"I think the key for this painting is to just understand how wet or dry your paper is, so you know when the paint is going to spread out and when you can move it around without creating those harsh edges."
"Your eye goes to two main areas when you look at an image: the sharpest focus and the area of greatest contrast."
"Photography is not about what you put in the photo, it's about what you leave out."
"Mixing colors from life is you know you're not you're not mixing color charts that are arbitrary or made-up they're they're just the colors that you actually see."
"Don't underestimate the power of color correcting."
"It's like simulating line weight without really having any line quality to it."
"When he does them right, they could be some of the most memorable."
"Convert to black and white when color becomes a distraction."
"The eye innately goes to the brightest point of any piece."
"Technique is one thing; you can learn technique. But the more important thing to learn is what you like."
"Parodius demonstrates what can be done with classical pixel art."
"The task of cleaning up your lines is its own world with a lot of different disciplines. It's going to be the final look of your animation."
"A good render separates itself with an atmospheric feel, even over great distances of space."
"By using the color range tool, it lets me retain that loose style I've got while also restricting what I'm painting at the same time."
"It's all about subtle variation, subtle contrast in color, shape, value, all that stuff."
"Consider color relativity; some colors play off of one another in unique ways."
"The masters also discovered that earth colors give unity throughout the whole painting."
"The secret to accomplishing this is in my opinion the color palette Blanche has decided to use."
"That's how you paint stuff that you see through transparency."
"To be successful as an animal drawing, you have to understand the basic structure of the animal."
"It's drawing with the brush. There seems to be a real parallel between his sculpture and the way that he uses the clay and manipulates that in the way that he uses a brush as well."
"The secret here is it's a lot easier than you think, it's basically glazing."
"Prince knew that you could use pauses and silence for suspense, for building, for impact, and 'Kiss' is a perfect example of that."
"The increased use of bokeh... has given an exciting new lease of life to photography."
"Details can add noise to an image that helps hide disbelief."
"Just hit the lines you really like, hit the lines that you want to make seem a little bit more pronounced."
"Even if you don't know it, you get a feeling; you can see the power, control, and technique in an animation like this."
"I think it will give us a little bit of a stained glass effect!"
"Leading lines draw the eye to a specific place in the scene."
"The value of reference in art cannot be understated."
"The movements are so fluid, the smears are amazing."
"It's really important to note that the only way that rendering is really effective or cross hatching is really effective on a figure is if your underlying structure and your lighting is well established."
"Focus that color, pull all that lightness into this area here brightening this area right here and brightening this area here."
"The smaller the pieces, the more realistic it's going to look."
"Adding distant mountains for depth and scale. It's straightforward and adds a lot to the scene."
"I'm a big fan of using out-of-focus areas in a frame to draw you in to the subject."
"Goldberg being the incredible composer that he was might have used those little bits of percussion to foreshadow..."
"Limiting your color palette is very useful when creating a cohesive piece."
"Detail invites the viewer to complete the illustration with their own imagination."
"Selective use of detail can create depth and focus in illustrations."
"Using those simple four colors only, I just made 40 new colors that weren't there before."
"You can do it more manually like this and let it build up, put the time in, just really sit back and look at it and see how it's working."
"I really like how I started to use red as an intense color to just add exaggeration to a scene and mood."
"I finished applying that color and so now have a little effect of the leaking oil on the joints."
"Creating organic shapes to represent foliage."
"Remembering anatomy? Draw grids from memory and train like a workout."
"White is cocaine, same white for the reflection of light specular highlight in Iowa save it for as I'm about to do the metallic zipper on Cowboys costume."
"The way that she uses that one form, which is a sticky bindi, to create something that's so extraordinary and appealing."
"Just wash and dry your brush and you can release those colors at your own desired amount."
"The more branches you have, the fuller this tree is going to look."
"Eyes painted in, we get loads more character."
"Focusing it more and more towards the base down here."
"The further down we get towards here so this time when you get to this point where the overhang of the eagle is we're just going to hint at it just in the middle just around about there."
"It's just going to give that black more depth."
"Adding variation not only adds visual interest but also makes your scene feel more realistic."
"Composition and placement are key for creating balanced images."
"I'm just going to make sure that the top of this hill is reading as being illuminated from that sun in through there."
"It just really adds so much life to the eyes love the effect all right and again that's there now you're drawn to the eyes where here you can see the eyes weren't really drawing you in now they are even just that little subtle effect."
"If you jiggle your fingers, you get some banger results out of this."
"Less is more here so I tried to get most of the paint off the sponge before dabbing."
"It's always best, no matter what kind of drawing you're doing, to draw from visual reference."
"Absolutely nothing that I've discussed changes just because the figure is male or very round or very muscular or extremely short. Angles and proportion, okay? Always."
"Use these compositional elements properly, and they will make your photographs far stronger."
"It's not a complete flat matte, so it keeps your metallics looking shiny but it doesn't dry too shiny."
"It just adds a little bit of like background visual interest to everything."
"Less is more! Control, blend, and create with finesse."
"Just by doing that we are adding a lot of um, you know, you're adding a lot of detail to your scene."
"I can't stress how important it is to embrace light in photography and try to understand light in photography."
"When you're painting realistically, it's kind of a must that you use a reference if you want to achieve a high level of detail and accuracy."
"Composition is one of the most important things."
"Varying your shading and highlighting method based on how the light source would actually interact."
"It's important when you draw to be able to understand those central lines and how the center lines will flow through the body."
"Start off with big shapes. Break it down. Simplify your reference."
"I think it's fun, now you lost a little bit of definition here but no bigs because we're just gonna add our galaxies right back over top of that which gives it a cool effect and kind of makes it pretty trippy but I'm totally into it."
"You can compose your landscapes classically."
"You disassemble reality into simple forms and then reassemble it in a way that's manageable and easier for us."
"When it comes to colored pencils, I want to be able to pull out not just the low lights and the shadows, but also the bright highlights too."
"Your drawing is like building a house. If the foundation is good, everything on top is going to be better."
"Eisenstein saw this dialectical process in film."
"Use a brush that gives you a sharp edge. No point in having an unempowered shadow."
"Color correction is an art form that can significantly improve the look of your videos with simple techniques."
"Drag it up in the direction of that particular object being the bank in the distance."
"The fun and enjoyment you can have with this technique, just play about with it, just move it about, extending it a little bit beyond at the bottom so it's not just a solid line."
"There's no right or wrong, just techniques to express how it makes you feel."
"So the first thing we're gonna do is break down whatever we're going to draw into recognizable shapes."
"Right, and I can tell you that painting with a tube as opposed to a brush or pen is tricky as well, and controlling the flow requires a steady constant."
"The best way to learn is to use references because how are you going to know how to paint something realistically if you haven't painted it a bunch of times."
"Bokeh is overrated, overused, and it's a crutch."
"The linework is super key when it comes to that."
"Work on the hair in terms of sections...make them look 3D."
"I could destroy this with the trowel or drag it with a rag and it's going to give this high definition and then start to melt but give me it'll give this illusion of three-dimensional really well."
"So it's just that sense of creating a full tonal range of light and dark, and then you really will have light bits."
"It's really just a matter of studying carefully where you place the pencil marks in regards to what it appears like in the reference image."
"I used a lot of this screen tone like texture as a finishing touch."
"Keep things fluid, and draw from your shoulder."
"Everyone's favorite artists have in common is they're very light brush pressure when they're building their pieces."
"By using color temperature, then you start to pull back and re-establish that beautiful contrast of the sense of light."
"I'm just raising some of the values around some of these brighter spots."
"Try to get the line done in a single stroke is very helpful."
"Blending takes a lot of patience and practice, and it's something that you're not just going to get right away."
"The real key to creating these cool grungy illustrations is don't restrict yourself."
"Can you see it? I created these different lines that shaded this, that sort of make it more pumpkiny."
"It's not just artistic imagination; we can actually derive, out of a two-dimensional cloth, the three-dimensional contours of the body."
"The key to photorealism is to not be photorealistic. Sometimes faking things looks better than actually staying true to the physics."
"The shadows just meant to look like it's, uh, it doesn't have to be black, it's just a faint or darker version of whatever it is underneath."
"You can make these little kind of lighter areas that'll make it look like it is like little pieces of fur almost overlapping."
"...building in some extra bright highlights and certainly around this Edge when we get closest to the Sun, this is going to be something that really works well for us."
"After a little bit of practice, you learn to stick some out further than others. This gives a nice varied texture during the painting stage."
"Now, that that last layer of the dark green or the bright green has dried, I'm going to go ahead and do a little bit of distressing, including wet distressing and sanding, to give it the chippy look that pieces have chipped off over time."
"I'm really excited to marble this a little bit."
"The crackle paint creates wonderful cracks all throughout."
"...you know you should be able to create form and just a few brush strokes if you really want to."
"Just adding texture, you can do it whatever your pattern you want."
"The key is really just to work around and add contrast, add a bit more color where you feel it needs to."
"Create kind of a need on top of this here."
"Just giving them that bit of highlight on the edges is really going to bring it to life."
"This is just adding those little shimmers of light throughout it."
"You can steer the viewer again to seeing the shape of the foot by adding these highlights."
"...to show the viewer that this little section pops out a little bit that it has a little bit more shape to it as well."
"...making sure it sticks out just a little bit but enough to give that foot a little bit of shape to it."
"It's surprising what colors you can mix from these basic colors, and that's one of them, a lovely soft gray blue which is perfect for many things."
"It's a huge difference to make a genuinely informed confident brush stroke or to cut the edge of something."
"I like I think that's why I gravitate towards like doing like little Speckles dust particles Stars petals anything that kind of cuts in front of the character kind of gives it a little bit more depth."
"Typically warm colors will come forward and cool colors will move back in your coloring scene. That's a good rule of thumb."
"When we shoot portraits, it's very important to get the eye in focus."
"I really like how you showed form on this clothing study with your brush strokes."
"Really play with line weight like thick and thin lines."
"I love how you're creating distance in your paintings with atmospheric perspective."
"Tapering your lines also means adding line weight to certain areas of your line, which can help indicate movement or weight."
"He works in Maya, but his techniques are fantastic and his art style as brilliant."
"The whole key to doing fire, whether it be realistic fire or safar in general, is the same concept: you're doing a push-pull between the negative and the positive space."
"You have to have dark for the light to show; you put light against light you have nothing, dark against dark you have nothing."
"I absolutely love how that looks when you overlap it."
"We're doing sublimation and we want to cover a wide spectrum of colors."
"Creating harmony within the composition to make light glow."
"This sense of space stemming from the use of perspective... looks like three-point perspective is used here."
"If I'm doing something that requires a bit more of a loose approach... then I would use the B pencils that are just a little bit softer, a little bit more charcoaly, and they rub out really nice and easily."
"That way it leaves black in all the cracks and creases and gives it a more Victorian look to it."
"What dodging and burning literally does is it takes an image that is a little bit flat and adds highlights and shadows to specific places to make your image have more depth."
"Where your darkest shadow is, that's where your heaviest inkling is."
"I use my finger to smear the ink lines because I don't want too harsh of lines."
"Adding splatter and spatter... it's just that little pop of energy."
"This will actually help the painting link together and the tonality of the painting stays consistent with each other."
"I like to use them in painting close-ups of animals with coarse fur where the texture can imply more details than you are actually painting."
"Quick sketching really forces you to lay down the essence of whatever it is that you're trying to draw or paint."
"We're doing multiple layers because we want it to look old and decrepit, like old embossed wallpaper."
"Really cool composition, great use of foreground and background blurring."
"Using the wet-in-wet technique really does create lovely atmospheric, dream-like qualities in your painting."
"I love to do spirals and things, I like stitching a spiral, that's a nice way of adding in some detail."
"Everything just flows together and at the same time we're still creating a little bit of contrast."
"I don't want a hard edge there; I just want to add a glow and a tone."
"Photography that goes very far beyond what you see with the naked eye, that you're incorporating lighting and compositional elements and different things to make that unique."
"You can have more gradation of color, suggest recession into space, and therefore the designs become much more pictorial."
"I love this technique; it just changes the whole look of the painting."
"I can get better accuracy when I'm connecting them all together because I feel like there's more of a connection between each scale."
"It's not the color that counts; it's actually the tones, the darks and lights."
"It's amazing how just a little subtle difference in color makes a big difference."
"The thing to always keep in mind is the contour of the Apple."
"...it's just a beautiful technique that was employed by Rembrandt and a lot of artists from the period."
"On white card stock, they almost look like one color when it's tilted one way and they completely shift and shine when you tilt it the other way."
"The reason that I like to mix in other colors with black is because it can look quite flat if you just use black by itself."
"I love putting color next to black and white because that creates a third impression."
"Draw the head from every different conceivable angle and you'll really get a true feeling and measure of its volume."
"I paint with gradient maps and you're going to see me use pulling out all the stops."
"Perceptive perspective allows the artist to minimize distortion of three-dimensional space on a flat surface of drawing."
"It's very important to have both saturation contrast and color contrast in a drawing."
"Light and shadow shapes are shapes too, and likewise, they need to be designed."
"I like doing gradients with markers, it can be tricky but it's so rewarding when it turns out."
"You can layer colors on top of each other and they will not turn to mud."
"This is a really nice way to make a reflection."
"I'm going to use some techniques on the next layer to really bleach out and create some warm drama."
"I love the added dimension of stamping this on an angle like that."
"Edge along the bottom like there's snow kind of piling up and starting to fall over."
"It's important to understand where the light source is coming from because if the light source is coming from the left, this right side is going to be darker."
"The main thing I learned... was to not labor over it, use a big brush, get the paint on the paper quickly, and then trust in the watercolor to do its thing."
"...every time he would go over it, the color would look richer and get richer and richer the more glazes he applied."
"Lights and shadows when you're drawing illustrations, they don't have to be super realistic, they just have to be believable."
"All the painter's work turned toward the study of the variations of colors, values, and the rendering of the lights and shadows from one canvas to the other, in order to achieve a 3-dimensional effect."
"The idea behind a wash is to really push the contrast between parts and just to give your eyes something more appealing to look at."
"If we take the height of the head and use it as a unit to divide up the figure, we can estimate the dimensions of everything else."
"And you will not believe the distance that you can create in a painting. Just by doing little tricks like that."
"Using multiple layers and blending things together in weird and wonderful ways."
"It's a really unique way of layering the colors together."
"What we're trying to do is get a really good lift out of our petals and our leaves."
"If you're able to break things down into simple shapes, then things become a lot easier."
"You can see we're getting really nice variation with the sand grains, the different shaders and the different shapes just making things feel very photographic, very realistic."
"Keep building your layers of color; you could add multiple colors at this point if you wanted."
"The sky will often get lighter as it goes down, so you can simply just add more water to things."
"I love this technique, and I think I'm gonna even play with it more myself."
"She has learned to create almost like a painterly effect, but it's absolutely stunning."
"When you do the swipe and then you torch it, the magic happens."
"The eyes and the shadows always make the difference, every single time."
"Exaggerate the darkness of a tree, far more effective with a snow scene."
"There are three qualities that contribute to a really good botanical print: one that's clean, crisp, and where all of the plant foliage has actually transferred."
"With digital art, I'm looking to compress the colors... I think I can get a nicer effect if I make it more like an oil painting where the colors are very close together and the colors are related to each other and mixed together."
"We can create the illusion of space within a scene by manipulating the value of the objects within the scene."
"Always use those stencils as your guide."
"This new approach is going to be starting with that negative shape."
"Picasso is trying to create these multiple viewpoints all at once."