⭐️Stariel⭐️ (Posts tagged colours)

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See, that’s what the app is perfect for.

Sounds perfect Wahhhh, I don’t wanna
starieldreamer
helpfulharrie

Source: FOERVRAENGD

List of tutorials that helped me with environmental painting:
“How to make your own Perspective Grid in PS” <—- this one is the best thing I’ve ever discovered. Srsly CHECK IT OOOOUUUUT!
Snuffen’s Background Tutorial P1More or less ALL tutorials by Griffsnuff is awesome, so make sure to check out the rest of them!
More or less ALL tutorials made by AquaSixio!

List of youtube channels that also helped and inspired me:

FZDSCHOOL - More or less one of the most known concept art-related resources I know on youtube. It’s great to sit and draw and just listen to the talking.

SinixDesign- This guy is also great! He has some design workshops ever now and then where the viewers can send in their stuff for critique! very encouraging and inspiring!

moatddtutorials- This guy is more into drawing than painting, and has a more cartoony style. He has interesting methods when it comes to perspective. And he also challenge himself in some of his videos (the engine block video is a great example of this)

foxOrian- Also known here on dA for his awesome perspective and composition tutorials. He has a youtube channel where he posts some videos that might be interesting as well.

Source: foervraengd.deviantart.com
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artist-refs
rapidpunches

A color palette with a full range from dark to light is very important! You can use the blob I made to make your own palettes or use the bunny! Remember to include at least one complimentary color for your main one (see Part 2 for how). Color is used to separate shapes from line. Value is something you use to blend or separate colors from each other and further add dimension to the content. You use these elements of composition to lead the viewer’s eyes through the whole image.

Some of you wanted a better explanation of the thumbnail-ing process from Part 3 but it’s different for every program. If it’s easier, you can draw the little stick figures on paper and either scan or take a picture of them with your phone. The ones I drew were barely two inches high.

  • Depending on the program you can Select (or Lasso) them and then Scale (or Resize or Transform).
  • Cut out and paste into a separate layer to move around freely.
  • Have layers for background, middle ground, and foreground (front to back).

The reason why drawing a small, teeny tiny thumb sized sketch might help you is because they’re faster to draw. It’ll save you time drawing something bigger. If you’re spending hours sketching contours of body parts–that’s going to tire you out and make the prospect of continuing the drawing seem like torture. So practice your tiny stick figures!

composition colours
artist-refs

A R T  TIPS: Greying your colors.

kingcholera

I can’t take credit for any of the information that I’m about to share. A lot of these tips are quotes from books by James Gurney, Andrew Loomis, and Richard Schmid, as well as from masters like John Singer Sargent. 

First I need to say that none of this is hard fact, and every rule can be broken in art. These are simply some guidelines that may help you improve, especially if you’re interested in pursuing realism like me. So without further ado, let’s get started. It’s a long one!:

Ahh, good ol’ grey. I love you. You have been so good to my paintings lately now that I’m starting to understand you more. This post is about using grey to your advantage, and how it can make colors more vivid, instead of less.

“The greys make the picture.” It sounds odd, doesn’t it? If you’re using color, why would you want to dull it?! But I’ve have seen this mentioned countless times by countless artists, and I’ve tried it myself by doing grey washes over color to unify my palette. IT IS SO USEFUL. “Try greying all but two colors, or mixing a single color into all but one or two of the others.“ 

image

By Adolf Hiremy-Hirschl, The Souls of Acheron 

Keep reading

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artist-refs

Color and Language

historical-nonfiction

Many people are surprised to learn that different languages do not consider the basic colors to be the same. Some New Guinea Highland languages, for example, still have terms only for black and white (perhaps better translated as “dark” and “light”). Hanuno'o language, spoken in the Philippines, has only four basic color words: black, white, red and green. Pirahã language, spoken by an Amazonian tribe, is said to have no fixed words for colors. According to linguist Dan Everett, if you show them a red cup, they’re likely to say, “This looks like blood”. Some languages have color distinctions which are, well, foreign to native English speakers:

  • Latin originally lacked a generic color word for “gray” and “brown” and had to borrow its words from Germanic language sources.
  • Biblical Hebrew had no word for blue.
  • Navajo has one word for both grey and brown and one for blue and green. It has two for black, however, distinguishing the color of “coal” from that of “darkness”.
  • Russian, Italian, and Greek  have different basic words for darker and lighter shades of blue. 
  • Hungarian has two different basic red words – bordó (darker reds) and piros (lighter reds.)
  • Shona language (a Bantu language from Southern Africa) has no one word for our “green”. concept; they have one word for yellowish-green, and a different word for bluish-green.
  • Hindi has no standard word for the color “gray”. However, lists for child or foreigner Hindi language learning include “saffron” [केसर] as a basic color.
  • In Gaelic glas can mean both “grey” and “green”– glasbheinn is “green mountain”; glais-fheur is “green grass.”
incredifishface

@hedwig-dordt @writernotwaiting

rex-luscus

This reminds me of the ink spilled over the years on the phrase oinops pontos (wine dark sea) in Homer, all attempting to explain how the Ancient Greeks could possibly have thought the sea resembles wine. Explanations included: 1) no words in Archaic Greek for blue, because 2) they were collectively color-blind, 3) their wine was blue, 4) red tides/sea looks red at sunset/etc. 5) all sorts of other batshit theories. William Gladstone, better known for being a UK Prime Minister, wrote a book on this - the first, maybe? His theory was that the Ancient Greeks were more interested in light/dark than in hue, per se. But just google “Homer” and “color” and prepare to be amazed. Here’s an article I just found that posits Ancient Greek color as essentially synaesthetic.

incredifishface

omg yes the wine dark sea.

rex-luscus

#nobody explained this to me in high school#we all wrinkled our little noses and went#i’m pretty sure the sea is not wine coloured#or what the hell did ancient greeks drank?

It’s weird - this one never bothered me. I just assumed color wasn’t the important part of the comparison and all they were going for was “dark, swirly liquid,” with maybe a side of “the sea is tempestuous and unpredictable and wine makes people tempestuous and unpredictable.” The English “wine-dark” supports my reading more than the Greek, though - I think oinops literally means “looks-like-wine.” Which - yeah, not sure the sea really does.

fixa-idea

Nope, the two Hungarian word are ‘vörös’ (darker) and ‘piros’ (more orange-y, lighter, like a poppy).

‘Bordó’ is more of a purple.

kindaoffkilter

@potcpoi more ways for us to argue over color!

potcpoi

Yes, let’s feature in different languages to make things even more confusing. 

Source: starchamber.com
colours
fucktonofanatomyreferencesreborn
fucktonofanatomyreferencesreborn:
“/Pallet challenge #1.
Obviously not an anatomy post; this is solely for artistic practice.
We’re starting off simple. For this pallet challenge, you assign each horizontal row to be the light source, the shadow, and...
fucktonofanatomyreferencesreborn

/Pallet challenge #1.

Obviously not an anatomy post; this is solely for artistic practice.

We’re starting off simple. For this pallet challenge, you assign each horizontal row to be the light source, the shadow, and the colour of the object itself. The colours MAY overlap, but you may not blend them for the purpose of creating another pigment. Do not interchange colours in the three categories (meaning if row 1 is your light source, you may not take a colour from row 2 to be in the light source as well). You can be as detailed or simple as you wish. This challenge doesn’t have to be done with digital colouring; match up the pigments with coloured pencils or crayons or paints or pastels (or whatever medium you want, but same rules apply in terms of blending). Don’t mix mediums; for this challenge, pick one and stick with it. Participating in a time limit is optional; the limit is four days; no more, and try not to make it any less (if you’re done in a day, make yourself do more [unless you’re satisfied with the result… we don’t want to overkill it… but otherwise try to keep going]). Four days might be a while, but, like I said, we’re starting off easy (and, by the way, it’s not four days from when the image was posted; it’s four days from you starting the challenge). Remember that when you assign rows to certain aspects of the image, you can use all colours for that task (meaning if you want row 3 to be the shading, the brightest colour in that row can also be used for shading the other lighter colours). If you want to only incorporate two or three vertical rows for the tasks, that’s fine, but you may not only use one. Vertical rows don’t have to be consistent with one another.

This challenge is not for a prize or anything. This is simply a fun activity for individual practice. Challenge yourself, tumblr artists! Good luck!

When you finish your creation, share it with everyone by reblogging this post and pasting the URL to the art into the text section. I’m excited to see what you’ll create!

colours
fucktonofanatomyreferencesreborn
fucktonofanatomyreferencesreborn

Artistic style prompt #1.

Note that this is just for artistic practice only and is obviously not an anatomical reference post.

The Style: Pointillism is generating an image with only dots. Typically, a “single” pigment is actually composed of several, meaning that if you’re standing a distance from the image, it would look like one colour, but once you examine it up close, you’ll see three or more in that same spot. People may start a certain pigment with the lightest colour, then add more or less of the second darkest where desired (to generate a basic depiction of highlights and shading), and then finish with a generously applied dark colour. Others make clusters of each “dot” (meaning they will make dots of all three pigments touch to form a super-dot), and each pigment will be a different size in that dot (meaning, if you’re colouring in a shaded section, the darkest colour would be largest in the cluster, and the lightest the smallest). You can have a space between the dots (meaning if you’re drawing on white paper, you can see the white in between) or you can limit it to only those colours (you may not get a coloured sheet of paper as a substitute for making dots… you must manually add all three pigments as dots). There is the type where you don’t mix the colours and simply utilize one pigment for shading and so on, but you may not do that for this exercise. Mixing the colours and making them work is part of the challenge. Usually, very different colours are utilized for a single pigment (like in the above example, where the person utilized green, yellow, and blue for one subject), but we’re not doing that for this exercise.

The Challenge: You’re more than likely acclimatized to working only with lines. If you thought structure was difficult before, now you don’t get to connect anything. For this challenge, you may NOT sketch out a light structure with pencil first. You must only dab it out with marker as you go along. No lines are allowed on this image. You know what? Pointillate your signature, too. No. Lines. (Okay… you don’t have to pointillate your signature… but it’d look cool.) There are two lighting sources on the skull; one from the right, and one from the left. There are two provided pallets; in each pallet, there’re two horizontal rows. Pick one row to be the lighting for the right side, and the other row for the left (doesn’t matter which is which). You may not mix pallets or pigments in rows. The light source might come at a 45-degree diagonal from the front, or they’ll come directly from the sides (however you prefer that), but don’t go beyond 45 degrees. You can makes the lighting come from above/below, left/right, all the diagonals, etc., but they are required to be directly opposite one another. Like mentioned, the skull can be human, an animal, or some creature not of this earth (be you so bold). Whatever it is, do NOT choose something basic (like a jellyfish skull [yes, I know jellyfish don’t have skulls… that’s… that’s the entire joke… I gotta acknowledge it because I’ll otherwise get loads of people saying “Hey dumbass, you know jellyfish don’t have–” yes, I know jellyfish don’t have skulls… now it’s not funny anymore ‘cause I explained it all, so you ruined it for everybody. I hope you’re happy]). Go with a bull or lion or dinosaur or human or unicorn or whatever. Do not make a cartoon skull. Or, if the skull is cartoon-derived, make a realistic version of it (I advise sticking to non-fictional skulls, unless you think this is all too easy and you want to make something… not of this world. Make it as detailed as realistically possible (depending on how detailed you’re willing to go, you may want to look up the texture of bone). Now… you can be daring and add carvings or paint or something decorative (like feathers or beads or whatever) if you’re finishing early and/or want more of a challenge. You may not, under any circumstances, utilize any decoration to cover up a part of the skull you don’t want to draw (designs may not obstruct the anatomy of the skull any more than 8%). The only possible exception to this is if you make an irreversible, permanent mistake (like if you’re working with ink or something)… THEN you may work some design over it. You’re the judge of whether you’re doing the challenge properly or not. (And, of course, all designs are to be pointillized as well.)

Time Limit: You will likely make mistakes and want to start over. If you start over once or twice, the time limit will reset to three days for that piece of paper. But once you are on your third attempt, you are stuck with that final three day reset (meaning if you start over a third time and you’re on your second day, you’ll only have one day remaining). Don’t spend your three shots experimenting; practice the dotting techniques on a separate piece of paper.

Tips: Make the lighting appear natural (meaning the colours will comingle in certain areas). Know how you dot the image (with larger dots or simply by using more of a certain shade) so you are aware of how to express shading and highlighting.

-~-~-~-~-~-

This challenge is not for a prize or anything. This is simply a fun activity for individual practice. Challenge yourself, tumblr artists! Good luck!

When you finish your creation, share it with everyone by reblogging this post and pasting the URL to the art into the text section. I’m excited to see what you’ll create!

colours
grizandnorm
grizandnorm:
“Throwback Thursday on Tuesday Tip – “How do you paint?”    Whenever someone ask me, “How do you paint?“ My answer will be a direct quote from Bob Kato.
back to front
dark to light
dull to bright
general to detail
Everytime I bumped into...
grizandnorm

Throwback Thursday on Tuesday Tip – “How do you paint?”

Whenever someone ask me, “How do you paint?"  My answer will be a direct quote from Bob Kato.

back to front
dark to light
dull to bright
general to detail

Everytime I bumped into Bob, I always tell him how much I love passing along his quote from his Sketching for Illustration class at Art Center.  I definitely use this mindset when I approach photoshop paintings.  This really helps my layers to stay clean and organize.  Here is a process of my ‘Natalie’ painting.
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grizandnorm
grizandnorm

Throwback Thursday on Tuesday tips

Hi, I’ve been getting emails asking about color.  My approach is to make it as simple as possible.  It is a lot easier to control a limited pallete.  There is no need to put all the color in the world in one painting.  In fact, a painting with a controlled pallete is more beautiful can look very colorful and dynamic.

Color Pallete: The simpler the better.


There are several go to color combination that we all know.
triadic
secondary triadic
tertiary 
monochromatic 
complementary
split complementary.

My favorite one is split complementary.  As a rule of thumb, I use one general color for most of the painting, then another color in a smaller percentage, then one color as accent.
Also, we will be at wondercon this weekend.  Stop by to SP-32.
See you there,
Griz
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