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lacedupinshame:

I didn’t see any many galaxy/nebula brushes floating around, so I made my own! (ノ◕ヮ◕)ノ*:・゚✧*:・゚✧  Hope someone find it helping ;v;

You have to add detail and effect by self, but it’s pretty easy!! Maybe I make tutorial on it later ;v;

I suggest detail and blend layers on luminosity or addition!! Use bright colours!

FOR BLENDING:

I suggest using a watercolour brush on following sets:

Size: 26.0

Min size: 60%

Density: 100%

Spread: 50%

(No Texture)

Blending: 50

Dilution: 50

Persistence: 80

Keep opacity: yes

Smoothing Prs: 50%

+Advanced Settings:

Quality: 2

Edge Hardness: 0

Min Density: 0

Max Dens Prs: 100%

Hard <-> Soft: 100

Dens: Yes Size: Yes Blend: Yes

FOR DETAILING:

I suggest using a brush on the following sets:

Size: 100.0

Min size: 3%

Density: 54%

Spread: 100%

(No Texture)

Blending: 49

Dilution: 0

Persistence: 80

Keep opacity: no

+Advanced Settings:

Quality: 2

Edge Hardness: 0

Min Density: 10

Max Dens Prs: 49%

Hard <-> Soft: 0

Dens: Yes Size: Yes Blend: No

(via jaded-e)

mamabirdmedic:

Ok so we’re learning to draw poses and we’re focusing on hands (which is really helpful don’t get me wrong) but the entire time my teacher was saying how the pinkie is just like the other fingers and the only pad on the palm is at the thumb joint
no!!
the pinkie has a pad too!! it’s shaped like a bean!! kind of
think of it like a paw print just the main pad is flipped around and spread apart more.
don’t deny the pinkie!!

mamabirdmedic:

Ok so we’re learning to draw poses and we’re focusing on hands (which is really helpful don’t get me wrong) but the entire time my teacher was saying how the pinkie is just like the other fingers and the only pad on the palm is at the thumb joint

no!!

the pinkie has a pad too!! it’s shaped like a bean!! kind of

think of it like a paw print just the main pad is flipped around and spread apart more.

don’t deny the pinkie!!

(via skyscribbles)

tycarterart:

Thanks for all the great emails and questions about putting a portfolio together. I’ve been getting a lot of the same questions and decided it would be a better use of my time to write it all out. I’ve derived the content from from my own experience and internships before having a full-time job. As you’ll read, a portfolio is the most important thing you’ll do when applying to a job. I’ve tried to be as detailed as possible.

These are the first five pages in a series of posts about how to layout a portfolio, including content, images, size, material and everything in between. Part I is for the artist still deciding what to do for a discipline. I’ve catered the last three pages to a visual development portfolio for animation but the principles can be applied to any artistic presentation (illustration, design, even interior design).

These are my opinions and I realize there are many ideas out there which are also fantastic. What I have written are simple truths and tips I’ve learned along the way. This doesn’t represent a studio I work or will work for. I hope it is helpful and can provide some perspective into a competitive portfolio and help you land your next job!   

greatwuff:

Quick Cloud Tutorial

(via jaded-e)

http://burdge.tumblr.com/post/95746295409/feverworm-i-just-wanted-to-clarify-some-things

feverworm:

i just wanted to clarify some things

artists know the risk they are taking when they post their art online. people are inevitably going to take it apart, color edit it, flip it around or otherwise post it uncredited.

saying that an artist shouldn’t post their work if they don’t…

thesilvereye:

If you would like to request a tutorial, you can do so on this post over here!
Eye Coloring Tutorial by me | Other Eye Tutorials: 1 2 3 | My Resource list for Faces and Heads

(via vanyahani)

How did you find your style when it comes to your animal characters? I've always wanted to write/illustrate a children's book about my dog I had throughout my childhood & I can't seem to capture his personality right. Thought maybe you'd have some insight on a different process I might try to take since you're SO great at illustrating animals! I would love some advice :)

simplyjsketch

zobobafoozie:

Lots and lots of looking at pictures of animals and using shapes!! Shapes are super duper important in general with character design, but it’s also important to highlight key features of an animal! Got a cat that gives you a long stare? emphasize those eyes and make them as round as you can! Got a dog with floppy ears? make them long and have fun with the curves! These were the first examples I thought of, but I hope this help! (: I’ve been drawing animals for my whole life, but it wasn’t until a few years ago where I started focusing on specific features for different species and using shapes to convey them! Good luck! :D

fucktonofanatomyreferences:

A beautiful fuck-ton of female anatomy references.

[From various sources]

(via anatomicalart)

grizandnorm:

Tuesday Tips - Life Drawing Exercise: All Straight LinesWithout proper instructions or guidelines, life drawing sessions can easily become boring and repetitive, with little to no progress in understanding the process. Once in a while, I try to apply some techniques learned along the way. This is one of them. The last time I applied the technique was through instructor Paul Wee at LAAFA. A great life drawing teacher from the world of animation. It is as simple as it sounds. Only allow yourself to draw with straight lines. I know, I know, i dedicated an entire post to “No Straight Lines”. I mean “kinda straight” here. It’ll help you tremendously in finding angles and planes throughout the body. Curves and shading can easily muddle a drawing and make it too tentative. Lines and angles have a strong opinion about them. They are very definitive. Your confidence will only grow once you go back to “full” life drawing. Have fun!Norm

grizandnorm:

Tuesday Tips - Life Drawing Exercise: All Straight Lines

Without proper instructions or guidelines, life drawing sessions can easily become boring and repetitive, with little to no progress in understanding the process. Once in a while, I try to apply some techniques learned along the way. This is one of them. The last time I applied the technique was through instructor Paul Wee at LAAFA. A great life drawing teacher from the world of animation. 

It is as simple as it sounds. Only allow yourself to draw with straight lines. I know, I know, i dedicated an entire post to “No Straight Lines”. I mean “kinda straight” here. It’ll help you tremendously in finding angles and planes throughout the body. Curves and shading can easily muddle a drawing and make it too tentative. Lines and angles have a strong opinion about them. They are very definitive. Your confidence will only grow once you go back to “full” life drawing. 

Have fun!
Norm

(via gedigkinspiration)

grizandnorm:

Tuesday Tips - SHORTHANDSIt’s crucial to find ways to draw characters clearly and fast when storyboarding. Line mileage alone can become an impossible mountain to climb if you don’t simplify the way you draw characters. Leave all details aside and find the essence of a character. Shorthands are the gesture drawings of storyboarding. Specific characters have specific attributes that make them stand out. Sometimes it’s just the way they stand. Sometimes their hairstyle is unconventional. Find what’s key about a character and get rid of what’s common.Norm

grizandnorm:

Tuesday Tips - SHORTHANDS

It’s crucial to find ways to draw characters clearly and fast when storyboarding. Line mileage alone can become an impossible mountain to climb if you don’t simplify the way you draw characters. Leave all details aside and find the essence of a character. Shorthands are the gesture drawings of storyboarding. Specific characters have specific attributes that make them stand out. Sometimes it’s just the way they stand. Sometimes their hairstyle is unconventional. Find what’s key about a character and get rid of what’s common.

Norm

(via gedigkinspiration)

aronjshay:

aronjshay:

Hi! To begin, I want to make note that I’m not a recruiter nor am I familiar with what each department is looking for exactly, as each area is bound to be different and I’m located in Publishing.

What I can do however, is point you in the direction of some resources you might find helpful. I will also include things I learned/saw as I was going through school, and looking for work and what helped me get found as an artist.

To cut to the chase, here’s the application guidelines for Walt Disney Animation.

Now, their submissions page is pretty awesome because it’s very clear and concise. They outline what they want, how they want to see it, and even suggest what you should be submitting based on several types of jobs you might be applying to.

For example, to quote their application guidelines page:



“Reel and Portfolio Formats



Your submission should represent your skill set and representative process samples such as sketches, gray scale models and/or works in progress.



·        Modelers should include wire frames and turnarounds.



·        Riggers should display tool sets.



·        Animators should include a variety of physical movements and actions, but must include facial animation.



·        Look Development should include texture paints, maps and the final look, if applicable.



·        Story and Visual Development Artists should present sketchbook samples as well as finished compositions.




Life drawings are not required, but preferred for all submissions. We ask that you not show work currently in production and/or under confidential guidelines at other studios or companies. We understand that this may limit the showcase of your capabilities. If this is your situation, we recommend that your submission display only the work available to the public with an indication that a later submission will be provided once approved or released.”



I suggest heading over and reading the full page to get more info.
As for what to include in flat portfolios, that depends again on who you’re applying to, what job you’re applying for, and what they have asked to see.

Life drawings are common to include as they can show how you handle form and mass as well as weight and a line of motion/line of action. If you want to see some good examples of life drawing, a webpage called ‘The Unofficial Disney Animation Archive’ seems to have an older copy of the ‘Walt Disney Feature Animation Sample Portfolio for Animation Internships’ on their page.


I’ve been to two schools (One for a BFA in Animation and one for a MFA in Computer Animation), had different professors/instructors, and dealt with putting together portfolios (for job hunting) on many occasions. Different types of portfolios I’ve put together included flat work, character design, backgrounds, storyboards, and in some occasions demo reels for both animation, as well as modeling/texture work.

If you’re applying to a particular job, you should make the portfolio for that job posting (especially if they come right out and tell you what they are looking for).

Essentially and ultimately, you want a nice, professional portfolio. Something clean, easy to view, and showcases only your finest work. If you’re putting together your portfolio and you’re feeling iffy about a piece, ask for an opinion from another artist, or exclude the piece if you feel it’s not your best work. My best pal Kyle has seen my portfolio countless times over the years as I finished school and began applying for work. He never sugarcoated anything and readily told me when I should leave something out and what I might want to think about including. That was the most helpful for me, as it helped me make sure I was submitting only my best work. If you don’t think you know anyone who would be able to take a look at your portfolio, there are a lot of art forums, online clubs, and webpages where you can share your portfolio and get feedback. Excuses are for silly gooses and you rock, so go get em! :D


Here are some things I’ve found that have been excessively helpful in making a portfolio and applying:



Read the application requirements for requirements (both of the format for submission, and for any requests on the content). Often, a studio or company will outline specifically what they want for a portfolio submitted. It could be just a demo reel (no flatbook), just a flatbook, both a reel and flatbook, or it could even be just digital files in a specific format. If they ask for something particular, you should give them what they ask for. The same goes for schools. They will often tell you what kind of examples they want to see. Same goes for what they don’t want to see. If they come right out and tell you “No Sci-Fi” or “No Superheroes” then don’t include that. A lot of simple mistakes can be avoided by reading their requirements.



Make each page identifiable. Put your name and your contact email on it. You can do this and still keep your portfolio looking good. Plus, if something happens and pages are separated or someone takes a page to show someone else (you never know!) having your information on there ensures they know whose work they’re looking at.
 

I’ve gone down the road of having portfolios printed out and bound. I found that frankly to be the biggest waste of time ever. You’re an artist. You’re always creating new work, and you’re doing yourself a huge disservice by locking yourself in to a set portfolio. Besides not being able to include your newest (and better) work, you can’t really fit the portfolio to the application. My recommendation would be to first see what kind of presentation they’re looking for and then putting something together using a book you can slip pages into. Now, this won’t always work as some places I’ve applied to have specifically requested “no portfolios made with the plastic pages that you slip the work into”, or “no binders”, but in most instances, that’s not the case. First and foremost, send them what they ask for. Just make sure you have a way to keep your portfolio UPDATE AND CURRENT. Like I said—you’re always making stuff. Make sure you show off how good you’re getting!

Proofread everything. Absolutely everything. Your resume, your portfolio (especially if you include descriptions on pages), your business card, and your portfolio webpage (if you have one). You would be surprised at how easy it is to make little mistakes and misspellings. You would also be surprised at how easy it is to avoid them. It never hurts to have a friend or relative read through it just to see what they think and to see if they catch any mistakes you might have missed.
Online portfolios. U GOT ONE? I hope so! I cannot stress enough how important it is to have an online portfolio especially in this day and age. There are so many wonderful freebies and low cost options out there, and you have a lot of resources to make a super excellent rad portfolio! There are a lot of pros to having an online portfolio:



It’s extremely easy to keep your work updated with your best material! Made something new? ROCK ON AND SHOW IT OFF!
It’s super fast and easy to submit work! Many companies now accept online portfolio links. It’s quick, and easy to send them your portfolio, and get the jump on a new job posting if they accept your work as a link (or even uploaded as a portfolio PDF and such).
You never know who might see your work. Omigosh! That’s a great thing because sometimes a job comes to you! How do I know? That’s how I got my dream job. My work was seen online, and I was hired as freelance. That led to my full time job with Disney. More of a reason to have yourself a nice portfolio online!



With online portfolios, if you’re into big fancy pages with special features and such (or that’s the job you’re angling to get work in!) then you can have that, but if you can’t make that—don’t worry!  A nice clean simple and concise portfolio can be just as powerful! Your work should do the talking. The same goes for an actual portfolio—don’t gotta go overboard with fancy frills to make a good impression :)


As for “How can one make their portfolio stand out?” That can depend. A fair bit of what I mentioned above is important. You will want to submit only your best work, and what you are most proud of. Your portfolio is a representation of what you do, and ultimately who you are. Are you serious about the work you do? Are you more lackadaisical about it? Your portfolio is a very important impression, both as an application sent off, as well as in person.

A lot can go into the production of portfolios and I’ve seen things all over the board concerning how they’re done. We would see portfolios all the time at school. Professors would show them to us as examples. We would see our classmates’ portfolios and we would see professional portfolios. All sorts of portfolios. I have also seen a lot of them when I visit conventions like Siggraph and CTNX. Walking around, I’d meet people and we would show each other our work. Walking around the job/talent fairs will also lead to you seeing a lot of different portfolios. They’re all different.

 Standing out can be a double-edged sword. If you’re not careful, it might backfire.


The Art Career Project has some great tips on ‘How To Create The Best Art Portfolio’ and include things you should look into doing, as well as things you should avoid.


They make note of how things can work against you if you try too hard to stand out. I’ve seen a fair share of portfolios where people try too hard and get gimmicky and it works against them. Read up on their great suggestions and keep them in mind as you start selecting pieces for your portfolio.


As for your own work, Brenda Chapman posted on her blog about how you can make your portfolio stand out. She elaborates on some things you can include in your portfolio for work as well as makes note of standing out by showing them who you are through your work.

Ultimately, there’s a lot you can do with your portfolio and plenty of room for you to make it your own. Your work, presented well, can go a long way to stand out. The rest is up to you as you create your art and build up a body of work to include in the portfolio.

I hope this helps! Feel free to ask me anything if I might have left something out :D
Update: It looks like Walt Disney Animation Studios updated their Application Guidelines page this week, and it looks like more information might have been added! Awesome!

Reblogging my earlier post because  portfolios are always in season :)

Aron J. Shay | Tumblr | Facebook | Portfolio | Instagram

aronjshay:

aronjshay:

Hi! To begin, I want to make note that I’m not a recruiter nor am I familiar with what each department is looking for exactly, as each area is bound to be different and I’m located in Publishing.

What I can do however, is point you in the direction of some resources you might find helpful. I will also include things I learned/saw as I was going through school, and looking for work and what helped me get found as an artist.

To cut to the chase, here’s the application guidelines for Walt Disney Animation.

Now, their submissions page is pretty awesome because it’s very clear and concise. They outline what they want, how they want to see it, and even suggest what you should be submitting based on several types of jobs you might be applying to.

For example, to quote their application guidelines page:

“Reel and Portfolio Formats

Your submission should represent your skill set and representative process samples such as sketches, gray scale models and/or works in progress.

·        Modelers should include wire frames and turnarounds.

·        Riggers should display tool sets.

·        Animators should include a variety of physical movements and actions, but must include facial animation.

·        Look Development should include texture paints, maps and the final look, if applicable.

·        Story and Visual Development Artists should present sketchbook samples as well as finished compositions.

Life drawings are not required, but preferred for all submissions. We ask that you not show work currently in production and/or under confidential guidelines at other studios or companies. We understand that this may limit the showcase of your capabilities. If this is your situation, we recommend that your submission display only the work available to the public with an indication that a later submission will be provided once approved or released.”

I suggest heading over and reading the full page to get more info.

As for what to include in flat portfolios, that depends again on who you’re applying to, what job you’re applying for, and what they have asked to see.

Life drawings are common to include as they can show how you handle form and mass as well as weight and a line of motion/line of action. If you want to see some good examples of life drawing, a webpage called ‘The Unofficial Disney Animation Archive’ seems to have an older copy of the ‘Walt Disney Feature Animation Sample Portfolio for Animation Internships’ on their page.

I’ve been to two schools (One for a BFA in Animation and one for a MFA in Computer Animation), had different professors/instructors, and dealt with putting together portfolios (for job hunting) on many occasions. Different types of portfolios I’ve put together included flat work, character design, backgrounds, storyboards, and in some occasions demo reels for both animation, as well as modeling/texture work.

If you’re applying to a particular job, you should make the portfolio for that job posting (especially if they come right out and tell you what they are looking for).

Essentially and ultimately, you want a nice, professional portfolio. Something clean, easy to view, and showcases only your finest work. If you’re putting together your portfolio and you’re feeling iffy about a piece, ask for an opinion from another artist, or exclude the piece if you feel it’s not your best work. My best pal Kyle has seen my portfolio countless times over the years as I finished school and began applying for work. He never sugarcoated anything and readily told me when I should leave something out and what I might want to think about including. That was the most helpful for me, as it helped me make sure I was submitting only my best work. If you don’t think you know anyone who would be able to take a look at your portfolio, there are a lot of art forums, online clubs, and webpages where you can share your portfolio and get feedback. Excuses are for silly gooses and you rock, so go get em! :D

Here are some things I’ve found that have been excessively helpful in making a portfolio and applying:

  • Read the application requirements for requirements (both of the format for submission, and for any requests on the content). Often, a studio or company will outline specifically what they want for a portfolio submitted. It could be just a demo reel (no flatbook), just a flatbook, both a reel and flatbook, or it could even be just digital files in a specific format. If they ask for something particular, you should give them what they ask for. The same goes for schools. They will often tell you what kind of examples they want to see. Same goes for what they don’t want to see. If they come right out and tell you “No Sci-Fi” or “No Superheroes” then don’t include that. A lot of simple mistakes can be avoided by reading their requirements.
  • Make each page identifiable. Put your name and your contact email on it. You can do this and still keep your portfolio looking good. Plus, if something happens and pages are separated or someone takes a page to show someone else (you never know!) having your information on there ensures they know whose work they’re looking at.

 

  • I’ve gone down the road of having portfolios printed out and bound. I found that frankly to be the biggest waste of time ever. You’re an artist. You’re always creating new work, and you’re doing yourself a huge disservice by locking yourself in to a set portfolio. Besides not being able to include your newest (and better) work, you can’t really fit the portfolio to the application. My recommendation would be to first see what kind of presentation they’re looking for and then putting something together using a book you can slip pages into. Now, this won’t always work as some places I’ve applied to have specifically requested “no portfolios made with the plastic pages that you slip the work into”, or “no binders”, but in most instances, that’s not the case. First and foremost, send them what they ask for. Just make sure you have a way to keep your portfolio UPDATE AND CURRENT. Like I said—you’re always making stuff. Make sure you show off how good you’re getting!
  • Proofread everything. Absolutely everything. Your resume, your portfolio (especially if you include descriptions on pages), your business card, and your portfolio webpage (if you have one). You would be surprised at how easy it is to make little mistakes and misspellings. You would also be surprised at how easy it is to avoid them. It never hurts to have a friend or relative read through it just to see what they think and to see if they catch any mistakes you might have missed.
  • Online portfolios. U GOT ONE? I hope so! I cannot stress enough how important it is to have an online portfolio especially in this day and age. There are so many wonderful freebies and low cost options out there, and you have a lot of resources to make a super excellent rad portfolio! There are a lot of pros to having an online portfolio:

  • It’s extremely easy to keep your work updated with your best material! Made something new? ROCK ON AND SHOW IT OFF!
  • It’s super fast and easy to submit work! Many companies now accept online portfolio links. It’s quick, and easy to send them your portfolio, and get the jump on a new job posting if they accept your work as a link (or even uploaded as a portfolio PDF and such).
  • You never know who might see your work. Omigosh! That’s a great thing because sometimes a job comes to you! How do I know? That’s how I got my dream job. My work was seen online, and I was hired as freelance. That led to my full time job with Disney. More of a reason to have yourself a nice portfolio online!

With online portfolios, if you’re into big fancy pages with special features and such (or that’s the job you’re angling to get work in!) then you can have that, but if you can’t make that—don’t worry!  A nice clean simple and concise portfolio can be just as powerful! Your work should do the talking. The same goes for an actual portfolio—don’t gotta go overboard with fancy frills to make a good impression :)

As for “How can one make their portfolio stand out?” That can depend. A fair bit of what I mentioned above is important. You will want to submit only your best work, and what you are most proud of. Your portfolio is a representation of what you do, and ultimately who you are. Are you serious about the work you do? Are you more lackadaisical about it? Your portfolio is a very important impression, both as an application sent off, as well as in person.

A lot can go into the production of portfolios and I’ve seen things all over the board concerning how they’re done. We would see portfolios all the time at school. Professors would show them to us as examples. We would see our classmates’ portfolios and we would see professional portfolios. All sorts of portfolios. I have also seen a lot of them when I visit conventions like Siggraph and CTNX. Walking around, I’d meet people and we would show each other our work. Walking around the job/talent fairs will also lead to you seeing a lot of different portfolios. They’re all different.

 Standing out can be a double-edged sword. If you’re not careful, it might backfire.

The Art Career Project has some great tips on ‘How To Create The Best Art Portfolio’ and include things you should look into doing, as well as things you should avoid.

They make note of how things can work against you if you try too hard to stand out. I’ve seen a fair share of portfolios where people try too hard and get gimmicky and it works against them. Read up on their great suggestions and keep them in mind as you start selecting pieces for your portfolio.

As for your own work, Brenda Chapman posted on her blog about how you can make your portfolio stand out. She elaborates on some things you can include in your portfolio for work as well as makes note of standing out by showing them who you are through your work.

Ultimately, there’s a lot you can do with your portfolio and plenty of room for you to make it your own. Your work, presented well, can go a long way to stand out. The rest is up to you as you create your art and build up a body of work to include in the portfolio.

I hope this helps! Feel free to ask me anything if I might have left something out :D

Update: It looks like Walt Disney Animation Studios updated their Application Guidelines page this week, and it looks like more information might have been added! Awesome!

Reblogging my earlier post because portfolios are always in season :)

Aron J. Shay | Tumblr | Facebook | Portfolio | Instagram

stringbing:

I did a demo and showed a certain pipeline in Adobe Flash and After Effects to a few folks. The tie downs for this one is really bad since I had to rush it. No model sheet was used, I basically just improvised for this one - so you’ll notice the character changing all the time. I decided to go with a “cowboy during a duel” excercise for this one.
1. Rough Pass - Rough poses with select breakdowns
2. Tie down - Tied down drawings with inbetween
3. Color - Color and after effects

(via megandrawsstuff)

Model Sheets from The Emperor’s New Groove by Tony Bancroft

(via artoftiffanyr)

Rough Animation from Mulan by Tom Bancroft

(via artoftiffanyr)