Posts tagged time
What You’ll Be Creating This tutorial will equip you with the skills to create a style of fractal known as tiles. The concept of a tile (think subway tile or kitchen backsplash) is ideal for a fractal application because of the repeating pattern of self-similarity. In this tutorial we will explore the power of post-transforms, learn how to apply a final transform, and explore different formulas known as variations within the Apophysis program. Explanation of Tiles The fractal tile style comes in a wide variety of shapes, from squares to hexagons and beyond. All of them follow the same basic ideas to create a pattern. Once you’ve conquered the structure for a tile, the possibilities are literally endless, with a whole plethora of fun formulas to be added and shapes to explore. Today we will focus our attention on the basic square tile. 1. Basic Structure of a Square Tile Step 1 To begin creating the structure for our square-tiled fractal, open the Editor and click the button for a New/blank flame . Step 2 The next step is to set up the first transform. We do this because it will serve as a template for the rest of the tile structure. Setting …
Fractal Art: Create a Tile Fractal in Apophysis
Advertise here with BSA Among many powerful tools in Photoshop is the king of kings: the pen tool. This tool is shrouded by personal anecdotes of confusion and frustration. Although creating paths with the pen tool is difficult at first, the process becomes easier with practice and is well worth the effort. Every path is vector-based which means you can scale it larger or smaller without any quality loss. But paths can be very frustrating if you don’t know how to use them. I’d like to cover the process of converting a path into a shape layer. In case you didn’t already know, shape layers are merely paths that can hold fills & outlines. This also means you can apply layer effects and even filters if you convert the same into a smart object. Note that a path is merely a series of points like an outline which can become a selection. It’s the raw material of shapes but not quite a shape in-itself. 1. Drawing the Path First create a new document and just draw any path on the canvas. You might draw a crazy random shape or you might take the time to design a simple icon. I’ve created a relatively flat checkmark which looks like this: Note that you need to actually complete the path in order to create a shape. This means after creating the first anchor point you should place a few more on the document and bend/twist them as needed. Bring the shape all the way around back to where you started and click back onto the first anchor point to close the path. The pen icon will have a little circle next to it when you’…
Go here to see the original:
Convert a Path to a Shape Layer in Photoshop
What You’ll Be Creating In this tutorial you will learn how to create a simple spider web illustration in Adobe Illustrator.
What You’ll Be Creating Have you found your excuse to paint gore today? Well here it is! With Halloween just around the corner it’s exquisitely tempting to find a balance between horror, gore, and beauty. And in this tutorial, I demonstrate the evolution of a digital painting from start to finish by creating a hauntingly beautiful Egyptian goddess. My tools of choice are Adobe Photoshop CS3 and an off-brand pen tablet I purchased on eBay. My process involves a whole lot of experimentation, a little bit of hope, and a handful of adjustment layers. Learn the techniques to bring out the best in your next piece!
What You’ll Be Creating In this tutorial, you will create a spooky jack-o-lantern from scratch, rendered entirely in pixels (the building blocks of digital art). Learn how to use Adobe Photoshop’s Timeline panel to animate a smiling, winking face that blows a kiss at the viewer and lights up both inside and out. 1.
What You’ll Be Creating Traditionally at this time of the year, bats come into the spotlight. However, their media image is full of misconceptions and prejudice. They’re seen as blood-thirsty vampires, or, at best, mean pests. In this tutorial we’ll look at them from another angle—we’ll get to know their anatomy and special features, and learn how to draw them properly in every position and shape. No need to be afraid, I promise! 1. Basic Anatomy Skeleton Just as 3D artists use bones to animate an object realistically, we need to learn what bones a bat is made of to create a believable pose. The skeleton of an animal defines its movement and affects greatly the shape of the body. Let’s see what’s most important here: The arm structure is very similar to a human, including fingers. The forearm is very long, longer than the whole body. The chest is wide and compressed. The hips are very narrow and elongated. The thumb is the only unwebbed finger; it has a functional claw. The second finger is the shortest; in bigger species, it also may have a small, non-functional claw. The fingers are arched at the tips. The knees are reversed, which makes bats unable to walk properly, but makes flight, hunting and resting more efficient. There’s a modified heel structure, called the calcar, used to steer the “tail wing”. A membrane under it, if present, is called the keel. Feet are specialized for effortless …
See the original post here:
How to Draw Animals: Bats
When you look at beautiful digital art and compare it with the things you draw with a pencil, you can feel astonished and belittled. If only you could afford a graphics tablet, you could be just as good! And if you already have a tablet, your thought is, “If only I could afford Photoshop! So many amazing things can be done with this software.” And if you’ve got both a decent tablet and good software, you’re dreaming about the godlike Wacom Cintiq —the bigger, the better. But, until then, you’re stuck. You can’t be any better. And it’s not your fault, it’s all about money! This is probably why there’s a misconception that digital art isn’t real art. After all, a real…
Originally posted here:
Is Digital Art "Real" Art? Facts and Myths About Digital Creating
What You’ll Be Creating This month I had the pleasure of interviewing Sabrina Smelko, whose work varies from illustration to graphic design to art direction to blog writing. She’s worked with Mozilla, AARP, and a host of other companies. It seems her client list never ends, and as such her insight into the working life of an in-demand designer is enlightening to say the least. Thanks so much for the interview. Let’s start at the beginning: What got you into illustration? It’s my pleasure! Thanks for having me.
What You’ll Be Creating It’s a fairly easy feat to create custom sets of grunge brushes in
What You’ll Be Creating Perspective. The word freezes the blood in the veins of every aspiring artist (and even many of those who seem to be pretty good at what they do). This “method of drawing 3D forms in 2D space” is full of confusing mathematical rules that seem to have nothing to do with carefree, passionate drawing. Even if you manage to grasp these rules, you might still wonder how they apply to the real world. When you look around, do you see one-point perspective or two-point perspective? If the horizon is always at eye level, what happens when you look down? What actually are vanishing points? And can you forget about perspective as long as you don’t draw architecture? In this article I won’t explain all the rules of modifying an object in linear perspective. There are a lot of tutorials about it, so you can look them up. Instead, I’ll explain to you where these rules come from and why someone needed to invent them. The rules, after all, are only a way of describing a fascinating phenomenon, one present in nature since the day our brains started to process the signals from our eyes. After reading this article, your world will never be the same! Perspective… So, What, Actually? Forget about math and geometry. Go back in time and remember those days when you were traveling and observing the buildings and objects moving with you. Those closest to you were moving the fastest, and these in the background were scarcely changing position. And the furthest of them, the moon, wasn’t moving at all—it was, and still is, always there, no matter where you go. But, of course, it was very silly of you to think the …
Live Perspective: A New Approach to Depth in Drawing