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@missinglee
•
3yr
added comment inMarker drawing course advice
Hey @Antoine Agthe any luck finding a good marker resource? Vanilla arts and markernovice have good articles for beginners
@brucezzr
•
4yr
Does anyone know where bonus file is ?
Yeah I think it's missing. I cheated and took a screenshot of the colour wheel in the video - probably not going to be the exact same colours Marco is using, but good enough for our purpose of studying palettes quickly
Christopher Beaven
•
3yr
Wow lots of questions! This is exactly how I've felt for 40+ years of doing art. I've finally found what I like and keep returning to it but that was after constantly experimenting.
As far as all these options I've seen them all chalky and oily.
Oops! dinner time, sorry I will try and help more later. Keep experimenting!
Thank you, it's reassuring to hear I'm not the only one confused... looking forward to any further thoughts you might have!
Hi All,
I find it difficult to determine the differences between Conté crayons, pastels and colour pencils... was hoping someone could educate me a bit better.
Is there a difference, or is the terminology interchangeable?
My difficulty is that when I order art supplies online, I'm expecting it to behave a certain way (I prefer oil based/waxy feel) based on how it is either described, or possibly the brand name (hello, Conté a Paris?!) but I guess this is incorrect because often it's a chalky medium instead.
My basic understanding is that crayons are either a rectangular bar or cylindrical shaped form of pigment which is either chalk based (soft pastel) or oil based.
Does 'Conté crayon' simply describe the rectangular shape, and it can be both chalky or oily?
A coloured pencil basically a wood encased crayon, it can be either oil based or chalk based...How do you determine which is which if you were ordering something online? Do you just watch Youtube reviews, try to find one in a local art supply store and test one out?
At the moment, I've been enjoying drawing portraits with Staedler Lumocolor permanent pencils. I would love to be able to use a refill for my clutch pencil, but they only do the non-permanent version. Does that mean it would likely be chalky instead of oily?
In Brevelliers Cretacolor set of 6 artist leads, would you expect the "Sanguine Oil" to have an oily feel but the White Pastel, Sepia light, and Sepia dark to be chalky? https://www.cretacolor.com/en/products/artists-leads-set/
(I know what to expect from charcoal and graphite, so they're not under discussion here...)
Thanks in advance!
Sonya
Milan Čolović
•
5yr
Well, I assume that trend of using red, or blue, started from people who uses colored pencils in initial, rough sketch drawings. When you use it in combination with graphite pencils, it’s easier to distinct refined graphite lines, when you draw them upon rough sketches done with (not so prominent) red. Practically, it’s simulating layers of Photoshop. 😊 Digitally, I would simply drop opacity of rough sketch, and draw more prominent lines in layer above.
Why people using just the reds? It looks good. 😊 I’m not sure, I rarely do that. But, I assume that is because colored pencils preforming similarly to graphite pencils, in the way of gradation, layering, range of values, they smudge less in compare to graphite. Also, they don’t have that “graphite shine” so expressed. I mean that reflection which graphite leaves when you press hard soft graphite pen and fill the area with it.
These are my assumptions, maybe someone more experienced with colored pencils would give you better answer…. :)
I believe it's traditionally because certain reds and blues don't show up when scanned in. Animators would do all their underlay work in red and blue and final linework in another colour (say, black). When the artwork was scanned in, the scanner would only pick up the black linework and there would be less cleanup digitally
@missinglee
•
3yr
My attempt at Chapter 1's complementary pallette exercise. Being limited to just 'two colours' allowed me to really think about the warmer/cooler relationships. I thought Marco's explanation of how he used a greater variety of less saturated purples vs a smaller variety of more saturated yellows very helpful as it got me thinking about value and contrast. I found it difficult to also build in readability using textures and having to resize my brush depending on where the feature I was painting (near or far away). After about an hour I believed my composition was 'readable at a distance' but the saturation was way off so I used an adjustment layer (saturation) to quickly mask off areas that were too saturated (mainly the purples)
This exercise is easily one of the most beneficial tools I have learnt recently and I'm looking forward to continuing on through this course.
Mike Jara
•
4yr
Hi @Matthew Kuester. Thanks for bringing this to our attention. You will now see the videos for download in those lessons.
Hi @Mike Jara, on the same topic of downloads for this course, I just started chapter 1 and Marco mentions in the video that the linework file and brushes are available for download, but I can't find them in the download tab?
... Never mind. I found them on the Course Overview Page, not the specific Chapter/Lesson Download tab
Hy Guys, attached are some of my bean assignments. I tried it with the following method. 1, try without looking how Stan drawed it, 2 draw with Stans reference, 3 again without reference, only looking at the model. I hope for feedback. Thank you :)
On the Draftsmen, Stan and Marshall talk about the importance of being able to self correct and doing 'deep practice'... so I thought I'd try it with the Bean. Immediately, I saw that I have a tendency to draw my ovals too long, and that I don't fully understand how to identify the twist S curve yet (the Landmarks and Robo Bean sections of this course have since helped). I also found watching the critique before doing exercises, or going back to do the exercises again after watching the critique videos has helped
I hope you will also try self correction, and that it highlights for you what areas to focus on for improvement!
