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Since I'm bad at drawing/learning to draw, is it a dumb idea to draw something at really simple angles, make a 3D model based on that, and then draw using the model as a reference? It's time consuming but I'm learning a modelling program and photoshop at the same time 
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Jan 11, 2013 21:28
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Not a bad idea at all. SketchUp has been rather popular for this purpose and there are now comics/manga software which use 3D features for help with background architecture. There's also a video series called Blend & Paint, about using open-source software to go from design to painting. The video has a Creative Commons license, but sales of the DVD support Open Blender projects.
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Jan 11, 2013 21:49
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I've recently found several binders of comic book trading cards from my youth. Looking at E-bay, it seems the value of these collectors items has hit the floor. I've been trying to think of nifty art projects I could do with them. Maybe cut parts out for fridge magnets, or fix them on tiles as coasters. I haven't found any DIY sites that use cards in craft projects - has anyone here done anything with cards, or have any neat ideas? I'm strongly considering this, thanks! VVVVVVVVVVVVVVVVVVVVVVVVVVVVVV Dr Strangepants fucked around with this message at 20:14 on Jan 19, 2013 |
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Jan 18, 2013 22:00
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you could put them on a wood table top and just pour resin over them, that would be bad rear end
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Jan 18, 2013 22:33
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I thought this very stupid, very little 3ds Max question would be easy to google, but I thought wrong! Any goons know how to connect two verts on a spline with a line? I made this by drawing one spline, then copying and scaling it, then attaching the two splines. Now I want to connect them as if I had drawn them as one stupid spline in the first place. I tried Fusing but that pushed the vertices together. I tried Weld, Attach, Refine and nothing (obvious to me) happened. I'm used to working in Illustrator and this is driving me nuts.
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Jan 19, 2013 03:17
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Can you insert points along the spline? Then you could put 2 new points right next to the end points and then fuse or merge the end points.
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Jan 21, 2013 01:04
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Beat. posted:you could put them on a wood table top and just pour resin over them, that would be bad rear end A friend of mine did that and it turned out awesome.
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Jan 21, 2013 19:06
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Is this sentence too awkward? Death, crushed by thousands of pounds of pressure in an endless night, drawing near, Sean’s hand finds, at last, a useful lever- the battery’s priming pump.
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Jan 22, 2013 19:38
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The Bananana posted:Is this sentence too awkward? Yes. Something like "Death drawing near, crushed by thousands of pounds of pressure in an endless night, Sean's hand finds at last a useful lever - the battery's priming pump." But that still is too unwieldy. edit: Or maybe "Crushed by thousands of pounds of pressure in an endless night, death was drawing near. At last, Sean's hand finds a useful lever - the battery's priming pump."
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Jan 22, 2013 20:07
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I don't know the context of the sentence, but what does "crushed by thousands of pounds of pressure in an endless night" even mean?
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Jan 22, 2013 20:09
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Huntersoninski posted:Yes. Something like "Death drawing near, crushed by thousands of pounds of pressure in an endless night, Sean's hand finds at last a useful lever - the battery's priming pump." But that still is too unwieldy. That gives you a weird dangling modifier (death is being crushed)? "Crushed by thousands of pounds of pressure in an endless night, Sean knows his death draws near. At last, his hands find a useful lever- the battery's priming pump!" It's not great but it's a start.
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Jan 23, 2013 01:10
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Maxwell Lord posted:That gives you a weird dangling modifier (death is being crushed)? Yeah I was afraid to change too much, but your way is much less awkward.
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Jan 23, 2013 01:14
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I recently picked up an account at textbroker.com. It looks like I can make a sustainable income if I really keep my nose to the grind stone and push out little 4 paragraph blog posts containing keywords and what not. I was wondering if this really will help me build up a portfolio for a "real" writing job, or if I'll just be spinning my wheels here. I was also wondering if there were other sites like this that paid more then a penny a word.
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Jan 24, 2013 18:58
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I've been drawing again for the past month or so and I'm at the moment mostly wanting to improve my fundamentals through figure drawing. I can't seem to find any life drawing classes/sessions here for some reason (live right near University of Florida and I work there...) so I've been doing the "class" feature on this website: http://artists.pixelovely.com/practice-tools/figure-drawing/ Sometimes I go to public places and draw people walking/standing nearby also. Any other advice for ways to practice? Are there any other good online tools for just figure drawing practice?
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Jan 27, 2013 03:36
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I've recently had the idea to sculpt a large bust and then to paint it when its complete. I've also never made a bust before so I'm not really sure how to go about doing it. Like, what kind of clay should I use and how can I get it hardened once its done? Would acryllic paints work best once I'm ready to paint it?
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Jan 29, 2013 15:29
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DownItGoes posted:I've recently had the idea to sculpt a large bust and then to paint it when its complete. I've also never made a bust before so I'm not really sure how to go about doing it. If you dont have access to a kiln, I would use plaster of paris instead, primed after you sculpt. Just google it and see what kind of options are out there, quite a few both reductive and additive... It's easily accessible and much cheaper than things like baking clay. I think its more intuitive for beginners, too, but a little messy.
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Jan 29, 2013 21:13
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This isn't really a 'little' question and it might deserve it's own thread, I just don't know how to frame it as such. How would someone go about cultivating a naive/outsider aesthetic intentionally? It's more of a philosophical issue than a technical one, and I know it's been done before in various media to varying degrees, but I'd like to know how I can take a more 'naive' approach to the creative process. I find naive/outsider art fascinating and I'd like to capture some of that magic in my own work, but I don't know how to go about doing it. I mean I'm no professional but I'm not exactly ignorant either, so I don't know where to start.
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Jan 30, 2013 03:22
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miserable lil onion posted:I thought this very stupid, very little 3ds Max question would be easy to google, but I thought wrong! Any goons know how to connect two verts on a spline with a line? I'm going from memory here but: Make sure it is an 'Editable spline' by selecting the attached lines, right clicking and selecting 'Convert to Editable Spline' Then in the modify tab under Geometry click 'Create Line' then draw a line from one vertex to the other (obviously as close a possible), right click to exit the tool. Then making sure 'Vertex' section method is chosen at the top of the modifier list, select two close vertices and select 'Attach' - repeat for the other two vertices.  Hope it works - like I said I am going from memory but will double check when I go to work tomorrow and keep an eye on the thread.
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Jan 30, 2013 12:16
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Apologies if this is the wrong place to ask, it's my first time visiting Creative Convention but I came here to ask a question about time lapse videos. I can watch these things all day long and they fascinate the hell out of me. I have a baby due next month and am going to attempt the whole "photo a day" project. Anyway, my specific time lapse question is about skyline/nature shots. How do they manage to skip night time footage while still making it look not-terrible? Things like a building being constructed or a river drying up etc. The main thing that sparked me to ask is the awesome time lapses in the BBC/Attenborough documentaries. How do they film tress growing or other events that take place over days and make it look good? In the latest Africa series they are even doing timelapses with moving cameras, either slowly rotating or slowly moving across the forest floor whilst everything on screen is going mega-fast. How does that actually work?
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Feb 7, 2013 12:45
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xcore posted:Anyway, my specific time lapse question is about skyline/nature shots. How do they manage to skip night time footage while still making it look not-terrible? Things like a building being constructed or a river drying up etc. I actually worked on this video. There are special time lapse cameras for projects like these, and basically they just take a series of pictures. You tell it to take a picture every few seconds, minutes, or hours. Then you put all the pictures together and export them into a video. Then you edit that video like normal. Cut out boring dark night times, gaps in activity (or, ahem, if certain workers break code obviously, trim that) and voila! Nobody knows how much time you're cutting because it's hard to tell what's a jump cut with time lapse, so the flow's not broken. The video above is about 3 months' work. quote:In the latest Africa series they are even doing timelapses with moving cameras, either slowly rotating or slowly moving across the forest floor whilst everything on screen is going mega-fast. How does that actually work? Those big dramatic moving ones I believe are sometimes set up in studios and greenscreened into environments. That way they can have the camera on a predictable track and ensure that they get the lighting/timing they need to be sure the shot is perfect every time. Very cool stuff, way out of my league. edit: I'm also not sure they use timelapse cameras for those. They may just do a take every day or so and chop them up that way. Rat Patrol fucked around with this message at 04:45 on Feb 8, 2013 |
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Feb 7, 2013 21:07
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xcore posted:Anyway, my specific time lapse question is about skyline/nature shots. How do they manage to skip night time footage while still making it look not-terrible? Things like a building being constructed or a river drying up etc. I just import all the photos as an image sequence in After Effects. After that I split the sequence where the night is (also gives me a good idea of which day is which within the timeline. Timelapse is fun, yet I find it somewhat scary when I wake up in the middle of the night wondering if my camera has broken/ lightening strike/ been stolen. For what you want to do I would setup a camera on a tripod at a fixed height and distance from a wall you can prop your kid against. That way the photos should turn out similar in composition (not sure how long you plan on doing it. But at 25 fps and once a day you get roughly 1.5 minutes of footage. In case you were interested I thought fudge it, I'll post what I have used and currently use for corporate stuff: If you have a Canon DSLR (forgive me on my lack of knowledge on Nikon) and it doesn't have a timelapse option you can either buy an 'Intervalometer' which will take photos at the times you choose or go the way I tried and install a custom firmware called 'Magic Lantern'. I have used ML MANY times for bridge building shots - I do have a solar panel, battery adaptor from a astronomy retailer so I can shoot for many months in remote locations. My first build was somewhat dodgy and an experiment:  It was built using:
That thing lasted a year through the extremes of the Australian outback screwed onto a telephone pole. The only issue was lack of remote monitoring and the SD card needed changing. Oh and some telecoms mob deciding MY pole (that we paid for installation) would be nice to put their own antenna on which partially got in the last months photos (got a nice photo of the guy responsible too). I bought my next setup as I sometimes couldn't be arsed building:  Features:
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Feb 8, 2013 08:57
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Does anyone have any good guides or tips on getting started with oil and or acrylic paints? And possibly some product recommendations. I have wanted to expand the mediums I can work in, right now I am mostly pen and pencil with digital coloring.
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Feb 12, 2013 23:31
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Does anyone know if there's a name for the style of pictures like these, or at least some terms I could use to search for more?   More specifically, I'm looking for mainly the neon colors and use of different shapes/patterns to show transitions/shading. Though, those might actually be two separate styles, I guess. Edit: I guess they fall into digital art, but is there a name for the use of neon colors like these? pseudorandom fucked around with this message at 01:00 on Feb 13, 2013 |
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Feb 13, 2013 00:54
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I've got a question about cloth and models. I'm working on a composition of a mythical scene, and would like to have a pose in motion (the figures will be fleeing). The problem I have is figuring out how the cloth would move. I don't really have the funds to buy several yards of fabric for a peplos, and since my model won't actually be running, it wouldn't really help me out all that much anyway. I'm okay at drawing cloth on a stationary subject, but the way it moves in the air has always baffled me. Does anyone know of any good tutorials or tricks to help me figure out how it should look? The pose is supposed to be graceful and ethereal, and the clothes light and gauzy (like in Classical sculptures). Pineapple Salad fucked around with this message at 04:27 on Feb 13, 2013 |
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Feb 13, 2013 04:23
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pseudorandom posted:Does anyone know if there's a name for the style of pictures like these, or at least some terms I could use to search for more? The visual equivalent of chillwave?
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Feb 13, 2013 04:33
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In Scrivener, is there some way to force all the text on a document to use the tab settings you set up? When I'm out, I sometimes do writing on my phone and e-mail it back to myself, but Scrivener is really poor at handling that kind of thing. Copying from my e-mail client directly sends the lines going off the screen, copying it into Word first and then into Scrivener also copies Word's tab settings, which don't match the ones set up for Scrivener. I searched their forums and can't find a fix. I can adjust the tab settings under the options menu, which does nothing, or I can compile it which should make it use the right settings... but it will just export the thing.
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Feb 13, 2013 05:31
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pseudorandom posted:Does anyone know if there's a name for the style of pictures like these, or at least some terms I could use to search for more? The transitions and shading are essentially just forms of dithering
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Feb 13, 2013 23:15
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pseudorandom posted:Does anyone know if there's a name for the style of pictures like these, or at least some terms I could use to search for more? The 80s?
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Feb 14, 2013 01:13
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I don't know if this is art but... I've been thinking of giving a shot at making a really, really, really, really, really, really basic comic for practicing telling stories with images. I've done a few for some mock threads and it got me interested in going for the real deal. I want to try to make some character designs...the thing is...I don't have a clue about developing characters or designing them. I was thinking about starting with character sheets and really simple characters and start with that. I was wondering if anyone knows a tutorial or has some tips for this? If this was a stupid question or it doesn't belong here please ignore this.
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Feb 14, 2013 02:06
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Humphreys and Huntersoninski posted:Timelapse stuff Thanks for the tips/info/advice guys.
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Feb 15, 2013 15:58
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scarycave posted:I don't know if this is art but... There are no stupid questions! I'm not a cartoonist or anything, but my rule of thumb for anything art related is: practice. You want to come up with character designs? Do a lot, then do some more, then do a few more still. Don't settle on your first idea for a character, start with a simple idea then take it in every direction you can think of. For example: you have a character named Joe. Is he tall or short? Try him super tall, super short, then in between. Skinny as a rail, as fat as you can make him, shades in between. Find out what you like, what works, what doesn't. So yeah, the key to developing anything is to explore all your options and then you'll eventually come into something you like.
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Feb 15, 2013 16:13
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scarycave posted:I don't know if this is art but... I'm been practicing this myself recently. Basically you need to focus on silhouettes first, by working with thumbnails. after you get a silhouette that you like you can then start to build up the character, and fill in the details. also, make sure to do some studies if your character is going to wear something or have a particular feature. There are tons of tutorials about this sort of thing online. I personally really like this guy's stuff http://www.youtube.com/user/sinixdesign, and have found them to be really helpful.
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Feb 19, 2013 21:14
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I like to do little pen drawings on stickers and put them on things - does anyone know a good way of fixating pen ink so that it doesn't rub/wash off? As far as I can tell fixative sprays are only for pastel, chalk, etc.
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Feb 20, 2013 14:20
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Aristurtle Records posted:I like to do little pen drawings on stickers and put them on things - does anyone know a good way of fixating pen ink so that it doesn't rub/wash off? As far as I can tell fixative sprays are only for pastel, chalk, etc. Try sticking contact paper or clear packing tape over the drawing before you remove the sticker from the backing.
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Feb 20, 2013 14:38
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ooh contact paper is a good idea! Thanks!
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Feb 20, 2013 21:30
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Can I use wheatpaste on thin plastic? It's probably .5 mm thick. I've only ever used wheatpaste on paper and don't know if it will work when it can't soak into the material.
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Feb 21, 2013 03:21
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Well, it'll dry, but unless the surface of the plastic is really coarse, it'll flake right off once it does if the plastic is moved at all.
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Feb 21, 2013 03:25
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How can I save an image in photoshop that's using LAB color mode as a jpeg/internet posty format without it changing the colors?
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Feb 21, 2013 05:56
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Ctrl-alt-shift-S for Save for Web
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Feb 21, 2013 06:05
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So I have a somewhat big question. First off, I create sharpie illustrations using photos, I've been selling them on Etsy for around 3 years, and sell maybe 1-2 a month on average and sometimes get a decent order (like a guy just ordered 15 a few weeks ago). I feel like I'm not any good at pro-actively trying to sell my art because I feel kind of inferior to other artists because I'm just making pop culture sharpie drawings. I've done lots of custom illustrations and they usually go over very well, so I was thinking of just contacting teams/parents by email to see if they wanted large orders, etc. Or contacting movie theaters for the same reason (I do lots of movie scenes/actors). Basically when I started making these, I was charging hardly anything for the amount of work it takes (takes maybe ~10-20 hours depending on image). Right now I charge £50-55 for a commissioned piece, and the way I always saw it was that if the orders were flying in, maybe it would make sense to raise my price. But I have gradually raised my price and it seems that I always have the same amount of sales. Basically I would like some suggestions/advice about pricing and contacting businesses/groups of people who might be interested in my art. I mean if I charged by hour, it might double or triple my price, and I don't know if that would make my stuff too expensive. But if I could do this full-time, even at min. wage, that'd be awesome in my eyes. Here's a few examples, the art is 9x12.    
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Feb 25, 2013 13:30
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