I'm really struggling with line-weight and I was wondering what exactly it's suppose to represent or how it should be used? Also is there any examples of really solid linework with absolutely no shading or colour...?
>>2356092 It depends what your going for, if your painting realistically its to help guide you. other than that usually lines represent edges and/or shadows (so I'm not really sure what you mean by no shading)
>>2356099 I was referring to weight specifically, why would an edge be thicker? Is it contrast, is it depth, is it shadow, is it to seperate major forms from the details, is it to pull the viewers focus? Is it just one of those things, or is it a combination? Do you use different types of weight for different effects or does one approach work for all artworks?
I want to be able to do a clean drawing and have it stand on its own as a complete work of art, the problem with examples with shading or colour is that filling... Comment too long. Click here to view the full text.
It can represent a few things. Commonly it's used for two in particular - the first is to indicate what's in light and what's in shadow. Darker lines in shadow, thinner lines in light. The second is to have thicker lines for closer objects and thinner lines for further away.
There are other uses too, but those are the two biggies.
so guys im lookin for some simple symbols to put on my history. Can you guys send me some ? I Want then to be kinda original if it's possible, goonna be for religion, army , even for coutry's and clothes. pic of some plenty examples
Any advice, resources, and especially references, on dealing with how colours behave under less common types of lighting? Especially dark and coloured lights. I'm relatively comfortable with bright indoor/outdoor lighting since potential practice is basically everywhere, but I've realised I'm basically a drunk baby when it comes to handling anything else, it's a real blind spot.
I read Gurney's Colour and Light a few years ago and have picked it back up, but anything else you could throw at me would be killer. Especially references.
>especially references take this my man http://www.bluscreens.net/screen-captures-a-z--updates.html
But since of course cameras are nowhere near as sensitive to color and light as the human eye, it surely won't hurt to make some real life lighting set ups yourself, that way you also have full information on involved lightsources and can turn around what you want, change perspective etc. Do some still lifes that way or maybe just some experimenting and just watching how the light behaves.
>giving... Comment too long. Click here to view the full text.
>>2355640 >>2355646 On another note I did hear that he had photogenic memory, so much so that he was hired to fly in a helicopter and draw out an entire city. But calling him autistic is just insulting
I always try to aim towards a goal, say for example doing a sculpture, and when I get stuck or find difficulties I just study those until I can overcome. The result is that as long as I'm producing I'm always becoming better at something
I decide that day if I'm going to do perspective/figures/master/comp whatever then I do a few pages in my sketchbook or on Photoshop. Try to spend 3 or 4 hours a day on it, but I certainly dont hit that mark every day. Getting better at it though. I wonder how hard it would be to buy some Aderal
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