Wouter Tulp: Controlling values
Controlling values is important to create the illusion of realism in a painting. Under the same lighting circumstances a metal object reflects light differently than a piece of cloth. Understanding how this translates into values is important to express the difference in textures.Having no control over your values can cause a painting to fall apart, or lose all sense of depth. In this illustration I did a little experiment. I used my values in an unconventional way, by deviding my illustration into four sections, and apply a different range of values to each section. Within each section, the relative use of values is as usual. The range was set in advance.
I used the posterise filter, to show how I four basic values for the entire illustration: black, dark grey, light grey and white. When I block in the basic values for an illustration I trie not to go into detail, but stick to only a few basic values. Refinement and detailing come later on.
The use of values this way, gives an unnatural look to the whole of the image. It's as if the different artists have been cut out an put together as a collage. I magnified this effect by reversing the laws of pespective in some areas. Big shapes in the back, small shapes in front.Setting a limit for the use of values this way is a great exercise to understand and control values. It made me realize what the effect is and made me use values in my other paintings more consciously.
Florian Satzinger: Fish In Progress
I thought I post this little work in progress process so you know The Art Center is still open! :)
XAV: A step by step on my last illustration
Time to time, readers of my blog ask me how I work, so I've decided to make a simple step by step of my last illustration. I hope everything is clear, if you have questions I'll try to answer in the comments.
By the way, as you probably notice, I'm french and my english is not very good so sorry if I don't explain the proper way (and also my photoshop is in french.)
So, first of all, I only work in Photoshop. Time to time I make drawings on paper then scan them but all my last illustrations and designs were made with my wacom intuos and this last one with my all new Cintiq 21UX.
1. The drawing, with a simple home made brush, very rough.
2. I turn over the drawing and make a cleaner drawing.
3. I rebuild the tricky parts to be sure of the construction.
4. I make the final drawing with a clean line and I fix some parts (here the face).
5. I start the colors with the line above.
6. Every part (face, jacket, hair, etc) on a separated level.
7. The face.
8. cheeks and nose.
9. I add the lines and other details.
10. With the gradient tool, I make a subtle color effect.
11. I set the layer in screen mode and lower the opacity.
12. I start the background with the basic color.
13. I add the snow with a brush that looks like snow flakes.
14. A white gradiant to suggest the snow on the floor.
15. A quick shadow on the ground to set the character in space.
16. A quick skyline of Paris.
17. I add a layer of noise.
18. I lower the opacity and set it to color burn.
19. I had a paper texture layer that I colored in light blue before.
20. I set it to screen and lower the opacity.
21. I finally add my signature...
22. And voila !
By the way, as you probably notice, I'm french and my english is not very good so sorry if I don't explain the proper way (and also my photoshop is in french.)
So, first of all, I only work in Photoshop. Time to time I make drawings on paper then scan them but all my last illustrations and designs were made with my wacom intuos and this last one with my all new Cintiq 21UX.
1. The drawing, with a simple home made brush, very rough.
2. I turn over the drawing and make a cleaner drawing.
3. I rebuild the tricky parts to be sure of the construction.
4. I make the final drawing with a clean line and I fix some parts (here the face).
5. I start the colors with the line above.
6. Every part (face, jacket, hair, etc) on a separated level.
7. The face.
8. cheeks and nose.
9. I add the lines and other details.
10. With the gradient tool, I make a subtle color effect.
11. I set the layer in screen mode and lower the opacity.
12. I start the background with the basic color.
13. I add the snow with a brush that looks like snow flakes.
14. A white gradiant to suggest the snow on the floor.
15. A quick shadow on the ground to set the character in space.
16. A quick skyline of Paris.
17. I add a layer of noise.
18. I lower the opacity and set it to color burn.
19. I had a paper texture layer that I colored in light blue before.
20. I set it to screen and lower the opacity.
21. I finally add my signature...
22. And voila !
Florian Satzinger: Process Breakdowns Plus Work In Progress Film Clip
Please find the a short clip of the drawing process of this rough test design right below. This huge small-headed bird character was quasi the preliminary draft to the character at the end of this post. BTW, I had some sort of a bushy Christmas tree in mind (and a wee bit Seinfeld's Newman) in connection with the shape of the characters.
Work In Progress 5 from Florian Satzinger on Vimeo.
Here's the final version of the character plus the process breakdown sheet:
For a larger version of the breakdown sheet JUST CLICK HERE
Mark McDonnell: "MAC Sketchbook Sessions" 03
Here is an all new video which is the THIRD of my How To Draw In Your Sketchbook that I'm calling the "MAC Sketchbook Sessions" for the Animation and Entertainment Industry. It's an over the shoulder view of my flipping through my third of many personal sketchbooks and giving commentary. This book's goal was the use of black and white to control values as well as the eye's interest in the contrast between the two. The pen's used were the Gelly-Roll/Pentel Stylo and a Pentel "Water Brush" for the thicker lines and darkest darks.
I hope it's enjoyable.
Best,
MAC
Hat Lieberman: Stuff I've Learned About Storyboarding Part 2
Motivating the camera is a simple technique of using visual cues to set up a cut or camera-move and in doing so, ease the audience into a new shot or new information.
Below is a simple example of how utilizing the above theory can have a huge influence on the overall feel/continuity of a sequence.
I think I may have made it a bit over-complicated. Essentially you should be able to look through each of the examples and feel the difference.
Basically: Use a character's eye line to motivate a cut. It helps ease the audience through the cut and into new information. (While also putting us directly in the character's shoes)
There are many other ways to motivate the camera. Below is a short sequence I've boarded out with various examples all strung together. The idea is to create as much continuity within the sequence as possible, making everything clear and easy to follow.
Below I have pointed out the specific methods used to motivate the camera.
So as per the above sequence, ways to motivate the camera;
- Using a Character's eyeline/P.O.V.
- Having a character move on screen and adjusting the camera accordingly.
- Having a character exit frame.
There are other ways not represented in the above example, for instance;
- Having a character enter frame. (illustrated in a tip sheet below.)
I think ultimately what it comes down to, specifically for 'cutting', is the fact that a 'cut' is not natural, it doesn't happen in real life (unless you take really long blinks). Obviously we have all seen enough film/television to accept a 'cut', nevertheless, anything you can do to smooth out the transition will only help create and maintain the continuity of your sequence.
These next examples revolve too around motivating the camera, however explores more "what they are saying visually".
The next three examples are all slight variations of the same scene, each exploring a different approach in regards to the progression of information that is revealed to the audience, and consequently the effect it has on them. Please note that none of these examples are any more "right" than any other. They are merely different takes on the same scene. Their purpose is to show how slight variations in storyboards (and ultimately film) can produce vastly differing ideas/moods/responses. Ultimately, it would all depend on what the script calls for or what is necessary of the scene to determine which of the following (if any) would be suitable.
I think the most important thing to take away from this concept of 'motivating the camera', is just to try and be conscious of the decisions you are making in your storyboards. Try to understand what you are actually saying visually, what information you are revealing to the audience (and when) and what effect it will have on them. Thinking about these things as you board can significantly enhance a sequence and really help 'sell' an idea in the storyboard stage.
On a side note: None of these tips/theories/methods I've discussed (in this post or the previous) are "rules". They are by no means absolute. There are no 'right' or 'wrongs' with storyboarding, as I've stated before, simply ways that work better than others at achieving desired responses. As much as I use these principles and incorporate them into my own sequences, I find myself quite frequently deviating, or cheating, or bending these ideas. I rely much more on the 'feeling' of a sequence as I board. Boarding panels and flipping through them to see how I 'feel' watching it, to see if the cuts are smooth, or if something doesn't 'feel' right. So take these tips for what they are, simply tips, tricks and principles I have found to be successful.
Hope it helps.
-Hat
Below is a simple example of how utilizing the above theory can have a huge influence on the overall feel/continuity of a sequence.
I think I may have made it a bit over-complicated. Essentially you should be able to look through each of the examples and feel the difference.Basically: Use a character's eye line to motivate a cut. It helps ease the audience through the cut and into new information. (While also putting us directly in the character's shoes)
There are many other ways to motivate the camera. Below is a short sequence I've boarded out with various examples all strung together. The idea is to create as much continuity within the sequence as possible, making everything clear and easy to follow.
Below I have pointed out the specific methods used to motivate the camera.
So as per the above sequence, ways to motivate the camera;- Using a Character's eyeline/P.O.V.
- Having a character move on screen and adjusting the camera accordingly.
- Having a character exit frame.
There are other ways not represented in the above example, for instance;
- Having a character enter frame. (illustrated in a tip sheet below.)
I think ultimately what it comes down to, specifically for 'cutting', is the fact that a 'cut' is not natural, it doesn't happen in real life (unless you take really long blinks). Obviously we have all seen enough film/television to accept a 'cut', nevertheless, anything you can do to smooth out the transition will only help create and maintain the continuity of your sequence.
These next examples revolve too around motivating the camera, however explores more "what they are saying visually".
The next three examples are all slight variations of the same scene, each exploring a different approach in regards to the progression of information that is revealed to the audience, and consequently the effect it has on them. Please note that none of these examples are any more "right" than any other. They are merely different takes on the same scene. Their purpose is to show how slight variations in storyboards (and ultimately film) can produce vastly differing ideas/moods/responses. Ultimately, it would all depend on what the script calls for or what is necessary of the scene to determine which of the following (if any) would be suitable.
I think the most important thing to take away from this concept of 'motivating the camera', is just to try and be conscious of the decisions you are making in your storyboards. Try to understand what you are actually saying visually, what information you are revealing to the audience (and when) and what effect it will have on them. Thinking about these things as you board can significantly enhance a sequence and really help 'sell' an idea in the storyboard stage.On a side note: None of these tips/theories/methods I've discussed (in this post or the previous) are "rules". They are by no means absolute. There are no 'right' or 'wrongs' with storyboarding, as I've stated before, simply ways that work better than others at achieving desired responses. As much as I use these principles and incorporate them into my own sequences, I find myself quite frequently deviating, or cheating, or bending these ideas. I rely much more on the 'feeling' of a sequence as I board. Boarding panels and flipping through them to see how I 'feel' watching it, to see if the cuts are smooth, or if something doesn't 'feel' right. So take these tips for what they are, simply tips, tricks and principles I have found to be successful.
Hope it helps.
-Hat
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