Q:Do you think that 28 is too old to try to pursue a career in art on your own terms? I wanted to be a 3D animator for as long as I can remember, but when I got to college I realized that going to college for it wasn't for me. The school and the environment was horrible and I was completely uninspired to continue animation. I went to school for fashion illustration after that and I although my teachers thought my art was truly beautiful, I didn't get to finish because I started a family.
(cont.) I became inspired again recently and I have been drawing and sketching everyday (for the past two years) as well as learning animation on my own. I am heavily influenced by your webcomic, but I just wanted to know if it was too late to pursue my dream without school and by myself at 28?
I started TJ and Amal at 31, with a weak art education and zero experience in comics, so you can probably guess where I stand on the matter!
I wish our culture didn’t place such heavy emphasis on “making it” in your teens and twenties; that the (justifiable!) attention paid to prodigies wouldn’t set “prodigy” as the norm. This kind of BS does everyone a disservice.
If you have a dream and the resources/ability to pursue it, there’s no reason to sit it out just because “everyone makes it by 25.” Because everyone DOESN’T make it by 25. Some do, some don’t, whatever.
What’s more, age can bring experience that will inform your work — work you couldn’t have made at 20 or 25.
Sometimes when I get discouraged about this stuff, it helps to remember an anecdote I read a few years ago—
A retiree mentions to her friend that she’s considering going back to college and finishing her degree.
"What, at 65?" says her friend, "You’ll be at least 40 years older than everyone else in class!"
To which the lady replies, “oh, so you think I should wait till I’m 70?”
There’s no going backwards.
Q:Do you charge for album/EP covers?
Chris Sanders’ “Sanders’ Style Surfin’”
Download link: http://www.taron.de/forum/viewtopic.php?f=4&t=4
Interesting little toy. It could fit into a workflow much the same way Alchemy does, a small experimental program to play in when you are just trying to get the gears working.
If you’ve never played with alchemy, try that one here: http://al.chemy.org/download/
Zedig/ Alexandre Diboine’s Photoshop Brush Pack
Zedig posted a new pack
Q:Who are you? And why is your blog so awesome? I was really inspired to get my act together and work harder to become a concept artist. I am seeking a place where I can become a part of a community and make friends online but I'm a bit overwhelmed by online forums. Do you have any advice? Also what is your solution for balancing practice and work? Thank you very much. Serge
Oh I’m just someone who really likes art a lot and thinks it’s rad as all get out.Ahh thank you thank you. And hmm here’s the forums I post at all of them I have ran into some really nice people:
But it seems Facebook is a great way to talk to other concept artists. There is:
Also just hang around livestreams as well, personally I enjoy working alongside others.
Keep in mind most artists are working artists and it’s hard to keep heavy contact with other folks. Me for example, I’m always working. It’s hard enough for me to spend time with people in the flesh to draw along side them. The best thing I can do is just invite people over and have a sort of “work party” of us just getting our work done and someone opts to fix food. Just enjoy the magical times you get to talk to others and always wish the best for them.
Balancing work and practice is tough. I’m a freelance so my work ebbs and flows. Right now I’m juggling 4 freelance jobs so my schedule is really tight. No real time for practice but I can watch lectures on the side. But when I do have free time I make sure to practice where I can. It’s fun and just a good way to experiment with either workflow, style, or something you been hankering on messing with. Work is work, but with practice try and make it fun. Also don’t get discouraged when the painting doesn’t go your way. That’s great! It means you still have a lot to learn and the weakness is obvious and now you have goals. The worst feeling is you want to improve but you don’t know how so your kind of floundering about.
Also the most important thing I stress to EVERYONE. Is if you want people to know you. Post your work. Post it everywhere. Post it on CGHub, make a separate Facebook name to post your work under, if you want to separate your career from your personal life. Make an instagram account, push yourself to do traditional doodles when you have time. Make a tumblr: post on it. Twitter has a lot of art collabs on it. I’m in the League of Legends, One Piece, DragonBall, and Kill La Kill collab. Instagram links up to twitter and tumblr. Do not be shy. Though don’t be imposing and aggressive and ask people to look at your work. If people ask, link your work. If not, no sweat just enjoy the conversation your having with the person. This may sound silly but you have no idea how much artists get spammed on facebook ” HEY CAN YOU LIKE MY PAGE??” and they have had no prior conversation with them. Don’t do that. Don’t feel entitled to an another persons time, especially if they are a stranger. It’s weird how people think this way. That people are automatically friends because they both do the same thing. That is really silly. Just let friendships happen casually.
Crits is a weird area where you again you don’t want to be imposing or really aggressive but you do want to ask for them. Asking openly when you post a piece is probably the best way to go. Honestly, feel it out! I know my friends are always super busy but when I ask it’s something along the lines of ” Hey man, do you have time to give me a crit?” Just keep it casual.
I strong armed my shy wife into posting his work more and he thanks me for it everyday. He’s gotten better and his workflow much more frequent then before. For some reason, posting your work more publically and around other artists you feel this pressure to work harder and more frequently. Because everyone else is.
Sorry if this is long and rambly. I hope this helps!
I don’t know if this can be useful to anyone. It’s not perfect by any means but perspective is a lot based on the artist own sensibility, I merely offer a starting point.
Drawing perspective is considered one of the hardest things in art, except the mistakes usually done are pretty much always the same and can be avoided with a little care.
1. Lines not reaching the vanishing point
Well this is pretty simple to…
*sheds a single tear*
By the way, this image is huge
I did not mean to strip the source, must have posted it wrong and then hastily reposted it, my apologies. You should not be afraid to message people directly if you havent been properly recognized and want content removed, I almost missed this comment.
I will add the link as soon as I am at my PC.
I’ve been getting a lot of asks lately about the brushes and textures I use in my work, so here’s a BIG FAT REFERENCE POST for those of you who were curious! Bear in mind that I’m really lazy and don’t know what half the settings do, so don’t be afraid to experiment to figure out what works best for you :>
I use the pencil tool with SAI’s native paper texture both for sketching and for applying opaque color with no blending. Lower opacities give it the feel of different pencil hardnesses, while full opacity makes it more like a palette knife, laying down hard-edged, heavy color for detail work or eventual blending with other brushes.
Mostly made this because I’m lazy and I didn’t want to have to keep turning my textures off/opacity up when I wanted to ink something (even though I don’t do it very often), or lay down flat colors. I find the line quality to be much more crisp than Photoshop, and you can manually adjust in-program stabilization to help smooth out hand wobbles.
The plain ol’ brush tool acts as sort of an in-between for me in terms of brush flow. It’s heavier than my usual workhorse brush, for faster color application and rough blending, but not as heavy as the pencil tool, which has no blending at all. I like to use the canvas texture on this brush to help break up the unnatural smoothness that usually accompanies digital brushes, but it works just fine without.
A brush tool set to flat bristle is by far my favorite to paint with. I don’t use any textures with it because I think the shape of the brush provides enough of that by itself. I use it for everything from rough washes to more refined shaping and polish. It’s just GREAT.
Best used for smooth blending, washes, gradients, and smoky atmospheric effects.
Basically a grittier version of the watercolor tool, because too much smoothness weird me out. Good for clouds and fog, as the name suggests, or just less boring gradient fills.
To further stave off the artificially smooth look of digital painting, I almost always overlay some sort of paper texture, and it’s almost always this one, which I scanned and edited myself. You’re all welcome to use it, no permission required!
Using overlays in SAI is just as easy as using them in Photoshop. Just paste the texture into its own layer above everything you want it to apply to, and change the layer mode to Overlay. That’s it!
Want a more prominent texture? Up the contrast. Something more subtle? Lower the contrast or reduce the layer opacity. You can also use a tinted overlay to adjust the overall palette and bring a little more color unity to an otherwise disparate piece! Just be aware that too much texture can hurt the readability of the work beneath it, so I’d err on the side of subtlety.
Hope that helps!
Kevin O’Neil via the lovely critique oriented Penny-Arcade Artist Corner.
More from the PA:AC.
Reblogging these because I needed them to pass along today.
Part one.. of painting radish.. enjoy listening to me say “UM” a lot.
One hour of painting condensed into 5 mins! look out for part two, more detailing and answering of questions for people! (if you have any!)
Re blogging for the day crowd. Sorry I posted so late!