Thursday, July 16, 2009

Notes to Self

Just more notes I've written down that I wanted to put on here in case I lose my little pieces of paper. Several are from Stapleton Kearns blog. Some are probably from Loomis and maybe a couple from James Gurney. A couple are mine. The more obvious ones are probably mine.

A picture is more articulate where the light is concentrated on a certain part rather than all of it.

If you face strong sunlight in a picture, your color is in your shadows.

If two or more figures are together you can bind them together by running a shadow of same strength from one to the other.

Imagine the texture under your brush as you paint. (Boy is this one helpful.)

It appears I can easily fall into work mode rather than learning mode. I work better and smarter when I have some bit of new art theory or trick on my mind. Repeating past process seems to make work stale.

If colors work together at full saturation, they should still work when completely toned down.

No pure black. There is bound to be some ounce of light between your eye and whatever is in shadow.

At the same time though, make entire image slightly darker than you'd expect to achieve a greater sense of light.

Eyebrows cast shadows dumby.

Reflections can sell realism.

Dust and fog is useful for separating planes.

When bright light hits a light surface there's a halo affect. Some anime seems obsessed with this light effect.

Repeatedly blurring until well developed and then add edges. Can really make things pop.

Image>mode>index color. Image mode>color table

Repeat shapes to establish depth.

Contrast of shape to create focus.

Contour cannot be continuously defined all around all units and a sense of space be achieved.

Blocky paint rather than smooth can add interest to heads,drapery and clouds. Very counter intuitive.

When your picture is dead or unpleasant, the fault is usually too much raw unrelated color, rather than not enough.

Use cloth underwater to simulate capes in the wind.

Clients are like stepping stones that immediately begin to sink under your weight. You must find the next which will also begin to sink. Keep looking forward.

Learning to paint from photos is like learning to swim at home on the sofa.

Put the note down and leave it alone. If you don't like it, repaint it, or throw more paint down onto it. You can't worry the paint into a picture once it's on the canvas.

The more white you use, the less color you have.

Observation should not rule, but suggest execution.

Style is how it is a picture of, rather than what it is a picture of.

A painting should be one single image on the canvas, rather than a number of smaller images clamoring for our attention.

I should probably have to write all of those 100 times. It would either make me better or give me carpal tunnel.

6 comments:

Azam "foXIII" Raharjo said...

I like your note. Thanks. Pretty inspiring :)

Michael Prescott said...

Hey, I love it! These are very helpful tips.

Joe Slucher said...

Thanks foXIII and Michael

Quire said...

Hey Joe, nice list!

One query for you: what do you use "Image>mode>index color. Image mode>color table" for? I'm intrigued!

Joe Slucher said...

It's for creating color swatch palettes from images. So if I come across a nice night scene with a warm subject I might make a color swatch palette out of the image.

Quire said...

Aha! Wondered if it might be. Cool.

There are some online tools that generate palettes from images, too. Can be quicker than saving and going into PotatoChip. Here's one at:
http://bighugelabs.com/colors.php

When I use that one, I take a screengrab and use it in PShop as a virtual palette.