composition-in-colour-a

levis-bean  asked:

YOUR ART IS SO CUTESY AND SOFT I LOVE IT (*♡*) Did anyone inspire your art style? (Also!- if you don't mind me asking, may I repost your beautiful art over on my Instagram? With credit + links + tagging you ofc ^^)

asdfjkl; thank you so much TTATT <333 ahaha i think most artists have a giant list of inspirations (and it’s not just artists that inspire other artists! travelling and looking at your surroundings are inspirational too <3 and fanfiction ehehe) I can’t possibly tag them all, but I do have strong influences especially when I first started digital art with a pen tablet (not with a mouse guys ahaha) ;7; mainly most of the people I follow on all my art accounts > v < if I’ve commented on their art before, then they’re probably a major inspiration because they’re so inspirational I can’t contain it ahaha;;; looking at art books and speedpaints help too!

and ohmygosh im sorry im so late TToTT yes of course you may <333 thank you for asking! ;7;;;; <3

Seagulls

watercolor tips and tricks

some tips and tricks that have seriously helped me in excelling at watercolour

1. PAPER WEIGHT. for the love of god do not use any paper under 110-120 lbs to paint with watercolour, a very VERY wet medium that will soak clean through the paper if it’s not thick enough (most paper pads sold at craft stores have the weight listed on them. printer paper is around 20 lbs, sketch pads will be about 60 lbs, IDEAL watercolour paper 140 lbs+). i use only 140 lb paper for my serious watercolour works. canson and strathmore are my favourite brands

2. there’s no need to have very expensive watercolour paints, but it is important to use something better than crayola. my dad gave me a 24-pan windsor&newton watercolour set when i was 8 and these are still the paints i use today (i was a very careful child, but i never even had to replace my paint pans after almost 10 years either, so this brand, while super expensive, lasts and earns my gold star.) some other cheaper options are: x and x

3. if you’re going to be using watercolours, prepare to use WATER. so many people forget this, but it’s so important to realise this media is meant to look translucent, so you should see the paper through the paint. if you can’t see it, then you’re using the paints as if they’re gouache or acrylics, so try using more water and work with lighter colours.

OKAY NOW FOR THE ACTUAL TRICKS

4. SALT

quite overused in watercolour but it’s so freaking cool it can be pardoned. *remember for all of these effects, you have to use lots of water with the paint for it to work!

5. ALCOHOL/VODKA/HAND SANITIZER IF YOU’RE LAZY LIKE ME

you have to be very careful here because the second image can turn into the first if you use too much alcohol and it soaks through the water and paint gets in the spot, so be sure to experiment plenty before using this!!

but yeah you can use whatever clear alcohol you can find and it does p much the same thing

6. LIGHT SKIN TONES

okay while the darker skin tones are more easily achievable with browns and additional yellows/blues/reds to bring out the undertone, light skintones are hard as hell to make with watercolour because it’s hard to even think of what to mix. think no more!

YELLOW OCHRE + ANY PURPLE = perfect skintone you can play around with. adding more of yellow or purple will give you either cool or warm skin tones you can build up on and layer until they’re the proper value. remember to use purple/cool shadows with skin in compositions with normal lighting!

7. PAYNE’S GREY

and finally to repeat my previous post, use PAYNE’S GREY instead of black for a richer, darker colour in your painting. don’t use black unless your entire composition has warm colours, but even then, try to use a very dark brown instead of black.

8. WHITE

finally, it’s very important to mention this: never use the white watercolour they sometimes give you. EVER. EVER. dilute your paint with water instead to get a lighter value, or else you’re not using watercolour to its full extent (which is something you might struggle with if you’re used to using acrylics or oil)

that’s all i can think of at the top of my head, but if you have any questions or need further brand recommendations etc, feel free to message me!

4

Francois Trezin

Lovely neatly organised high colour conceptual photography for Elite Concepts. Print campaign to reflect the different personalities of 4 different restaurants in Asia, that are part of the innovate hospitality group.

why do people get to upset about animation memes and act all High and Mighty for hating them or not doing them like i get they can be a bit repetitive but like?? who the fuck cares??

“they’re lazy! they’re just the same animation with different characters!” u realize that’s like. what a lot of animation practices are. right. animation memes are pretty much like the simplified version of walk cycle exercises or working on lip syncing as practice they’re great for learning fluidity and timing and even a lot of the time composition and video editing and colouring. not to mention following guidelines for projects and taking on limitations which in itself can be a huge skill to work on. i get seeing the same meme over and over again might be tiring but get off ur own dick it’s people having fun and gaining actual necessary practice and experience so shut uppppp

Les Amis + the Solar System

Enjolras is Sol, the Sun, trapping the planets in his gravity; the body that provides them both daylight and warmth. But it’s dangerous–a star determines the fates of its planets, and a light that burns so fiercely can’t burn forever.

Grantaire is Mercury, the smallest planet and nearest to the Sun, named for the god of messengers. When facing Sol, the planet warms, reaching over 400 degrees Celsius. When turned away, the already-barren surface becomes cold and dark; dropping below -170. Though it is so close to us on Earth, much about it remains a mystery.

Jehan is Venus, the hottest planet, named for the goddess of love and beauty. It is unique in its movements, rotating in the opposite direction of the other planets. The brightest object in our sky apart from the Sun, poets and songwriters alike, for centuries, have been calling Venus the ‘morning star’ and ‘evening star’.  

Feuilly is Earth, the ideal planet, and our home. Earth is favoured by Sol, being the only planet in the narrow range of distances from the star that allows life to exist. It’s not the biggest planet, nor the warmest, nor the one with the largest moon, but its averageness itself made it perfect.

Bahorel is Mars, named for the god of war for of its reddish glow. Though on first glance Mars seems unforgiving and cold, with a closer look, it was found to be the most conductive to life. The names of the rovers landed on it seem to reflect the essence of the planet itself–’Spirit’ and ‘Opportunity’.

Courfeyrac is Jupiter, the largest planet, nearly a star in its own right for the number of moons it has trapped in its orbit due to its immense gravity. It was named for the god of thunder, fittingly so–the storm in the massive red spot on its surface has been raging for centuries. 

Combeferre is Saturn, often considered the solar system’s ‘jewel’ for the rings that made it a source of scientific fascination since its discovery. The strength of its gravitational influence is bested only by that of Jupiter and the Sun. It was (most aptly) named for the god of agriculture and liberation. 

Bossuet is Uranus, named for the god of the sky, and the planet that expanded the celestial horizons of humankind–the first to have been discovered with a telescope, while the previous five were known since antiquity (though first mistaken for a comet). The planet orbits perpendicular to the rest, most likely due to a collision with a planet that knocked it on its side. 

Joly is Neptune, named for the god of the sea for its vivid blue colour. It is often mentioned in the same vein as Uranus due to their shared characteristics (similarities in size, colour, composition) and is like the former in that it was discovered. Its discovery was special–a collaborative effort in which the planet was mathematically predicted before it was seen.

Marius is Pluto, a dwarf planet named for the god of the underworld, whose true planetary status is still debated by many. In any case, it orbits Sol like all the rest, though on a different plane. Pluto has a moon, Charon, who we may see as Cosette–the two objects are tidally locked, the same face permanently turned toward each other.

Tattoo ink contaminants can end up in lymph nodes, study finds 

Microscopic particles from tattoo ink can migrate into the body and wind up in lymph nodes, crucial hubs of the human immune system, a new study has revealed.

The tiny particles – measuring a few millionths to a few billionths of a centimetre – include molecules from preservatives and contaminants such as nickel, chromium, manganese and cobalt, researchers reported in the peer-reviewed journal Scientific Reports.

Tattoo colouring is composed of various organic and inorganic pigments, and can be contaminated with toxic impurities.

Besides carbon black, the second-most common ingredient used in tattoo inks is titanium dioxide, a white pigment also used in food additives, sunscreens and paints.

The chemical has been associated with delayed healing, itching and skin irritation.

‘No one checks the chemical composition of the colours, but our study shows that maybe they should,’ says a researcher. Photograph: Alamy

millienery  asked:

Hey marcia:) sorry to bother but I needed to ask...How do you establish commission prices?Lately I've been thinking of opening them myself but I don't really know how much it is okay to charge? I know it's supposed to be according to the amount of time taken per drawing,among other things. I'm not sure anyone would be interested, so I'm afraid it won't work, but at the same time I feel like I should just go for it(?)Like, I dont have the courage to start.. Thanks for reading this♡have a nice day

Hi! I’ll be happy to help :)

Honestly, this topic is one of the hardest and the most subjective things in the semi-private sector of art industry. Basically, you’re forced to ask yourself “how much is my work actually worth in the terms of money?” and this can be tricky. Obviously, no one wants to underprice their art and bring themselves down but overpricing will discourage the potential clients - achieving equilibrium is necessary. And difficult.

Here are some things to consider:

  • How long have you been drawing?
    If you’re rather an inexperienced artist/commisionee, you shouldn’t go for relatively high prices. One of the functions of price is informing the client of the quality of the service they can expect from you and the brand value. A new shop selling shoes cannot charge as much as Nike, you get the idea.

  • What is the service you can provide?
    In other words, what can you really draw? People will come to you demanding different things: their  OCs, favourite ships, fursonas etc. and you gotta know what you are able to draw. If someone wanted a dragon in a forest, you can’t just not announce that “you don’t know how to draw trees in perspective” by the end of the commission process! This goes back to experience - the less confident you are about your skills the less you should charge.

  • How long does it take you to make one piece?
    Usually, the longer you draw the more you can charge for a picture, but! Remember that time taking accidents such as “I cant get this hand right, I drew it 5 times and it still does not look ok” don’t count! That would be the effect of your lack of experience rather than you making the piece more detailed. We’re talking about a theoretically smooth process here.

  • How much time are you willing to spend on a particular commission?
    This is a little bit different from the previous point. The questions asks: how much time are you willing to spend to satisfy your client fully? Are you willing to make several value sketches? Colour compositions? How many times will you go back and redraw something because the client informed you they didn’t like it?
    The more you’re ready to do for your client the more you can charge. However, remember!! Each sketch/idea has to be of the same quality!! You can’t suddenly stop caring halfway through or decide that “this composition sucks, the client won’t choose it anyway, so I can half-ass it”
    You don’t get to decide that, the client does.

  • How much would you spend on your own art?
    Be honest and do not be greedy. You’re only starting and since art is surely your hobby, low prices will not hurt at the time being. First, you have to dip your toe in the water and decide if it’s okay, then make changes and eventually rise prices.

  • Check prices of other artists! 
    You gotta know what your competition is serving :) This should be your starting point, but!! Take as a reference several people with relatively similar art styles/experience to yours, and again, be honest with yourself. Adjust these prices to the criteria I mentioned above.

Additional commission related tips:

  • be as informative and neutral as you can be during the commission process; you can throw in suggestions but never any uncomfortable opinions
  • remember that it is you who has to put effort into pleasing the client,
  • it is not the client’s obligation to jump around you,
  • you can refuse to draw something, moreover, you can refuse the whole service if the client is eg. acting shady,
  • in your commission info state your contact, price info, way of paying and when it happens (before/middle/after work), how the commissioning process looks, how much time it takes, your preferences/info about your abilities (not necessary) and what you expect from the client,
  • the more information you provide the more confident the client will feel, it rises the chances of them commissioning you
  • be professional, be serious; surprise surprise - it is your job! :)


I think that’s all, hope I covered the topic fully and it helped! Now go rock the art industry <3

Vasily Kandinsky. Green Accent. 1935.

4

The final frontier of the Frontier Fields

The NASA/ESA Hubble Telescope has peered across six billion light years of space to resolve extremely faint features of the galaxy cluster Abell 370 that have not been seen before. Imaged here in stunning detail, Abell 370 is part of the Frontier Fields programme which uses massive galaxy clusters to study the mysteries of dark matter and the very early Universe.

Six billion light-years away in the constellation Cetus (the Sea Monster), Abell 370 is made up of hundreds of galaxies [1]. Already in the mid-1980s higher-resolution images of the cluster showed that the giant luminous arc in the lower left of the image was not a curious structure within the cluster, but rather an astrophysical phenomenon: the gravitationally lensed image of a galaxy twice as far away as the cluster itself. Hubble helped show that this arc is composed of two distorted images of an ordinary spiral galaxy that just happens to lie behind the cluster.

Abell 370’s enormous gravitational influence warps the shape of spacetime around it, causing the light of background galaxies to spread out along multiple paths and appear both distorted and magnified. The effect can be seen as a series of streaks and arcs curving around the centre of the image. Massive galaxy clusters can therefore act like natural telescopes, giving astronomers a close-up view of the very distant galaxies behind the cluster — a glimpse of the Universe in its infancy, only a few hundred million years after the Big Bang.

This image of Abell 370 was captured as part of the Frontier Fields programme, which used a whopping 630 hours of Hubble observing time, over 560 orbits of the Earth. Six clusters of galaxies were imaged in exquisite detail, including Abell 370 which was the very last one to be finished. An earlier image of this object — using less observation time and therefore not recording such faint detail — was published in 2009.

During the cluster observations, Hubble also looked at six “parallel fields”, regions near the galaxy clusters which were imaged with the same exposure times as the clusters themselves. Each cluster and parallel field were imaged in infrared light by the Wide Field Camera 3 (WFC3), and in visible light by the Advanced Camera for Surveys (ACS).

The Frontier Fields programme produced the deepest observations ever made of galaxy clusters and the magnified galaxies behind them. These observations are helping astronomers understand how stars and galaxies emerged out of the dark ages of the Universe, when space was dark, opaque, and filled with hydrogen.

Studying massive galaxy clusters like Abell 370 also helps with measuring the distribution of normal matter and dark matter within such clusters [heic1506]. By studying its lensing properties, astronomers have determined that Abell 370 contains two large, separate clumps of dark matter, contributing to the evidence that this massive galaxy cluster is actually the result of two smaller clusters merging together.

Now that the observations for the Frontier Fields programme are complete, astronomers can use the full dataset to explore the clusters, their gravitational lensing effects and the magnified galaxies from the early Universe in full detail.

Notes
[1] Galaxy clusters are the most massive structures in the Universe that are held together by gravity, generally thought to have formed when smaller groups of galaxies smashed into each other in ever-bigger cosmic collisions. Such clusters can contain up to 1000 galaxies, along with hot intergalactic gas that often shines brightly at X-ray wavelengths, all bound together primarily by the gravity of dark matter.

TOP IMAGE….With the final observation of the distant galaxy cluster Abell 370 — some five billion light-years away — the Frontier Fields program came to an end. Abell 370 is one of the very first galaxy clusters in which astronomers observed the phenomenon of gravitational lensing, the warping of spacetime by the cluster’s gravitational field that distorts the light from galaxies lying far behind it. This manifests as arcs and streaks in the picture, which are the stretched images of background galaxies. Credit: NASA, ESA/Hubble, HST Frontier Fields


CENTRE IMAGE….While one eye of Hubble was observing its main target, the massive galaxy cluster Abell 370, the second eye — another instrument — was looking at a part of the sky right next to the cluster. Although not as spectacular as the light-bending clusters, these parallel fields are as deep as the main images and can even compete with the famous Hubble Deep Field as regards depth. They are therefore a valuable tool for studying the evolution of galaxies from the early epochs of the Universe until today. Credit: NASA, ESA/Hubble, HST Frontier Fields


LOWER IMAGE….This image is a colour composite made from exposures from the Digitized Sky Survey 2 (DSS2). The field of view is approximately 2.2 x 2.2 degrees. Credit: NASA, ESA and Digitized Sky Survey 2. Acknowledgment: Davide De Martin.


BOTTOM IMAGE….This image of Abell 370 was released in 2009. Compared to the new image, which contains more observation time, less structures are visible and faint objects have disappeared — the new image has increased the depth of the image dramatically, clearly showing the benefit of additional observation time. A direct comparison between both images can be seen here. Credit: ESA/Hubble

Making of ‘Macalania Twilight’

1: Basic sketch of the frame and composition; also acts as a ‘colour grid’ so that the base colours of the actual painting will not go too off-kilter.


2: Blocked in the shape of the composition with a basic copy+flip trick and pinpointed the hot/cold areas of the landscape with specific colours. Rough sketches of the trees and the foothills have been made to give the composition some verticality, as well as establish the water-line of the lake.


3: Using a separate layer the shapes of the foreground/background trees have been blocked in using a binary colour. The background trees play a critical part in this composition, as they separate the hot and cold “areas” of the landscape. Shadows have also been drawn in the water’s reflection (I did not use a copy+paste trick here, simply to make it look more ‘painterly’.)


4: By building up layers underneath the outlines and trees, while also futzing with the hues and saturation, I establish the foundation of the composition for further details and alterations. It is important that the base colour of the water matches the colour of the sky. I set the ‘background trees’ layer as a clipping group to check its values against the sky. It is also here that I decide to give the landscape a “diorama” effect by drawing a root in front of the hypothetical canvas.

5: By tinkering with hues and the saturation even more, I manage to make the colours give off a “plum autumn” vibe, which compliments the greener vibe of the sky and the more amber, intense colours of the sunset. It is here I start to make the composition resemble the Macalania Woods, by using references for the tree details and the crystals.

6a: What really makes a painting in this style come to life is the sheer volume of colours which all blend into each other to give off the illusion of depth, distance and realism. Simply “dabbing” with a brush can create ripples, leaves and concentrated light sources.

6b: Here is a close-up of the trees that are appearing brighter due to the sun; the technique that I used here is to make a separate layer on top of the base tree shape, create strokes, and then colour this layer and the base tree layer appropriately based on the theory of colour, using the ‘Preserve Opacity’ option, to create this ‘highlight/shadow’ effect. This is the technique that I rely on to make all of the little details that go into the composition.

7: Using a multitude of ‘base layers’ and ‘detail layers,’ I am able to build up this composition to a near-complete stage. The advantage to using the technique mentioned above is that you have almost complete control over what colours are used.  This is put to practice in the screenshot above; the middle of the composition is warmer, while the top and bottom are colder. This makes sense as the sun is located in the middle of the canvas.

8: I add the finishing FFX flourishes to finally mark this painting as complete!

anonymous asked:

Hey Greer, on mobile so I can't view all the links so sorry about this! Do you do commissions? If so, about how much would they range?

I certainly do! 

so I work in 2 style (horrible drawings & risograph), one of which is speedy/cheap to produce, while the other is a large time/money investment. you can check out examples of both at greerstothers.com

because the drawings are so quick, I can sell them indiscriminately from my store. like, here’s the link to an $11 sketch on a 5x7 card, & here’s the link to get that design uploaded onto clothing, which costs $20.

special sketches that take longer will cost more. like, a small tattoo design will be $35 (which can be deposited into my tip jar) because I’ll redraw it over & over to get it *perfect*, and a scene like the Gay Cat Romance might cost $40-50, because it’s actually a compilation of several smaller drawings (background + cats + text) composited digitally with colour/texture added.

now, onto risograph! because these commissions take away the time I’d spend on personal art, I’m SUPER picky about the subject. any form of paleoart, I’ll do. if it’s an animal I’ve been itching to draw, I might even give a healthy discount (though I won’t go lower than $200). I need more practice drawing humans & urban environments, so atm I’ll do those subjects too. you can email info@greerstothers.com to work out the details

anonymous asked:

I love how you make all the worlds seem so real and functional! I feel like im actually there 0-0 How do you decide what goes where and how it works? I know youve got the description to work off of but itd be nice to hear about your process as well! Have a nice day~ ^^

First of all, thank you for the compliment, it means a lot. 

I strive to make places which are consistent both within the setting of SBURB and with themselves. Fantastical things can appear but they pretty much always have an explanation which aligns with the rules of the game world.

After the break is a fairly detailed spread of stuff that goes on when I am designing a land picture:

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