables/> <w:DontVertAlignInTxbx/> </w:Compatibility> </w:WordDocument></xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles></xml><![endif]--><!--[if gte mso 10]><style> /* Style Definitions */table.MsoNormalTable {mso-style-name:Standaardtabel; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;}</style><![endif]--><!--StartFragment--></div><div class="MsoNormal"><u><span lang="NL">5. Technique<o:p></o:p></span></u></div><div class="MsoNormal"><span lang="NL">A lot of books are written on character designtechnique. As I mentioned, I won’t go into ‘how to draw a character’ in this post, but there aresome things to be said about technique. </span></div><div class="MsoNormal"><span lang="NL">It is important to constantly keep ondeveloping both my drawing skills, as well as my creative skills, which meansbeing able to come up with creative and original ideas.</span></div><div class="MsoNormal"><span lang="NL">Because most characters are based on humancharacters – even when the character is a tree, a donut or a rock, it’sexpression and the way it’ll communicate with as is by human gestures andemotions- it’s important to attend life drawing classes. In these classes Idevelop a better understanding of human anatomy, expressions, shapes, 3dimensionality drawing skills, quick sketching skills and so on… </span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7jG5Mblj5KB6KI2HcQ1pXsyG2SZPwaqMwfg8xmwj_Vw_Ldyy_Ucf60mj0LBlIfAEuXfb_byMFwYM86_5sjOm3MCpzTqDcKxLY9AzCpCXeLxwK3uIMb4rDX33WcEpaeDpEHgGL9pKA4FU/s1600/29w.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7jG5Mblj5KB6KI2HcQ1pXsyG2SZPwaqMwfg8xmwj_Vw_Ldyy_Ucf60mj0LBlIfAEuXfb_byMFwYM86_5sjOm3MCpzTqDcKxLY9AzCpCXeLxwK3uIMb4rDX33WcEpaeDpEHgGL9pKA4FU/s320/29w.jpg" width="320" /></a></div><div class="MsoNormal"><span lang="NL"><br />
</span></div><div class="MsoNormal"><span lang="NL"><br />
</span></div><div class="MsoNormal">When drawing from life, making a caricature of what I see is very useful. Certain features of a model stand out, and emphasizing these features is like underlining an important remark in a notebook. I can go through my sketchbook and easily recognise what it is that stood out to me during a specific drawing session, and I can use this information in my character designs.</div><div class="separator" style="clear: both; text-align: center;"></div><div class="MsoNormal"><span lang="NL"><br />
</span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiubimNOD50YEDrAIcZSXlPe6urfJNyRTavE4NV56JkJypPVFpJEtwwOSvfbPxQCRhRG6r7XR5QSoe5o_P8_0b1Wm72Vb69GgEH_8s_GizYCbk1f0gfU4AN_FFq_fPwUKnfnn2ZkS6VYiWU/s1600/001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiubimNOD50YEDrAIcZSXlPe6urfJNyRTavE4NV56JkJypPVFpJEtwwOSvfbPxQCRhRG6r7XR5QSoe5o_P8_0b1Wm72Vb69GgEH_8s_GizYCbk1f0gfU4AN_FFq_fPwUKnfnn2ZkS6VYiWU/s320/001.jpg" width="276" /></a></div><span lang="NL"><br />
</span></div><div class="MsoNormal"><span lang="NL"></span></div><div class="MsoNormal"><span lang="NL">Within a charachter it’s all about proportions. About the relationship between the sizes of the different body parts, the sizes of the different volumes, textures, colors, etc.</span></div><div class="MsoNormal"><span lang="NL">In the end there has to be a relationship beteen all proportions that suits the character. Wether it is balanced , for instance based on the golden ratio, or disbalanced; creating an off-balanced character.</span></div><div class="MsoNormal"><span lang="NL">It often helps me to think of contrasts. if a character has curly hair, I can juxtapose this by adding straight elements, for instace a sword, so they complement each other (fuzzy curly hair, soft vs. metal straight). Or a man who is very wise and knows a lot of things, may have a big head, so his body can be small to put emphasis on the head. Using contrasts is a useful tool to be very clear about what you want to express. If all is blue, then red stands out. When I have established that, I can look for the right balance between red and blue. So I first look for the big statements, and then refine them.</span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3ECsQ9JW61QLx5SUgnLtGcxFSwsuPIp-dXXULLeILXxlXIrlv6Un2Z-fL1bLxVbXZsMOp7hjAfKyPfT3uSRkkmibZ7EQPVekNRmBew1ndR8dT3-eb0sqeiKJA3G38vSthEYeszxqUOUI-/s1600/Leosketches_003web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3ECsQ9JW61QLx5SUgnLtGcxFSwsuPIp-dXXULLeILXxlXIrlv6Un2Z-fL1bLxVbXZsMOp7hjAfKyPfT3uSRkkmibZ7EQPVekNRmBew1ndR8dT3-eb0sqeiKJA3G38vSthEYeszxqUOUI-/s320/Leosketches_003web.jpg" width="208" /></a></div><br />
</div><!--EndFragment-->Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.com11tag:blogger.com,1999:blog-293624585804845606.post-51333564623679775022012-09-27T23:58:00.002-07:002012-09-27T23:58:57.516-07:00Drawing the headGreat drawing tutorial videos by <a href="http://www.stanprokopenko.com/" target="_blank">Stanislav Prokopenko</a><iframe allowfullscreen="allowfullscreen" frameborder="0" height="315" src="http://www.youtube.com/embed/z4ZLkyTuX_w" width="560"></iframe>
<iframe allowfullscreen="allowfullscreen" frameborder="0" height="315" src="http://www.youtube.com/embed/yS6R2l8t8wo" width="560"></iframe>
<iframe allowfullscreen="allowfullscreen" frameborder="0" height="315" src="http://www.youtube.com/embed/1EPNYWeEf1U" width="560"></iframe>
<iframe allowfullscreen="allowfullscreen" frameborder="0" height="315" src="http://www.youtube.com/embed/PgK90TpV5fA" width="560"></iframe>
<iframe allowfullscreen="allowfullscreen" frameborder="0" height="315" src="http://www.youtube.com/embed/u6-bCgRmcko" width="560"></iframe>
<iframe allowfullscreen="allowfullscreen" frameborder="0" height="315" src="http://www.youtube.com/embed/TtrqSIhZR_Y" width="560"></iframe>
<iframe allowfullscreen="allowfullscreen" frameborder="0" height="315" src="http://www.youtube.com/embed/nWZZ3SFmDS8" width="560"></iframe>
Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.com0tag:blogger.com,1999:blog-293624585804845606.post-68395774551813474762012-04-23T06:23:00.001-07:002012-04-23T06:23:53.672-07:00Experimenting<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqfsMu1AdRQyPlqpRAgQwNAUtSJLZZfMJDr4bTXF-eXPYlF_uI6s0DUBE3DvlADUvHHz1uxFImiyUXZc2Xrf9YgL6RNc-IT-YRjP5ln05XwJsR7CHDd54mzXH2wziJ61Iaj_q7goTf6cl-/s1600/Olieschets001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqfsMu1AdRQyPlqpRAgQwNAUtSJLZZfMJDr4bTXF-eXPYlF_uI6s0DUBE3DvlADUvHHz1uxFImiyUXZc2Xrf9YgL6RNc-IT-YRjP5ln05XwJsR7CHDd54mzXH2wziJ61Iaj_q7goTf6cl-/s320/Olieschets001.jpg" width="273" /></a></div>
Recently I found myself planning an illustration. Working out the concept, the composition, the colors, shapes, characters ect. It seemed like I wanted to be on top of everything in advance. I think its is a good thing to 'do your homework' before staring an illustration, but it is equally important to let a drawing evolve, and have accidents occur, to respond to.<br />
Creativity needs freedom and space. Especially at the moments you are not deliberately trying to squeeze out a concept for an illustration, the best ideas seem to pop up. (in the shower, while taking a walk, in your dreams)<br />
Also, to be creative, it is nessecary to leave in the possibility for your painting to fail. If you do not do this, and you are sure what is going to be the outcome, you will do the same thing over and over, and never learn something new...<br />
<br />
In order to push myself to explore new techniques and concepts and to let creativity flow freely, I like to play this little game:<br />
Before I get started, I make sure my equipment is ready. I set up a blank canvas and prepare my paints, or get my sketchbook and have my pencils ready. Then I set a time limit for myself. This can be 10 minutes, or a whole day. For this painting, I took 1,5 hours.<br />
<br />
1: limited time: 1,5 hour.<br />
2: In the first 15 minutes I come up with a concept, do little sketches, and look for reference images<br />
3: In the remaining hour and 15 minutes I paint.<br />
4: I try things I haven't done before<br />
<br />
This way of working forces me to make descisions quickly. There is no time for hesitation, and often it results in strong choices. I learn ton's of new stuff doing it, even (or maybe especially) when it's not working out at all...<br />
<br />
<br />
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<br />Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.com3tag:blogger.com,1999:blog-293624585804845606.post-72125797782883857182012-03-21T03:11:00.002-07:002012-03-21T03:11:55.418-07:00Words of wisdomSome good advice by Gregory Manchess: <br /> <br /> 1. Draw Now. Think Next.<br />
Ideas without followthrough are useless. Conceptual art without skill
is nothing. Ideas are cheap. One doesn’t get better at ideas by thinking
better thoughts. You must train to learn how to create them, what to do
with them. Train yourself to search for the good ones, to generate good
ones from practice.<br /> <br /> Draw. Draw your fool head o<span class="text_exposed_show">ff,
but draw. Draw first. Think about it next. Contrary to so-called avant
guard thinking, drawing doesn’t create answers, it creates more ideas.<br /> <br /> 2. Learn to be authentic.<br />
No one is quite like you anyway. Forget about being original. “Oh, it’s
so original!” Bah. You already are. Take the higher road, and learn to
be authentic.<br /> <br /> You are already connected. What you have to say
is important because we all want to know. Learn to discern, of course,
what is important from what is frivolous. It is all stowed inside, as
you’ve been working on it already for a long time. You won’t find your
style. If you are authentic to who you are, your style finds you.<br /> <br /> 3. Build luck and use it.<br />
When preparation meets opportunity, it’s called luck. Create your own
luck by being prepared to see it when it’s about to happen. Don’t wait
for it. You won’t see it if you don’t know what to look for. Luck
happens when you are ready for it, and you are ready for it when you’re
prepared: training.<br /> <br /> 4. All painting is re-painting.<br /> Do it
again. Drawing it once is never enough. Painting it once isn’t either.
Do it over and over, focusing on improvement each time. Got a favorite
part of a painting? Learn to paint it out. Learn to paint over it. Do
not try to save those good mistakes. Paint them again and this time
shoot to get it right...under your control. Nobody is an expert by doing
something good once.<br /> <br /> 5. Create momentum.<br /> Finished one good
piece? Great. I’m happy for you, but that’s not momentum. When one
painting is done, move into the next as soon as possible. Repetition is
key to keeping momentum, and momentum is key to gaining successful
training. Repeat your successes.<br /> <br /> 6. Keep finishing.<br /> Stop
quitting. Finish the stupid thing already, so you can move into the next
one. Do not allow failure to dictate your progress. You must push
against that. Fail and fail again. You will push through that failure
and keep moving. But learn from it as you do.<br /> <br /> “Ever tried. Ever failed. No matter. Try Again. Fail again. Fail better. --Samuel Beckett<br /> <br /> 7. Seek advice.<br />
Everyone has an opinion, especially about your work. It’s rather easy
to recognize the parts of someone else’s work that are problematic.
Finding your own? Tough as nails. When someone tells you what’s off
about your work, they are usually correct. When they tell you how to
repair it, they are nearly always incorrect.<br /> <br /> 8. Take criticism well.<br />
Which leads me to criticism: learn to take it, and use it well. Do not
take it personally, but try to decipher what it is they are coaching you
about. You can use that stuff, man. Grow some thick skin. Unless
they’re a jerk, there are golden nuggets of wisdom in there. And
remember: it’s meant for you, and you are the only one that can use it.<br /> <br /> 9. Work for good habits.<br />
Training as a painter is like training as an athlete, musician, pilot.
Learning a language lights up many of the same parts of your brain as
learning to draw a hand. It is now an indisputable fact that the brain
is plastic, even into old age.<br /> <br /> To your last breath, the brain
wants to learn and will do everything it can to get the advantage. It
builds nerve fibers to speed up learning. It strengthens the nerves to
send signals faster, for efficiency. Trick is, you want to build that
stuff for good uses. The brain is just as happy to build strong nerves
to reinforce bad habits.<br /> <br /> 10. Draw through, not around.<br />
Years ago, I was ok at drawing, but I needed to get better. Here’s the
problem: I wanted to be the kind of good that when I looked at my own
work, I actually liked it. I had to do this, otherwise, I wasn’t about
to spend all those years to come away feeling awkward about my attempts.
And then quit. No way.<br /> <br /> The absolute, drop-to-your-knees, scary
part of it was that I realized very quickly that it was going to take
training. That every time I drew, I had to get it as right as I could at
that very moment. And that was going to take time, effort, and learning
to feel a sense of progress, even when it wasn’t working in the least. I
was going to have to push through that crap.<br /> <br /> The only way to
get to that stage is to hunker down, and hone in. The way around is
through. Do not look for the shortcuts until later. Train yourself
through it, dammit.<br /> The goal doesn’t dwell on the applause-- it focuses on the skill.</span>Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.com4tag:blogger.com,1999:blog-293624585804845606.post-88175134488788603562012-02-29T01:19:00.002-08:002012-02-29T11:41:21.596-08:00Using the Gamut mask<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq93rkb3lYVr0RONs6XGzWXY6qkiBVjfrSA1zzAcH7mBZa2Zs01EH77fSivujZSRY_-L3HZVkzTKnwSwSOb1jrOHaKaX4CrbnohkUpbXd_QBQmKCM7HrJ04BqAv3HIrZsxc40-mrM7vV4H/s1600/A.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq93rkb3lYVr0RONs6XGzWXY6qkiBVjfrSA1zzAcH7mBZa2Zs01EH77fSivujZSRY_-L3HZVkzTKnwSwSOb1jrOHaKaX4CrbnohkUpbXd_QBQmKCM7HrJ04BqAv3HIrZsxc40-mrM7vV4H/s320/A.jpg" width="270" /></a></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUt85TjReK3VHiF6wKcxIS1LshZE21OIJd1k0PwWco_58eWGBIpuvLjB3_QjkZO-8XR2y7zlM2ORwi2N1wKsQN2C2YpWZ4f0XhCsqFioN0O_Qv22YXm98uHQLedxEWm-s6OHew2VzthZps/s1600/B.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUt85TjReK3VHiF6wKcxIS1LshZE21OIJd1k0PwWco_58eWGBIpuvLjB3_QjkZO-8XR2y7zlM2ORwi2N1wKsQN2C2YpWZ4f0XhCsqFioN0O_Qv22YXm98uHQLedxEWm-s6OHew2VzthZps/s320/B.jpg" width="226" /></a></div>
On this website you can find a GAMUT tool. You can choose different types of color wheels, play around with values, and cut any shape in the mask. <a href="http://www.livepaintinglessons.com/gamutmask.php" target="_blank">LINK</a><br />
In his book 'Color ans light' James Gurney explains the gamut mask a lot better than I do <a href="http://www.amazon.com/Color-Light-Guide-Realist-Painter/dp/0740797719" target="_blank">LINK</a><br />
For anyone interested in very detailed information on color and light,check out this <a href="http://www.huevaluechroma.com/index.php" target="_blank">LINK </a><br />
<br />Anonymoushttp://www.blogger.com/profile/05897807283420655277noreply@blogger.com2