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Beat. posted:serious question: has anyone who posts in this thread ever met anyone who learned how to draw by reading a book? I cannot think of anyone I know who has, outside of copying plates as homework from a teacher I read a lot of books as a beginner and after. There's no substitute for having a teacher correct your mistakes, but you can get a lot out of instructional books if you really want to. And I don't mean those "How to Draw MANGA!" or "How to Draw Sweet-rear end Cars" but something like Anatomy for the Artist, Drawing on the Right Side of the Brain, or even Drawing for Children (which is my favorite because it really breaks down the drawing process and points out where a lot of people have trouble, and talks about dealing with frustration, fixing mistakes, etc). Books are also really helpful if you're trying to learn a new technique, like oil painting. The basics are the same (careful observation and correction), but there are certain chemical problems that are easier to deal with if you have a sort of basic text to refer to ("Why is my paint sliding off the canvas?"). Walter Foster "books" are great for this.
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Nov 18, 2010 13:35
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Does anyone have any idea how to get watercolor masking fluid out of cloth?
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Nov 19, 2010 04:08
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"The introduction of Bruno, a key change and deviation from the film’s source material, Luigi Bartolini’s novel by the same name, served not only to provide a more pleasurable, and navigable story, but to facilitate the transmission and further convey the film’s deeper meaning, speaking in great volumes of both the contemporary time and society in which the film was shot, and providing a contrasting element with which to view and compare Antonio." Is this sentence ok, or can I chop it down? Do I need a semi-colon somewhere in there, or what? How about a period?
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Nov 19, 2010 05:55
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The Bananana posted:"The introduction of Bruno, a key change and deviation from the film’s source material, Luigi Bartolini’s novel by the same name, served not only to provide a more pleasurable, and navigable story, but to facilitate the transmission and further convey the film’s deeper meaning, speaking in great volumes of both the contemporary time and society in which the film was shot, and providing a contrasting element with which to view and compare Antonio." Something like this, perhaps? edit posted:“The introduction of Bruno—a key change and deviation from the film’s source material, Luigi Bartolini’s novel by the same name—serves not only to provide a more pleasurable and navigable story, but also to
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Nov 19, 2010 06:11
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Arriviste posted:Something like this, perhaps? Thank you. I am notorious for run-on sentences, so when it comes to shortening, every little bit helps, especially in my thesis statement.
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Nov 19, 2010 13:58
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The Bananana posted:"The introduction of Bruno, a key change and deviation from the film’s source material, Luigi Bartolini’s novel by the same name, served not only to provide a more pleasurable, and navigable story, but to facilitate the transmission and further convey the film’s deeper meaning, speaking in great volumes of both the contemporary time and society in which the film was shot, and providing a contrasting element with which to view and compare Antonio." I think your meaning is clear but I admit it took me a second to parse out all the clauses and really dig out the meat of this sentence. I think it's somewhat bloated, but just FYI I spent grad school in the hard sciences reducing my papers down to the simplest language just so I could fit all the scientific names in and still be marginally readable. Here's what I would say instead: The introduction of Bruno, a clear deviation from the film's source material (Luigi Bartolini's titular novel), serves not only to make the film more accessible, but to provide both a commentary on contemporary society and to provide a contrast to the more traditional Antonio. Reasoning: -You could replace "by the same name" with "titular", just to reduce unnecessary clauses -Also, in general if you have 2 things connected by a conjunction, check and see if you need both. "a key change and deviation" is somewhat redundant, "deviation" implies change. -"more pleasurable and navigable": Pleasurable is not a very concrete signifier, what do you really mean? Is it more accessible? If you have two adjectives, there is probably one will work. In a thesis statement, you want to avoid unnecessary conjunctions. -"facilitate the transmission and further convey": means the same thing, both make it easy to go from point A >> point B -"the film's deeper meaning": you don't need to say this, we are assuming that by writing about it, you will not be addressing the most shallow, obvious points -"in great volumes": i don't really see what this adds to your point -"contemporary time and society": it would be hard to separate these, I would just say "society" -"a contrasting element with which to view and compare": a contrast implies a comparison, or at least hints strongly. "view" is weak in comparison. Also, I think it would be stronger if you indicated what was the main point Bruno and Antonio could be compared on. It would flow better once you started addressing that.
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Nov 19, 2010 15:24
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vonnegutt posted:I read a lot of books as a beginner and after. There's no substitute for having a teacher correct your mistakes, but you can get a lot out of instructional books if you really want to. And I don't mean those "How to Draw MANGA!" or "How to Draw Sweet-rear end Cars" but something like Anatomy for the Artist, Drawing on the Right Side of the Brain, or even Drawing for Children (which is my favorite because it really breaks down the drawing process and points out where a lot of people have trouble, and talks about dealing with frustration, fixing mistakes, etc). Yeah I think you're right... you can definitely learn about methods and the science of drawing and painting... I guess I just never saw myself improving a whole lot when reading the books I did. I am a big fan of Bargue/Gerome's book on academic style http://www.amazon.com/Charles-Bargue-Jean-Leon-Gerome-Drawing/dp/286770166X but it's expensive... but the plate reproductions are worth it alone. But I only used it along with rigorous instruction... I need some advice. I need to mount a whole shitload of small ceramic sculptures, less than 1/8th lb each, to concrete. Drilling into the concrete is not an option, so mounting hardware is out. So I guess I must use either some kind of concrete based material, latex, glue, or epoxy. Wondering if anyone has done similar and can suggest something. Some of this will be outside so it should be durable to heat / light.
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Nov 19, 2010 21:27
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Has anyone worked with foamed metal as a sculpting medium before? The idea came to me last night, and I think it could be really, really fun to work with as a subtractive carving base, especially combining different pieces. I don't even know where to find something like that, though, or how much it would cost.
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Nov 22, 2010 18:26
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Beat. posted:serious question: has anyone who posts in this thread ever met anyone who learned how to draw by reading a book? I cannot think of anyone I know who has, outside of copying plates as homework from a teacher I've improved in some areas from books, especially when it comes to things like proportions, perspective, challenging anatomical stuff like hands, etc. I've been able to draw more or less competently since I was a kid, though (although I'm starting to suck again, thanks to a few years with no practice and some mild carpal tunnel  ).I have a dumb question: for a design class, our instructor is having us put together our own glossary of terms with examples. There are really obvious and specific terms like "shading" and "monochromatic" and etc., but he threw in "contrasting color patterns". What the hell is he referring to? "Simultaneous contrast" was already on the list so it's not something like that (I'm assuming). Does he want me to describe how plaids work or something? 
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Nov 23, 2010 08:02
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Beat. posted:serious question: has anyone who posts in this thread ever met anyone who learned how to draw by reading a book? I cannot think of anyone I know who has, outside of copying plates as homework from a teacher I went to art school and worked my rear end off in drawing class, but I saw the most improvement when I read and self-directed after college. That's not nearly the same as totally learning to draw just from books, though.
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Nov 23, 2010 18:06
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I'm working as a broadcast designer; it's my first time dealing with broadcast standards, and I'm wondering if the way we're doing things is the "proper" way, or if it's just how this company does it. SD = Rendered as lower fields first HD = Rendered as upper fields first ^ Is this typical for all broadcast graphics? Why does HD use upper first vs lower? Forgive my naivety! It's a new world.
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Nov 25, 2010 14:44
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NTSC is lower, ATSC is upper. I'm not sure why, but CC won't work on SD content unless the lower field is first and all 1080i I've seen has been upper.
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Nov 25, 2010 16:33
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Does anyone know how best to make a piece of glass work, say a bottle, look old, dirty and grimy?
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Nov 25, 2010 19:14
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I'd plug it, stick it in a shopping bag full of sand and shake the hell out of it for a while to scratch it up. If you want it more cloudy too, make up a batch of really soapy water, dip it in there and let it dry.
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Nov 26, 2010 18:13
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what's the name of that one website that saves all your online information for you? it's used by who want to back up their digital identities and memories in case of a freak death or something.. i basically want to backup all my facebook conversations, messages, pictures easily, and i think there's a tool for it
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Nov 29, 2010 09:54
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Hey goons, I need to track down the name of a font from a website, but it's embedded in flash so I can't just gank it from the CSS / HTML source (The NECKWEAR SHIRTS... font)
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Nov 29, 2010 09:57
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Just started doing some acrylic painting. I was told you can mix medium with the acrylic to make a little paint go a lot further. What kind do I need to get? How much do I add to the paint? I searched some online but I don't really understand all the terminology associated with paint so it's a bit over my head.
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Dec 3, 2010 16:12
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typically people just use mat or gloss gel mediums, but there are other things which allow you to "sculpt" the paint as well that are called gels, they're kind of like a clear or opaque colored plastic, with the consistency of peanut butter http://www.goldenpaints.com/products/medsadds/index.php you can also use plain old water, or for textured effects you can use things like sand, paper, fibers (cloth), food, ejaculate, etc. mediums are basically just spreading the pigment out so if you start with cheapass paint with a lot of filler, it will not look as good as if you're using high pigment paints (golden, liquitex) I typically avoid retarders (which slow drying) because I think they make the paint look like poo poo, but I almost never use acrylic anymore except as a base additive for my gesso Beat. fucked around with this message at 18:49 on Dec 3, 2010 |
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Dec 3, 2010 18:47
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Is there a type of ruler that doesn't smudge graphite drawings or am I just boned for sketchbook work when I want a straight line? Also, should I even care? Probably not but oh well.
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Dec 4, 2010 07:00
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What do you do when you catch a senior art student tracing from other peoples paintings? Some of my friends and myself have caught this girl tracing straight from the computer screen on multiple separate occasions and we don't know what to do. Should we alert the teachers or should we just let her wallow in her absolute crap artwork?
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Dec 5, 2010 22:48
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Detetsu posted:Is there a type of ruler that doesn't smudge graphite drawings or am I just boned for sketchbook work when I want a straight line? Also, should I even care? Probably not but oh well. Can't give you a reco on rulers, but you could try harder graphite or a different paper that grabs graphite better.
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Dec 6, 2010 03:08
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Detetsu posted:Is there a type of ruler that doesn't smudge graphite drawings or am I just boned for sketchbook work when I want a straight line? Also, should I even care? Probably not but oh well. You could always give the drawing a quick shot of hairspray before putting in the line. It's a nice, cheap fixative for less-important projects. I have another dumb Adobe question--when I work on something in Illustrator CS5 and then save it and open it in a previous version, all my layers are mashed into one, and I have to pick through and pull all of my objects and paths apart to redistribute them, and it's really annoying. How do I keep it from doing that? If not, is there an easier way to get the layers back where they were?
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Dec 7, 2010 05:22
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Is it possible to set a Sharpen Amount in Photoshop CS5? I can't seem to find a way to adjust anything other than brush size.
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Dec 16, 2010 01:43
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What do you mean by "sharpen amount," exactly? are you asking about sharpen filters, or how blurry your brush is? If you're asking about brush settings, they can be found in the "brush" window. It looks like this: I think "hardness" is what you're asking about.
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Dec 16, 2010 17:02
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Rogetz posted:Is it possible to set a Sharpen Amount in Photoshop CS5? I can't seem to find a way to adjust anything other than brush size. Yeah, do you mean: "I can't adjust anything in CS5 other than the brush size," or "I can't adjust anything in regards to the Sharpen Tool, other than its brush size," or something else entirely? When you select the sharpen tool there should be a "Strength: (drop down menu with percentage values)" to the right of the brush selector. Maybe your options bar is hidden? If you are talking about sharpen filters, then it really doesn't have much to do with brushes.
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Dec 16, 2010 17:14
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Side Effects posted:What do you do when you catch a senior art student tracing from other peoples paintings? Some of my friends and myself have caught this girl tracing straight from the computer screen on multiple separate occasions and we don't know what to do. Should we alert the teachers or should we just let her wallow in her absolute crap artwork? You'll have to provide details about the situation. It's not like copying something makes it bad, or is a bad practice to be in, in general.
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Dec 16, 2010 21:00
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Sorry, I was talking about the sharpen brush. Strength is what I'm looking for.
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Dec 16, 2010 21:20
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Does anyone have a good process to recommend in Photoshop CS2, to turn a photograph into a nice and simple coloring book type page? I was looking for the recent photoshop phriday thread for the same thing but couldn't find it, and figured this might be a good place to ask. I just created a new thread but then figured maybe this is a better spot to ask, can a mod delete the other thread? Sorry about that.
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Dec 16, 2010 22:06
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Side Effects posted:What do you do when you catch a senior art student tracing from other peoples paintings? Some of my friends and myself have caught this girl tracing straight from the computer screen on multiple separate occasions and we don't know what to do. Should we alert the teachers or should we just let her wallow in her absolute crap artwork? It's a really touchy subject. First, you do recognize that tracing, gridding, and other forms of mechanical reproduction are all legitimate ways of speeding up process, I'm sure, but tracing other people's work still might technically be appropriation as opposed to stealing: think Andy Warhol's screenprints of other people's photographs. If she is tracing famous/semi-famous pieces/styles of work, your teacher probably already knows. We had a lot of students at my school basically just trace anime. It went ignored for a long time because the profs didn't really know how to deal with it (they were just incredulous: "Really? They're tracing manga again? Badly?") but eventually they put their foot down and started failing people. If it's a semi famous piece of work, you could just bring it up in critique: "Were you intentionally referencing Vermeer's Girl With A Pearl Earring?" If she says no, and it's obvious, you've just made her look like an idiot. If she says yes, and starts talking about the appropriation of high art for commercialization or something, bow out, she's obviously outclassed you. However, if she's just tracing people's DeviantArt pages, ugh, that is the worst. The teacher might have noticed the inconsistency in her style/ability between classes and the homework, but might not have put 2+2 together yet. You might approach the teacher and ask what her stance on stealing is. What you don't want to do is look like a tattletale, as it will reflect badly on you. Mention it to the teacher, but don't demand that the teacher do anything or bring it up over and over. This girl obviously doesn't have the ability or motivation to create her own work. Even if she graduates, she will go nowhere with her art: the art world is already packed with people who do create interesting, original work and still have trouble selling work.
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Dec 18, 2010 17:05
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How long does it take for oil paints to fully dry? I'm guessing it probably differs based on how thick it's applied and whatnot, but a time range would be helpful.
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Dec 19, 2010 02:55
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Detective Thompson posted:How long does it take for oil paints to fully dry? I'm guessing it probably differs based on how thick it's applied and whatnot, but a time range would be helpful. Well, the generic rule for applying a varnish is to wait 6 months or so after you've painted it. If you mean dry to the touch/able to be painted on, then anywhere from a few hours to a week, depending on what's been mixed in. Sorry, not the most helpful answer.
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Dec 19, 2010 05:04
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That's a pretty good answer. My biggest concern would be that I'd be shipping said pictures off to my sister in California sometime after the holidays (she'll be here for Christmas so I at least show them to her), and I was just wondering how long it would be before I could safely do so without fear of them getting messed up. Edit: Oh, and you said depending on what's been mixed in. I'm new to using oils, so what exactly does that mean?
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Dec 19, 2010 05:23
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I lost my stylus for my Graphire4 while I was taking it from home to the art building on campus today. While I was searching for a replacement stylus on Google, I saw one link that said the pens shipped with the Bamboo tablets will work on a Graphire tablet. Does anyone know if this is true or not? It would sasve me $20 to get a Bamboo stylus as a replacement instead of a stylus for the Graphire4. If that is not true, then does anyone know if the pens that came with older models of the Graphire line are compatible with each other?
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Dec 19, 2010 06:51
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Detective Thompson posted:That's a pretty good answer. My biggest concern would be that I'd be shipping said pictures off to my sister in California sometime after the holidays (she'll be here for Christmas so I at least show them to her), and I was just wondering how long it would be before I could safely do so without fear of them getting messed up. There's about a dozen common additives / mediums like japan drier, etc. you can mix in oil to speed up / slow down curing in addition to whatever you're probably using already, turpentine, paint thinner what have you
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Dec 19, 2010 07:36
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So I'm making an RPG (paper n pen) and so far I've written 10k words on 34 pages. The setting is modern era during the beginning of a zombie apocalypse (people know about zombies, and the zombies are romero type zombies that have two stages ; fast and agile for three months. After three months they become so decomposed that they turn back to being slow and just being your stereotype zombie. I've done the introduction, how to create a character, 12 different jobs (ranging from being a useless office worker with no combat ability but some really necessary skills to make living life easier to a hunter who can take care of himself in battle and still survive by living off the land). What I've also written down is how to decide what modifications are necessary depending on how hard/easy it is to do that task, how to deal with first aid, what happens when you're injured, what could happen if your wounds get infected, various actions that you can do (in combat) and the statistics of every weapon you can have. Weapons in my RPG is really simplified, each type of weapon is all working under a category (I.E a two-handed sword works exactly the same as a shovel in terms of damage, how long it can last etc, or an ak47 deals the same damage and has the same properities as an H&K G3) which I had to add after I realized how incredibly detailed it had to be if I were to make every gun in the whole wide world. Or atleast the more common weapons, but it's still a lot of things I would have to change, with various ammunition types and so forth. I've also worked out a system with hunger and thirst and what happens when you're getting really hungry, or really thirsty. Modifications to your skills, not being able to perform tasks and things like that. And a system in how people can freak out and what happens when they freak out. Now, what I'm asking is how many more pages I should write, I've tried to keep it simple but also somewhat complicated (for instance the wound system is pretty complicated whereas weapons are extremely simplified) and I've got a few things left to write ; Items, what the items do and effects. NPCs and animals, I figure having some sort of 'average joes' for each line of work and just common citizens would be necessary to have so that the gamemaster doesn't have to create new characters every time. How to be a gamemaster, I figure this could be a good part to have in the RPG to explain some things a bit further and telling the gamemaster to not always follow the rules to the book and worry more about getting the players to enjoy themselves. This is the first time I'm doing something as complicated as my own RPG (I've done plenty of modifications to boardgames and the like and had some success with people liking them) and even though it's been pretty hard it has also been really fun. The only goal I have is to make it playable so that I, my friends and hopefully other people can enjoy it, but I don't know what should be included in an Pen & Paper RPG. It's still a WIP so I'm not sure if it should warrant it's own thread, or if this is the right place. tl;dr I'm making a Pen & Paper RPG with a zombie setting with a few questions on what should/shouldn't be in it. Any thoughts?
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Dec 20, 2010 21:54
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Greggster posted:tl;dr I'm making a Pen & Paper RPG with a zombie setting with a few questions on what should/shouldn't be in it. You might do better asking this question in Trad Games.
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Dec 20, 2010 21:57
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Beat. posted:You'll have to provide details about the situation. It's not like copying something makes it bad, or is a bad practice to be in, in general. It's not that she's copying something, it's that she's tracing copy written work and then claiming it as her own. And she's not just tracing a portion of it either, usually it's the whole piece of art. As an example: She once made a piece of work about the church's stance on gay marriage by tracing the third google image result from the computer screen. Everything in her piece was exactly the same as the painting she traced from, even down to the placement of the apples in the trees. The only difference was that she changed the snakes head into a cross. When we confronted her about it after class, she denied having any knowledge of such a painting and adamantly proclaimed that it was her idea and that she drew it from life. I don't know, it just seems so sleazy and lazy to be in an illustration department and trace every one of your projects.
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Dec 21, 2010 21:05
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Side Effects posted:It's not that she's copying something, it's that she's tracing copy written work and then claiming it as her own. And she's not just tracing a portion of it either, usually it's the whole piece of art. Well, how you handle it boils down to your personal philosophy. I'm sure there is academic infrastructure in place for confronting this kind of issue. Whether or not it is worth your time and emotional investment is something you have to hash out for yourself. I've spent a lot of time in academia, I'm (slowly) working on my masters in art history right now. But I've been in plenty of other classes where practices that were questionable ethically happened all the time. The notion that "cheaters never win" is basically horseshit, cheaters win all the time. Mostly they just got by with a mild wrist slap for infringements. Because, after all, they don't want to lose the cash flow from a $45k a year student. Where I am now, I'd rather invest my time in myself, and using the resources available to me to my own ends. I simply do not have time to get bogged down in petty horseshit, which is what I classify this as. The overall quality of this chick's work is probably lovely, anyway, and she's not doing herself any favors. I sometimes use a shared space for doing ceramics work at the school I'm at, because I can use their glaze room, kilns, etc. People see the poo poo I create and some of the methods I use and they're like, "I'm totally going to try that." This happened to me at least 5 times in the past few months. Yeah, go ahead. I explain more or less how I do it, too. At worst they will take the techniques I use and come up with something new that I can copy later. More than likely though, 9/10 of them will get frustrated and quit before they figure out anything. Meanwhile I'll be on to greener pastures, having further refined my methods and have more time to spend trying to market/sell my work. It's not completely analogous. Point is, don't get bogged down in horseshit that doesn't help you.
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Dec 22, 2010 00:15
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Slashie posted:You might do better asking this question in Trad Games. You might be right. Edit : Thanks by the way 
Greggster fucked around with this message at 02:24 on Dec 22, 2010 |
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Dec 22, 2010 02:22
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I apologize for asking this (as I'm sure it's been asked a million times before, but I can't find an answer), but I am looking for a present(s) for my little sister who likes to draw. I would like to get her a nice set of pencils / paper and possibly one of the recommended books, unless someone can direct me in another direction on what to get. (I have no idea what type of pencils or paper to get her)
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Dec 23, 2010 01:09
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