Aoi Mizu
Aoi Mizu
Louisiana
yuri
i want to know how to attach scapula, neck, pelvis in the robo bean properly. could anyone tell me how😢?
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Yiming Wu
Damn you make so fancy looking sketchbooks! I believe those are watercolour paper? They look pretty thick to me. I make my own drawing books as well, but from thinner paper, ranging from 80 to 120 gsm, white or semi-white paper, and I'm quite used to those thickness. I tried watercolour paper once and it seems to get thinner lines and I can put down more details with my ink, but somehow I'm afraid it could break my nib so I seldom use those. I also do my gouache paintings on those paper, because I don't quite need the paper's texture. Here are some of mine: I mostly make A4 ones, they are typically 120-160 sheets, and A5 ones I made from scrap paper to do sketches some times. I also have A3 ones they are thinner so it's less heavy.
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Serena Marenco
I was a perfectionist (sick) when I was a student and my teachers did everything they could to correct that! From the life drawing teacher who after 100 minutes, would dismantle my compositions, setting up a new one for me (my classmates thought she was bullying me, I thank her instead), to the fresco teacher who would occasionally stop behind me and yell "STOP IT, IT'S FINISHED!!!" Unfortunately, their efforts were not enough and for many years I continued to add details with the triple 0 brush, the micromine or the infamous 1 pixel digital brush. In the end I finally accepted that perfection is impossible, microscopic details do not come out in print and that the observer does not need to see every leaf to perceive the entirety of a tree. (And that very often people are more impressed by a sketch done in 30 minutes than by a week's work XD ) My sketchbooks are now piles of papers piled up in a bookcase, from which I remove only the best bits which I keep in a folder. I'm very envious of people who manage to have nice sketchbooks to show off, but... no, maybe one day I'll layout the best things in a nice file for printing. It's not like I did professional layout for 7 years for nothing! :p
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Aoi Mizu
Watching Stan and Sinix on mic talk about "CalArts sketchbook perfection" and how we may have one book for testing or one for studies had me pondering how others consider this topic too... hmm... Is that Yensid's Ghost knockin? CalArts? Call it a ball park. HOMERUN! Call me gym rat. Mickey, jockin! ahaha _______________________________________ I've worked in digital raw animation (no ounce of traditional art) and also in Booksales at both Barnes and Noble College and the normal brick and mortar stores. I was fighting against the digital erasure of paper when I got bored of talking wine with millionaires and so I started walking down the annals of story; such resplendent glories I was allowed to stack and sell. BUT WHO CARES! ahaha Title is nothing. "Master"? Call me L'Amateur (Lover). A care bear~ lol In Shipping & Receiving we throw books around like nothin. Bricks of words and pictures. My belief is that the more I learn of printing processes, canvas stretching, gesso primers (Tempura eggies lol) etc... the more I am a scientist of all media. Once I finished learning programming I'll have come full circle. Don't be scared to see how data-structures affect your art philosophies ya'll. A Producer does not belong in a "title" but makes anything. Production does not stop. Do not limit your freedom with perfectionism in a sketchbook. Frank Herbert advises heavily against it if you wanna start riding Sand Worms ahahah Call that a Paradigm! ( Or was it pair of dimes? Anyway I've said my two cents.) (Btw are you ready for the Euclideon UE5 wave? Better get a surf board! Call me a GameShark. We're about to start putting places the size of planets inside of planets. How could I ever be afraid of an imperfect line touching my book? What a hindering panic! ahahah) __________________________________________ I recommend Side-Saddle and Coptic Stitch for text-blocks. Those two methods once learned will give you the skill to pop out a moleskine (depending on the paper quality) within the blink of an eye. (5-40 minutes) Here are some fun ones I made to be experiences to see, hold, and draw in. Mizu Blue Book Necro-Manga-con Milk Dud Cappuccino Hand-Dipped ...and some hard cover book I slapped together with 28lb paper (the BEST cost value copy paper you can possibly find in my experience here in the U.S. Watson-Guptill enjoys a similar grain in their series that used to appear in B&N.) Hilarious how Ernest Watson reached out to me and I never even heard of his school til 24. Butterfly Effect. ahahah But I definitely don't mind drawing whatever the heck I want in these things. They are not special just because I have turned them into decorated UI experiences. If I wanted to publish anything I'd just compile it and re-print. That's called SECOND EDITION! ahahaha The more light hearted I am with anything, the easier it is to move weight! I pump mountains on the daily! You can too! BE-LIEVE in yourself~ <3 Wabi-sabi; Kintsugi flow~ Cheers! <3
Mattias Wirf
Some seem quick and good, but there is also a lot who seems to do variations of the same stuff over and over again and don't progress. I would not enjoy working like that, I will not let some algoritm dictate how I create art.
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Serena Marenco
Thank the universe for Scott McCloud, his books are pure gold!
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Aoi Mizu
He is such a great read! He despises his last book though which is hilarious. I think he thinks it's got no point, but neither did Franz Kafka and Metamorphosis still gives a meaning in some way. Glad he still published it anyway! ahaha
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Aoi Mizu
Doujinshi is the word I have found that describes "single producer creation". My absolute favorite comic book artist is Jean Giraud (Moebius) because of his ability to do so much individually. Osama Tezuka is also fantastic. Looking at Dororo's giant wedge of pages makes me take heart that one man can so easily just GO like that. What makes one man better than another? Nothing, in the ultimate scheme of things. The best directors are wrapped up in their objectives. The musical NINE describes each one as completely obsessive. Unaffected by the outside world, save for funding their ventures. They live in dreams. (Let yourself dream~) I was trained in Animation where it is all segmented, from the hours and hours to the individual splicing of the second. The amount of work is dense and highly depends on the need of the project. Hence why Animation is never "finished", but rather there are deadlines for release. That's what I see at least. Make sure you are not skipping ANY tools that propel you forward. There is no "wrong" answer in art. If it is made, it is made. As long as it is not plagiarized, make it easy on yourself ALLLLL day long. Unless your aim is perfection. I prefer Wabi-Sabi and Kintsugi as my goal. Beastars' Paru Itagaki smacks of that vibe and it's selling like gold. It is far more freeing of the soul, even if my objective is refinement in any creation. It is best not to lead by perfectionism. It is the destruction of production of any kind. To the audience it destroys elation. Make it and show it whether anyone hates it or loves it. That is how you rise above it. <3 The team will assemble the stronger you dream~ That is why I still consider Walt Disney the King.
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Aoi Mizu
P.S. I have worked Barnes and Noble Sales/College Division and handled many publishers coming in and out. Publishers mean absolutely nothing but capital. They decide based on who is running the company. What they put out will reflect their company's inner philosophy and motives. As artists, we rule publishers from the ground up. The difference is getting past the egos of representatives that want to display your work. In this, we have come full circle to Fine Arts Academia of several hundred years ago and it is quite disgusting in nature. To see guests and customers compare authors like they were in competition is a ruse of a ruse and all stand to lose that game. You're an artist. You make the book, the words, the pictures, the world, the name. Publishers will need to catch up to YOU if you start playing this game with the conviction of knowing what it is that you want to say. It has been stressful globally. Perhaps it is hard to know what is worth saying anymore. Don't let that stop you. Just open the door. A bay of books by James Patterson sits next to one copy of The Shining Prince Genji on the bookshelves. One book versus one-hundred. Who is the better author? The one selling now or the one that lasts through hundreds of years? Time is the only true Judge. All opinions otherwise become like a dog, R.Mutt, dissolved into mudd. xP <3
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Marc Spagnuolo
I'm loving this community already! With so many creative and ambitious people in one place it's like a super charge to my own creative ambitions. I can't wait to connect with and learn from everyone.
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Aoi Mizu
Same! And also there is no messaging system but you would definitely love this given your YouTube channel: https://youtu.be/ThwuT3_AG6w (might be good to listen to in the background while you paint) <3 I have been watching your videos and am curious how amazing you would do with human faces in abstraction! (Or any topic whether representational or not). I am sorry you were hit by a car last year. Don't be too hard on missing goals, sometimes we set gigantic ones. Do not stop, but rather keep your heart light! Too much self reflection may just take its toll. <3
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Aoi Mizu
The Girl from the Other Side by Nagabe Is a story told in the deep dark of a forest. Its story is focused on this element a great deal and may help you as the metaphor is that light and dark are blurred there in morality. <3
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Aoi Mizu
In Hindsight... learning Super-Mega-Essays from the Great Courses in High School might have made my rind more akin to the tannin and spice of a Lodi Valley Shiraz or an Old World GSM South of the Rhone in France. Forgive my whining here as of late. I have provided an Amora here as a thesis or two. An aperitif I say; not for every palette. I shall char my oak and mellow this odd keg with vanilla. Let us become Pinot Noir, I say to myself, with an eye towards the Champagne. We shall bubble in kindness of these wonderful students witnessed here; a million glass beads bubbling in our flutes. In time, we all will turn to Sauternes through the noble rot of practice. It has merely been so long since I have had the luxury of finding arts community I please to assist or grow with. Dodging murder sort of puts the haste in you for writing essays of an expository nature and in New Orleans and Baton Rouge there is much to dodge. It may as well be called "Red Stick" for many a reason! It is still new for strangers to comment kindly on the color of my pants here in the San Diego public. I should have felt like I was going to be robbed by anyone I didn't know when I first arrived last year. I am merely overly-jubilant at witnessing kindness due to these past misfortunes. I am quite aware of how strange the demeanor my ethos presents. Several near-death experiences do quite a bit to jar your eyes into 1000 yard stare. Whatever personality arises I have tempered as best I can to complete balance and loving nature. My family is in the military. I perhaps seem brusque due to this. It is not my intention. Thicht Naht Hanh is my sensei. It is his soul that has encouraged me to come here and play. I have made an error in approaching at the pace of those Great Courses mentioned before, when it is best to illustrate the point. After all, this is a Visual Arts-oriented site. ahahah Many more words I may say with stroke efficiency in my painting than novelization could ever fathom. I have employed Stephen King's techniques long enough. I shall adjust. It is time to let the art OUT! <3
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Stan Prokopenko
Let's see what the community wants. We were planning on keeping this category clean with only official challenges, but if there is enough interest in allowing user created challenges, I'm ok with it. I can just pin the official ones to the top. Let's VOTE.. Reply to this comment with your thought!
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Aoi Mizu
It's what made conceptart.org thrive in its hey-day. That is my perspective. Though it really comes down to user saturation. It creates general traffic, lessens your # ubiquity abroad on other sites and the results of any official challenge have the added weight of being published in some fashion I suppose. Anything can be a challenge and so perhaps it would lead to over-saturation but as you have stated, you retain the HEADER. That most likely alleviates MOST issues. The question is though, what defines a study? What isn't worth studying? What should not be publicly studied? I have NO answers for that. I think it comes down to your direct intentions for the site. I have an odd understanding currently if this is a shopping place, a library omnicron (Star Wars reference), and/or a forum. If it is all of these things at once, then you would be best to let the forum structure breathe as it oscillates the whole of marketing. However, I already follow challenges abroad such as Ahmed Aldoori's 100 heads through his individual YT channel. Centralizing them is my preference, though the "staff picks" of art-station really smacks of insularity and diminishes most interaction over time. Can this really be helped in art? I'm never attempting an accusatory tone in that statement, but whether insulation is conducive or destructive remains in the need of the project. In this case, the students' needs. If this is a school (I suppose even of thought), then a student body perhaps needs an art club outside the lecture halls and individual study or study groups based on friendship. I don't see competitive nonsense here. That is good! I don't know best, but I would, personally, hate to see your hard work morph into some oddity of "students trying too hard to fit in or feel like cool kids" as it has clearly shown itself to develop naturally in the gestation of places like YouTube. But what of the indie market? Are they doomed to formulate discord servers of 300-8000 members forever sub-dividing the geometric playing field until you couldn't find a community doing challenges that stood out in the ubiquity of dark-screened gamer-focused overlay? (How Philip K. Dick I have shifted in tone here. Forgive my sardonic humor. I am Seneca-like. A stoic. Not a cynic!) ahahaha I'd say the alternative of having pinned messages on the Header is quite my preferred reality to the joke above! ahahah But that is only my perspective! The choice is yours! It is quite streamlined and fun to post here though; far better than the plethora of methods of interaction via instagram, discord's file limit, Twitter's odd croppings etcetera. You've done supremely well in your designs here. The orange and white is like eating those mallow pumpkins on Halloween only it doesn't rot my teeth! It is soothing like Halloween Autumn. I would very readily join in and draw side by side in community challenges here, MORE than anywhere else because of your foundational footing and personality that vibrates in the structure. A long take, but a well rounded one. Cheers @Stan Prokopenko and staff!
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Aoi Mizu
I'm waiting for a paycheck to drop, but I'm definitely gonna pick up this course. Less for the information basis but more for your personal denotation on the topics. You are very gentle and even in your tone, Scott, and most assuredly a reflection of your (perhaps) stoic-like teaching methods. You're interviews have been very pleasant thus far on the podcast. Plus, if anyone happens upon this comment, I'd flat out stand by this being an encouragement to any serious concept art student; Scott's got his chops down. Evolve was, objectively, WAY ahead of it's electronic market. With the way Rare runs Sea of Thieves, and as the "evolving product pipeline" becomes more streamlined, this dude stands out as a pioneer in adaptive creature design from the indie-angle in game concept art. Many of his design language theories I can see echo in the landscape of the games market. Yes, no one is personally responsible for Shape Language in any industry, but calm words permeate a LONG way in understanding and comprehension. Whose lives he has touched has surely had an affect on the industry as a whole (as do we all, though he is proposing a course worthy of your time here and so I am putting forward a token of faith, verbally, that it is worth its cost). Body copy is easy to write. This is no fan-gasm. It is merely fact as I see it. I do have a question though, Does your definition of Shape-Carving include Intermediate-Shape-Welding also? They are big enough to be two topics but even Shade and Tone are big enough for such, so I felt I should ask for posterity's sake. You may have even combined them in a flavorful, unexpected way. Who is to say, yea? ahaha <3
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Yiming Wu
Some movie OSTs are okay. I like 90s/00s pop and some older soul stuff. The most frequently I've been listening to podcasts while drawing, tops are 99% invisible, Radio Lab and several other art shows including Draftsman. BUT recently like two month or so I've stopped completely. I categorized audio (lyrical and non-lyrical) and visual (text and graphical) are "destroyers of automatic thoughts". I control my time of doing these things. I have my earphones on noise reduction but silent. So I can think better how to arrange my compositions, think deeper into those automatic ideas of mine and jot them down quickly. It makes me feel good when listening to beautiful OSTs and other great musicals, and just like their purpose is to deliver an "sensational image", you get carried away in that cinematic mood and often don't do stuff as efficiently.
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Aoi Mizu
Much in agreement. Music is almost like hypnosis! I have to tinker how I use it in my daily workflow constantly. You've got a great system it seems! <3 Also 99% Invisible, represent! ahahah They are great!
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Aoi Mizu
Is the coast clear? :O
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Aoi Mizu
He is a hare! <3 If he looks like a crazy wizard that might beat you up because he has pollen allergies in March... then it's a hare generally. *laughs* But this is a joke. Now to the point. I think it's very friendly! Pay attention to where your hard and soft edges are in lighting. What should be important should remain hard edged, even in whimsy, unless intentionally deviated. Here it seems appropriate to mention. (You have done this a tad already, so maybe this is a confirmation of your decisions in fact). Photos will not include this aspect of "intention" unless the photographer had a similar motive. When referencing we must adapt what WE would like to say, rather than the reference providing the soul. It is an attache; Zazu to Mufasa. (unless you are the photographer. Then I would say you are a bird-lion and Napoleon Dynamite might doodle you in his notebook! ahah) Here, his face you have painted, is so loving that we must keep it centered! I see nothing that detracts from his face, but that you may even allow the darker shapes to permeate the left side as the ref displays. I am unsure of the photographs origin but whomever took the picture may have intuitively felt the need for the light beam to slash his figure in the background. You may see that in squinting your eyes his head is lit up by a halo in the photograph. This brings our attention front and center. No confusion allowed by the photographer. It is very well done so far! Keep tinkering! You have a great sense of "Harmony" innately! :B *punpunbunbun* P.S. Rabbit faces are notoriously hard to draw I have found. They are often like cats in shape and yet... similar to a wooden dancing clog. ahahah There is no advice here but kudos to your choice of subject! I pray the nature of it hops you up on joy! <3
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Aoi Mizu
It is my preference of background that leads me to enjoy the second more as the texture of the foreground and background in the first vibrate equally. This may be a good thing though, I would not discredit it on one opinion alone but maybe think about what you may intend to push forward as the "theme" if you would like to have such fun vibrations in texture. I feel he is blending in with a hedge maze in a fun way ahaha I enjoy it, but whether it is the desired intention or a happy accident, only you may determine. <3 The third has great color harmony. It adds an emotion. I feel it has the most character from a distance, but I would still see the background defined a tad more at the horizon line. Again, a preference only. It's evident you learned from each as you went. Great studies! I pick 2 as my favorite but it is quite hard to settle on just one. Each are quite unique.
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Aoi Mizu
The Ghost in the Shell manga is very different from the anime and has a comedic tone while also being as comprehensive about the way things work as Gene Roddenberry was with Star Trek. I'm still exploring manga myself but it's one of my faves to study. Dororo is also a GREAT addition to any lexicon as it's one of Osama Tezuka's best works and is a bridge point for cinematic storytelling through manga. It is VERY compelling to my tastes. It will largely depend on your preferences but these are two of my favorites!
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Aoi Mizu
Best advice I have @TeResA Bolen I study Gestalt to analyze but then I just dive in with my eyes Eating colors and lines like golden french fries ahaha I feel the intent and let myself cry I put myself in their shoes and live or die I destroy the concept of "him and I" and think "how would this artist have tried to make a line?" I take away reverence. What he did I can do. I respect the artist and hold him close like a brother; maybe even two! I take artists and fuse em like monster movies with Harryhausen glue! I take style and taste em like movie popcorn and candy Jujubes. Chewy. Like the thoughts I muse. I make a hail mary every time I try to stand on the shoulders of Giants. I visit mother willow of the forest trees. I listen for what I love; such as the hum of bees. Or the change of leaves in the wake of Midsummer's eve where Oberon crafts love spells and schemes~ I look at the seas and seize the Cs and seasons I please to create things that even a child would dream! I practice tea ceremony like Mise en Scene. I make sure to check my ego at the door but keep the self esteem. I say failure is when I accept it and breeze through paper reams! I read books like telepathy and on those dead I do lean. A brownie of Robin Hood's; a fairy in the eaves! That is the art of being verdant, thriving, and green! <3 Trust yourself, explore, and BE-LIEVE! (Less a book but I'll poke @Marshall Vandruff for fun too. I try to pay him back for his songs though I hope it's not obstructive to have his name tagged. If so then I'll stop. Just tell me begone and I'll be through. Much appreciated for you being you, dude! ahaha) Post Script, I have found that shape deconstruction is just fun as all get out. Deconstruct things! You'd be impressed how many facets make up any one subject! Mix and match! Play like Legos! The brain is elastic and doesn't muddy the colors like when you mix Play-Doh! Or was it Plato? Oh well, same stuff different day though! ahahaha
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Marshall Vandruff
This could be a book-long answer. But if you know music, consider. How to you study musical composition? How do you know whether a particular song you write is a "good composition", and that the music "carries feeling", before you finely craft the lyrics? It's the same set of concerns. Musical composition comes from a composer's choices to make the music go a certain way because they like it that way. Pictorial composition comes from an artist's choices to place, to enlarge or shrink or color or outline or darken or lighten or soften or change... every element to the artist's liking. And if they like it, the next test is whether others do also. But are there rules about it? Are there rules about how to compose music? If so, what are they? Listing them could be constructive, because they may apply to making pictures. The ultimate answer is that composing is the record of an artist's emotional responses to their own explorations in a picture. And those emotional responses tend to be heavily influenced by what they love, what they study, and the art in which they immerse themselves. Again, musicians make the point. They compose within a style and form and "emotional flavor" they know and presumably love. So how do you study (visual) composition? Choose masters you love. Analyze them in the classic ways - shape and value studies are the best way to start. Color and texture and angle and edge analysis... every element observed, every principle extracted, discussed, ingested, practiced, and developed. Look at what you love, then try your hand at it. That back and forth between studying pictures and making them is your way of composing your own creativity. A call and response between the art you love and the art you make.
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yuri
I drew the top plane of the shoulder, but from this angle, I shouldn’t have drawn them, I think. Thigh was too thin. Head should be a little more bigger. Foot was shorter than I thought. Angle of the arms and shoulders were wrong. If you find any other big mistakes, please let me know!
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