This post will be continuously updated as time goes on. It is different than the Useful Reference Books and Materials posting in that it is explicitly for online sources.
DeviantArt.com - Start a portfolio, check out others, browse the forums, download brushes, etc.
ConceptArt.org - Contests, Tutorials, Mentors, Sketchbooks galore, you name it. This is what Art School should have taught me.
CGHub.com - tons of talent on display here!
http://artorder.blogspot.com/ - The blog of Jon Schindehette, Senior Art Director for D&D/WotC
http://stoneworksart.com/ArtorderMS/MiniAD.swf
(I absolutely love this app.)
http://www.imaginefx.com/
Ninja Mountain - http://www.ninjamountain.net/ - Just go have a look and learn a thing or three.
Wednesday, December 2, 2009
Monday, November 30, 2009
Flying Time
It's simply amazing to me how time slips past so quickly. I started this Blog basically as a place to collect my thoughts concerning all things Art and Artwork-related. What little I have up here is a good start to help me remember the foundations of my work, but there is so much more to cover. Still, I have had little time to reference or return to compile. It is with this thought that I return here. I hope to place here additions as a part of my new morning routine as part of my daily warm-up process. I may miss here and there at first, but I plan to make it a habit. We shall see how it progresses.
For now, however, I will simply post some notes on Inspiration. A very, very important word to the Artist, but ultimately a crutch if we are not cautious. Inspiration is, in no small part, inherently linked to drive and determination. I have had to ask myself, "What do you really want out of your work?" It's a tough question. Earlier this year I took a Technical Illustration position that has blossomed into a wonderful, steady gig. It's decent work, but a bit limited and restricted creatively. Still, it has taught me a good deal about deadlines and working to brief. With such boundaries around my work I have had to find new ways to get motivated. Inspiration has been difficult to come by on some days.
In Freelance work, which I do miss to some extent, Inspiration comes with each new project. As long as the project doesn't linger it's a breeze to get from concept to completion and never loose steam. Movies, music, comics, blogs, forums, games, and so much more (usually visual media for me) allow a great deal of mental spark to take place. However, with very specific and regulated work, an Artist has to look deeper. This is what I have settled on.
First, Take small bites.
This job is rather large, but it can be broken up into small portions. For instance there are several characters, objects, and environments. I typically set milestones for each week and sometimes days that I wish to achieve. These help to block out the work and make the job seem like several small jobs one after another. This allows me a sense of completion as I work through the mire of a really large job.
Second, Consider the End Goal.
The End Goal for me here is a job well done and a weekly paycheck. The job well done part is essential because it will lead to more high-end work and a great resume padding. Every Artist should definitely consider this. Reputation is everything for an Artist. If you have a recommendation or return work, you are golden. The other part is a given as well. A steady paycheck is a wonderful thing. It's simply amazing what you can do with a working budget as compared to the ebb and flow of Freelance work.
Third, Getting There.
Part of my problem is distraction. My mind wanders constantly and since I love to write as well as Illustrate I tend to get carried away with what I call Seed Ideas. The first thing I do here is clear my mind every morning. This is a series of checking emails, Facebook, News, and online games that I play (I try to limit this to no more than an hour total every morning, and usually while I eat breakfast). Once this is accomplished I have usually consumed a good deal of visual media and have already fired up the creative juices. I open Photoshop and try to get to work. I also dial in to a radio station, put on a CD, or even pull up YouTube to listen to prerecorded radio shows. Movies also work as long as they are out of sight. If nothing else I open a Word document and jot down any stray thoughts I have, date them, and then save it for a later look.
Forth, Rewards.
Several times a day I allow myself breaks. These are small breaks and are usually coupled with bathroom breaks and a trip to get a drink. I also check emails throughout the day and eat lunch on a semi-regular shedule. These little breaks help break up the monotony and give me a system of reward to look forward to for all the hard work I am putting in!
For now, however, I will simply post some notes on Inspiration. A very, very important word to the Artist, but ultimately a crutch if we are not cautious. Inspiration is, in no small part, inherently linked to drive and determination. I have had to ask myself, "What do you really want out of your work?" It's a tough question. Earlier this year I took a Technical Illustration position that has blossomed into a wonderful, steady gig. It's decent work, but a bit limited and restricted creatively. Still, it has taught me a good deal about deadlines and working to brief. With such boundaries around my work I have had to find new ways to get motivated. Inspiration has been difficult to come by on some days.
In Freelance work, which I do miss to some extent, Inspiration comes with each new project. As long as the project doesn't linger it's a breeze to get from concept to completion and never loose steam. Movies, music, comics, blogs, forums, games, and so much more (usually visual media for me) allow a great deal of mental spark to take place. However, with very specific and regulated work, an Artist has to look deeper. This is what I have settled on.
First, Take small bites.
This job is rather large, but it can be broken up into small portions. For instance there are several characters, objects, and environments. I typically set milestones for each week and sometimes days that I wish to achieve. These help to block out the work and make the job seem like several small jobs one after another. This allows me a sense of completion as I work through the mire of a really large job.
Second, Consider the End Goal.
The End Goal for me here is a job well done and a weekly paycheck. The job well done part is essential because it will lead to more high-end work and a great resume padding. Every Artist should definitely consider this. Reputation is everything for an Artist. If you have a recommendation or return work, you are golden. The other part is a given as well. A steady paycheck is a wonderful thing. It's simply amazing what you can do with a working budget as compared to the ebb and flow of Freelance work.
Third, Getting There.
Part of my problem is distraction. My mind wanders constantly and since I love to write as well as Illustrate I tend to get carried away with what I call Seed Ideas. The first thing I do here is clear my mind every morning. This is a series of checking emails, Facebook, News, and online games that I play (I try to limit this to no more than an hour total every morning, and usually while I eat breakfast). Once this is accomplished I have usually consumed a good deal of visual media and have already fired up the creative juices. I open Photoshop and try to get to work. I also dial in to a radio station, put on a CD, or even pull up YouTube to listen to prerecorded radio shows. Movies also work as long as they are out of sight. If nothing else I open a Word document and jot down any stray thoughts I have, date them, and then save it for a later look.
Forth, Rewards.
Several times a day I allow myself breaks. These are small breaks and are usually coupled with bathroom breaks and a trip to get a drink. I also check emails throughout the day and eat lunch on a semi-regular shedule. These little breaks help break up the monotony and give me a system of reward to look forward to for all the hard work I am putting in!
Tuesday, August 25, 2009
Useful Reference Books and Materials
This is a listing of books I have found useful over the years. I plan to expand this list as I pick up new books in the near future.
Drawing: The Head & Figure - Jack Hamm - 1983
Jack Hamm lays out the fundamentals of rendering figures and form in this indispensable guide. Very handy for learning to quick sketch, observation of your subject, and basic layout principals.
Drawing & Painting Fantasy Figures: From the Imagination to the Page - Finlay Cowan - 2003
A pretty good basics book for the beginner. I find it helpful to go back now and then to refresh on things that my habits have somehow neglected to include.
Dynamic Anatomy - Burne Hogarth - 1990
You really can't beat Hogarth's take on geometric anatomy. It helps to lay everything out in building blocks rather than one large, confusing lump. I enjoy Hogarth's approach to anatomy a great deal.
Dynamic Wrinkles and Drapery - Burne Hogarth - 1995
Another Hogarth book. This one focusing more on how things interact and react to the structure of the human form. Very helpful.
Quick Study Academic - Muscular System - BarCharts, Inc.
No more than a laminated sheet that details the muscular system of a male figure in biological detail. If I remember correctly I picked this up in a College Bookstore. It was probably intended for Anatomy or Biology classes, but it works great to get a quick look at how the body fits together in relative realism. (www.quickstudycharts.com, www.barcharts.com)
Quick Study Academic - Skeletal System - BarCharts, Inc.
The same as the Muscular System sheet. I bought them as a pair, but I don't use the skeletal one all that frequently. It would be handy to tackle some undead skeletons or some such thing though.
Thunder Lizards: How to Draw Fantastic Dinosaurs - Steve Miller (Brett Booth) - 2005
Although not a scientifically sound reference (is there one for dinosaurs really?), this book is more than helpful to get the basic feel of the big beasties. I use this a lot for fantasy creatures such as dragons to get a good start on anatomy and skin texture.
People and Poses: Comic Artist's Photo Reference - Buddy Scalera - 2006
This book is simply amazing. Sure you can collect your own reference photos or even hire a model, but this book is a great compilation and can teach a young artist the whats and whys of how to build your reference library. Buddy knows comics and how they are made. This is a huge asset, but not as huge as the CD Rom that comes with the book. It holds 1,000+ images for reference. Not too shabby. You can pick this one up at www.Impact-books.com.
Albinus on Anatomy - Robert Beverly Hale and Terence Coyle - 1979
Another very useful insight to anatomy on various levels. My only issue with this is it is mostly working from another artist's illustrations. The upside to that is that the artist was extremely talented and knew his stuff. Overall a very useful reference to have.
Downloaded a nice set of Andrew Loomis ebooks here: http://www.placidchaos.com/AM/index.php/2006/02/21/andrew_loomis
Why are they so great? Well, Loomis is considered one of the modern greats in illustration, and the information he imparts in these books is priceless to any illustrator, painter, or artist making use of traditional or digital impersonations of traditional art.
You'll get:
Creative Illustration - Andrew Loomis - Viking Press - 1947
Drawing the Head and Hands - Andrew Loomis
Figure Drawing for All It's Worth - Andrew Loomis
Fun with a Pencil - Andrew Loomis - Viking Press - 1939
The Eye of the Painter (and the Elements of Beauty)
Successful Drawing
Color and Light: A Guide for the Realist Painter - James Gurney - Andrews McMeel Publ., LLC - 2010
This is my new best friend. Honestly, I didn't recognize James Gurney's name at first, but he is the creator and illustrator of Dinotopia. Who doesn't love Dinotopia? I mean, really, come on. It's awesome and his paintings are so life-like. I had to pick it up and thumb through the pages. When I did, I was amazed that he was talking to me. I'm an artist who grew up doodling and perfecting pencil work, but never really understood how to 'see' like a painter. Well, James can teach you that if you check out his book. Love it!
Drawing: The Head & Figure - Jack Hamm - 1983
Jack Hamm lays out the fundamentals of rendering figures and form in this indispensable guide. Very handy for learning to quick sketch, observation of your subject, and basic layout principals.
Drawing & Painting Fantasy Figures: From the Imagination to the Page - Finlay Cowan - 2003
A pretty good basics book for the beginner. I find it helpful to go back now and then to refresh on things that my habits have somehow neglected to include.
Dynamic Anatomy - Burne Hogarth - 1990
You really can't beat Hogarth's take on geometric anatomy. It helps to lay everything out in building blocks rather than one large, confusing lump. I enjoy Hogarth's approach to anatomy a great deal.
Dynamic Wrinkles and Drapery - Burne Hogarth - 1995
Another Hogarth book. This one focusing more on how things interact and react to the structure of the human form. Very helpful.
Quick Study Academic - Muscular System - BarCharts, Inc.
No more than a laminated sheet that details the muscular system of a male figure in biological detail. If I remember correctly I picked this up in a College Bookstore. It was probably intended for Anatomy or Biology classes, but it works great to get a quick look at how the body fits together in relative realism. (www.quickstudycharts.com, www.barcharts.com)
Quick Study Academic - Skeletal System - BarCharts, Inc.
The same as the Muscular System sheet. I bought them as a pair, but I don't use the skeletal one all that frequently. It would be handy to tackle some undead skeletons or some such thing though.
Thunder Lizards: How to Draw Fantastic Dinosaurs - Steve Miller (Brett Booth) - 2005
Although not a scientifically sound reference (is there one for dinosaurs really?), this book is more than helpful to get the basic feel of the big beasties. I use this a lot for fantasy creatures such as dragons to get a good start on anatomy and skin texture.
People and Poses: Comic Artist's Photo Reference - Buddy Scalera - 2006
This book is simply amazing. Sure you can collect your own reference photos or even hire a model, but this book is a great compilation and can teach a young artist the whats and whys of how to build your reference library. Buddy knows comics and how they are made. This is a huge asset, but not as huge as the CD Rom that comes with the book. It holds 1,000+ images for reference. Not too shabby. You can pick this one up at www.Impact-books.com.
Albinus on Anatomy - Robert Beverly Hale and Terence Coyle - 1979
Another very useful insight to anatomy on various levels. My only issue with this is it is mostly working from another artist's illustrations. The upside to that is that the artist was extremely talented and knew his stuff. Overall a very useful reference to have.
Downloaded a nice set of Andrew Loomis ebooks here: http://www.placidchaos.com/AM/index.php/2006/02/21/andrew_loomis
Why are they so great? Well, Loomis is considered one of the modern greats in illustration, and the information he imparts in these books is priceless to any illustrator, painter, or artist making use of traditional or digital impersonations of traditional art.
You'll get:
Creative Illustration - Andrew Loomis - Viking Press - 1947
Drawing the Head and Hands - Andrew Loomis
Figure Drawing for All It's Worth - Andrew Loomis
Fun with a Pencil - Andrew Loomis - Viking Press - 1939
The Eye of the Painter (and the Elements of Beauty)
Successful Drawing
Color and Light: A Guide for the Realist Painter - James Gurney - Andrews McMeel Publ., LLC - 2010
This is my new best friend. Honestly, I didn't recognize James Gurney's name at first, but he is the creator and illustrator of Dinotopia. Who doesn't love Dinotopia? I mean, really, come on. It's awesome and his paintings are so life-like. I had to pick it up and thumb through the pages. When I did, I was amazed that he was talking to me. I'm an artist who grew up doodling and perfecting pencil work, but never really understood how to 'see' like a painter. Well, James can teach you that if you check out his book. Love it!
Wednesday, August 19, 2009
Definitions of 'Art' Words
This Post will serve as an Art Word Dictionary for easier reference to words every artist should know by heart. I did a couple searches for an Art Word Dictionary and came up fairly empty so I hope this will be useful to others as well.
Anatomy - The structural make-up of a figure. This is how the person or creature is put together. Where do their arms go? How do they connect? What connects them? Anatomy has to look believable. Reference is necessary as often as possible to help sell this element of your piece. Guesswork on Anatomy will only cheapen your piece and leave the viewer wondering what it is about the figure that bothers them so much.
Composition - The basic organization of objects within a piece. This is your layout. How the various different parts of your piece are arranged and how they interact with one another along lines of proportion and space. Composition is dependent on a certain element of balance and symmetry too. How the whole of the piece reads when viewed has everything to do with how each part is placed. Sometimes a subtle shift of even one element can change the entire composition.
Contour - The outline of a form. Usually referring to a curving or irregular figure. Also could be the actual line representing the outline. Could also be the general form or structure of something.
Critique - This is a critical viewing and commentary on a piece of art. Critiques should be sandwhiched or weighted toward the positive giving at least one, preferably two, positives to every negative comment. Constructive criticism is not bashing, it's helping.
Hue - another word for color.
Local Color - essentially the color your eye tells you to expect of a thing. (I.e. A tree is supposed to be a brown trunk with green leaves. Brown and Green are the local colors of a tree.)
Monochromatic - Using any Shade, Tint, or Tone of one Color.
Perspective - The artistic technique of forcing depth and dimension into a two-dimensional piece to create the illusion of a three-dimensional view. This is achieved by making use of vanishing points, horizon lines, point-of-view, curved lines, and certain cinematic effects such as the mimicry of a fisheye lens.
Primary Colors - Red, Yellow, and Blue.
Secondary Colors - Orange, Green, and Violet (purple is a crayon). Created by mixing two Primary Colors to form a new color.
Shade - Color + Black.
Tint - Color + White.
Tone - Color + Gray.
Value - The lightness or darkness of a color. Often associated with the Tint, Tone, or Shade of a Hue.
Anatomy - The structural make-up of a figure. This is how the person or creature is put together. Where do their arms go? How do they connect? What connects them? Anatomy has to look believable. Reference is necessary as often as possible to help sell this element of your piece. Guesswork on Anatomy will only cheapen your piece and leave the viewer wondering what it is about the figure that bothers them so much.
Composition - The basic organization of objects within a piece. This is your layout. How the various different parts of your piece are arranged and how they interact with one another along lines of proportion and space. Composition is dependent on a certain element of balance and symmetry too. How the whole of the piece reads when viewed has everything to do with how each part is placed. Sometimes a subtle shift of even one element can change the entire composition.
Contour - The outline of a form. Usually referring to a curving or irregular figure. Also could be the actual line representing the outline. Could also be the general form or structure of something.
Critique - This is a critical viewing and commentary on a piece of art. Critiques should be sandwhiched or weighted toward the positive giving at least one, preferably two, positives to every negative comment. Constructive criticism is not bashing, it's helping.
Hue - another word for color.
Local Color - essentially the color your eye tells you to expect of a thing. (I.e. A tree is supposed to be a brown trunk with green leaves. Brown and Green are the local colors of a tree.)
Monochromatic - Using any Shade, Tint, or Tone of one Color.
Perspective - The artistic technique of forcing depth and dimension into a two-dimensional piece to create the illusion of a three-dimensional view. This is achieved by making use of vanishing points, horizon lines, point-of-view, curved lines, and certain cinematic effects such as the mimicry of a fisheye lens.
Primary Colors - Red, Yellow, and Blue.
Secondary Colors - Orange, Green, and Violet (purple is a crayon). Created by mixing two Primary Colors to form a new color.
Shade - Color + Black.
Tint - Color + White.
Tone - Color + Gray.
Value - The lightness or darkness of a color. Often associated with the Tint, Tone, or Shade of a Hue.
Subscribe to:
Posts (Atom)
Posts
