personallyinspirationalHey there! My internet name is Safria and this is my inspiration/resource blog! This is mainly for me but I also want it to be easy to browse.
Fred Fixler: Notes on drawing

avali:

There are some things that are incredible resources for artists that just need to be shared, and this is one of them. I certainly have a long, long way to go in understanding them and putting them to use, but I think they’re incredibly valuable and that they clearly and cleanly define what an artist strives for in their work. 

The full note set is here, but I’ll list a few of my favorites. 

  • Drawing is describing form. The importance is not in the finish, but in its veracity (its truth, and accuracy of construction).
  • Until you can learn to ignore details, you won’t learn to draw.
  • Whatever the form or volume, start with the ideal. Then, compare and modify your ideal to fit the model.
  • Where the figure rests on something, draw the imprint of the form first.
  • Squinting is important in order to reduce the outline to its greatest simplicity. Avoid all those bumps
  • Light and shadow in itself produces design.
  • Light shapes create the image; dark shapes create the pattern and the design. It is light shapes that give form; the dark shapes make the pattern.
  • The shadow pattern may look right, but more often than not it is the light pattern that is wrong.
  • See two main tones—a light area and a shadow area. Some variation within each. If you squint, you can narrow it down to two basic tones. Separate lights from shadows. Increase the contrast. Make all areas in the light a little lighter than you see them, and all areas in the shadow a little darker than you see them. the lightest light in the shadow is darker than the darkest dark in the light. The object is to make all lighted areas hold together as one group, as should the shadow areas. Otherwise, the subject will not hold together; it will lose validity.
  • Over modeling comes from incorrect values. One of the quickest ways to correct a problem is to clean up the light and dark areas, simplifying them. Reflected light should never be as light as the main lights. Draw them at least two values darker than anything in the light.
  • The eye instinctively goes to the light areas in a picture. The real problem is the half-tones: which goes to the light? Which goes to the shadow? Half tones with the light should be made lighter. Those with the shadow should be made darker. Squinting helps here. When it comes to half-tones, when it doubt, leave it out. Make certain that half-tones go around the form. If you don’t, your drawing will look two-dimensional.
  • If two light half-tone passages appear to be equal, squint until one is almost lost to view. Obviously, the one that’s almost lost to view is the lighter. Squinting prevents one from being engrossed in detail. It encompasses the total scene.Your drawing, viewed with eyes wide open, should look like the model does with your eyes half shut. Squinting also works with photographs.
  • Make the paper more beautiful with every stroke added. Learn to ignore details, so that you can draw details. Look for the big, basic truths.
  • Construction is more important than finish.
  • Gross roundness is characteristic of bad modeling. The most boring thing is a sphere. It does not exist in a human figure.
  • Try to determine planes that are at right angles to the light. All others will be slightly darker.
  • A change in outline or contour is also a change in plane. Modeling of a surface should be set out in planes of tone, first larger ones, then smaller ones. Good modeling subtly fuses them together.
  • The degree of finish is a matter of how far you continue breaking down individual planes, probing for details.
  • Details are easy to see. It’s the big form that’s most difficult.

 

(via artist-refs)

tips
10.11.14603 NOTES Reblog
grizandnorm:

Tuesday Tip - Beat Boards / StoryboardsIt can be a daunting task to just “start storyboarding”. Because there’s so many things to think about when storyboarding, we all need a roadmap to know where we are going. Beat boards are not even the first step to creating a story, but it’s often the clearest way to pitch an early concept to someone. It’s also very useful to plan out the larger beats of a large physical sequence (action, chase, etc.). This way, you don’t have to go on a limb for a week or two and have to redo it all if it doesn’t work. They’re sort of like your Key Poses in animation, but put on a story scale. Does that make sense? Message me if you have any questions or suggestions about future posts.Norm

grizandnorm:

Tuesday Tip - Beat Boards / Storyboards

It can be a daunting task to just “start storyboarding”. Because there’s so many things to think about when storyboarding, we all need a roadmap to know where we are going. Beat boards are not even the first step to creating a story, but it’s often the clearest way to pitch an early concept to someone. It’s also very useful to plan out the larger beats of a large physical sequence (action, chase, etc.). This way, you don’t have to go on a limb for a week or two and have to redo it all if it doesn’t work. They’re sort of like your Key Poses in animation, but put on a story scale. Does that make sense? Message me if you have any questions or suggestions about future posts.

Norm

(via toastyhat)

kateordie:

dakotamcfadzean:

Here is a comic I made for the newest issue of Broken Pencil Magazine (#60, summer 2013). 

Note: I ignored most of my own advice to get this thing done. 

Update: I cross-posted this to my regular blog so that it’s a readable size, and not that crappy, microscopic tumblr size. 

This is a much healthier approach to making a career in comics than my patented “work 40 hours a week and try to maintain a social life while ALSO working on making a career in comics” approach.

(via pencilcat)

wannabeanimator:

via Muddy Colors

The early years of an artist’s development are often spent hammering out basic foundation skills.  These will serve as the core of all that they create.  During this time, the artist should not be terribly preoccupied with questions of style, vision, direction, brand, etc.  We have to stand before we walk and bypassing the basics rarely does anybody any good in the long term.  Of course, it’s the style and vision of other artists which inspired most of us to become artists in the first place, so the temptation to follow in those footsteps (with or without doing the necessary prep work) is always lingering… Read More

tips
07.07.14273 NOTES Reblog

ttthhhooorrriiinnn:

elronds-eyebrows:

dragonriderofberk:

forficwritersbyficwriters:

amandaonwriting:

Cheat Sheets for Writing Body Language

We are always told to use body language in our writing. Sometimes, it’s easier said than written. I decided to create these cheat sheets to help you show a character’s state of mind. Obviously, a character may exhibit a number of these behaviours. For example, he may be shocked and angry, or shocked and happy. Use these combinations as needed.

by Amanda Patterson

You guys, this is such a great chart especially for budding writers. Sometimes it’s more effective to show a character being bored or excited or shocked without explicitly saying so.

Where had this been all my life?

This isn’t just useful for writing, this is an absolute lifesaver for people with Asperger’s syndrome and other disorders

I needed this.

(via ibelievepracticemakesperfect)

legit-writing-tips:

writersyoga:

Quick 50 Writing Tools - Roy Peter Clark 

Some good info on here.

(via ibelievepracticemakesperfect)

expressions-of-nature:

Lupines in the Fog by: Derek Dammann

expressions-of-nature:

Lupines in the Fog by: Derek Dammann

(via forestfright)

not—banksy:

Kraser

not—banksy:

Kraser

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