During September 1945, Farmer Lloyd Olsen was ordered by his wife to bring back a chicken for supper. Olsen beheaded the chicken, but the axe missed the chicken’s jugular vein, leaving one ear and the most of the brain stem intact. Since basic functions (breathing, heart-rate, etc.) as well as most of a chicken’s reflex actions are controlled by the brain stem, Mike was able to remain quite healthy.
Olsen kept Mike alive by feeding him a mixture of milk and water via an eyedropper; he was also fed small grains of corn. Mike couldn’t crow anymore, but he made a gurgling sound in his throat in place of his usual crowing.
The rooster soon became famous. Nicknamed “The Headless Wonder Chicken,” he toured the country and people paid 25 cents to see his body. At one point, Mike was earning $4,500 a month and was valued at $10,000. Mike died 2 year later by choking on a kernel of corn.
Hello again guys! Here are some tips about brushes- once again, I’m no expert, so explore these points on your own! Some of these are a little more abstract, while others are to help deal with minor brush annoyances ;)
1. PHOTOSHOP BRUSHES are based on a “stamp” system, not a brush system like some painting programs. That is why photoshop brushes are great for things like chains and repeated patterns, but you have to fiddle with them a bit to make them look natural. 2. The first brush setting underneath the brush panel you must become familiar with is “transfer.” this tab plays with the opacity and flow of the brush. 3. As stated in previous tutorials, the essential hotkeys for brushwork are: [/]= brush size larger and smaller alt= eyedropper tool Numbers= opacity of brush Shift+Number= flow of brush 4. Brush icon not showing up/ behaving correctly? Usually one of four things: Caps Lock is on, Edit in Quick Mask Mode is on (which can be found on your left main tool panel), the brush blend mode is on a different setting (found next to opacity and flow), or you have something selected (crtl+d will do the trick). 5. DON’T knock the photoshop brush sets that come with the program. Many artists I know use these brushes while tweaking the settings. Consider utilizing settings such as dual brush and texture to make these ordinary brushes great. 6. Brushes with large amounts of detailed texture tend to pixelate and not work correctly when scaled down too far. 7. Trying to create a natural brush tip? Brush settings>Shape Dynamics> Angle Jitter> Control: Direction. This will make the brush more natural and dependent on how you stroke your pen. 8. Do you use a signature/watermark a lot? A certain shape or pattern? Make it a brush. 9. When changing things like opacity and flow in both the brush settings and the layer settings, Photoshop will sort of get “stuck” there, and you will see the number highlighted. Simply hit enter (don’t bother reaching for the mouse!) and it will go away. 10. Rotating the canvas will help you with your brushstrokes. Shift+R rotates the canvas in nice equal increments, and is a easy way to set the rotation back to 0. 11. Texture brushes just don’t look right? Make a selection, zoom out, and make the brush slightly bigger while you paint. Think of them as big sponges, not brushes.
Thanks again guys! I have a lot of tutorial requests from you, and I’ll be working through more soon!
Remove cap to highlighter. Take out your pliers and remove the nib to the marker. It should come out with one good tug. If the cartridge can come out then remove that as well. Do not try to force the cartridge out. It will end with a giant mess.
Place nib (and Cartridge if possible) in one of the empty cups.
Fill the other cup with about 4 Tablespoons (¼ cup) of hot water.
Pour the water over the nib. (Shown Above)
The nib should appear paler. Use the Eydropper to “rinse” the nib with the liquid.
If you could not remove the cartridge, take the eyedropper and drop the high-lighter/water liquid mixture into the pen (This works best with a jumbo marker
Shake out the liquid into the jar. This can take a while, so listen to music, or watch a show, or what-not. I recommend rattling the marker against the jar for the liquid to fall into the the jar.
Repeat until all the liquid in the cup ends up in the jar. (Does that make sense?)
If you did not break the nib- you can push it back into the pen and use that as your “quill”, so to speak. Pictured above is what I use- an empty mechanical pencil and a rinsed nib sharpie hi-liter
Test your ink. It will probably look slightly visible it you are in a well lit area. If it is too visible, just water the ink down a little bit with warm water.
I figured I’d share some of my process as I work on these.
After I ink my sketches and erase the pencil lines I scan each piece and adjust the levels in photoshop to the lightest light and darkest dark using the eyedropper. Then the linework layer I put on multiply. I like having a gradient for the background so I can really find the color scheme I like best, and my other colors can play off the main color.
So I’ve been rewatching Rick and Morty on my study breaks the past few weeks as a means of coping with the crushing weight of my final exams (I’m a design student). And I noticed something:
See that? Look at the colors of their shirts. ‘So what?’ you might be thinking. ‘It’s just Morty, Summer, and Rick in the same costumes they wear every damn episode.’ But wait, let’s look at them with a 35% neutral grey background.
There, that makes it easier to see the colors. And that when you put all three characters next to each other, their shirts read as cyan, magenta, and yellow.
Those are the three primary colors of print media and are found in pretty much every printing apparatus on the planet. Additionally, they form a triadic color harmony, which means that these three colors are more or less equidistant from one another when plotted on a two-dimensional color wheel.
Using the Photoshop eyedropper tool, I plugged the RGB values of the shirts into Adobe Color CC. This website is useful tool for making and deconstructing color palettes, and for wasting time by toying with color sliders:
See the triangle shape the colors make? I mapped it out for better visibility. Granted, it’s rough, but the point is that Rick, Morty, and Summer’s color assignments form one of the most elegant and powerful palettes. When you put cyan, magenta, and yellow together, you get a color scheme that is not only balanced and pleasing to the eye, but can be mixed to form every other freaking color in the subtractive (pigment/ink/paint) color space. These three colors have an astronomical amount of potential results when combined in different ways, and I guaran-goddamn-tee you that the show’s creators and designers did not give the three main characters these particular color assignments by accident.
Basically, they color theory’d us. The whole audience has been color theory’d. Rick and Morty used fucking color theory on us, adding another layer of sophistication to a show that is 50% belching, swearing, and scatological humor, and 50% phenomenal storytelling via philosophical and moral dilemmas, family dynamics, and political and cultural commentary. So now you can use this information to enrich your understanding of Rick, Morty, and Summer’s characterization through analysis and consideration of color symbolism and color interaction. You can use it to inform your interpretation of the characters’ relationships and dig for more clues about their motivations and choices.
Personally, though, I thought it would be funnier to put their faces on this color wheel.