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i'd like to add that the shadow color isnt necessarily dictated entirely by the primary light source, but the bounce light! so for the example of a sunny environment, the reason the shadows are blue are because of the light from the blue sky reflects across the environment; but, if the character were to be under tree cover, the bounce light would be coming from the leaves and thus the shadow would look greener.
James Gurney is an absolute master and gives really good clarity on colour techniques. Yes, it is traditional paint focused, but the principles are the same. Yes it is informed by the environmental colour but as a painting technique it is achieved this way!
I would also suggest that in digital processing, rather than apply a regular colour layer at a mid opacity, try out the different types of layers, Eg. Screen or Multiply. This can give you at least a starting point to help direct your colour palette.
Layer Blend Modes are so so so important to working in digital art. There's a ton of math that goes into figuring out how the layers should blend together, which is why some of the modes you can pick are literally called Multiply, Add, Divide, and Difference (that's subtraction). The graphics software takes the color values of your base and blend layers and runs a calculation to get your resulting layer appearance. The ones that don't have specifically mathematical sounding names are still doing calculations, but they're more complicated (think linear Algebra and higher). Some of them, like dodge and burn, are named for actual photo editing techniques.
While it's not super important to know about the mathematical side of blend modes, I think it's worth knowing at least enough about how each of the categories of blend modes works and why they do what they do; if for no other reason than having a starting point when you start experimenting with them in your work.
An overview of the basic blend modes and how they work from Genevieve's Design Studio: Accessible with minimal color knowledge; practical and illustration focused. https://youtu.be/kMc87hQrJd0?si=TWCB365pKSfWS8p0. (16 minutes) This creator also has a ton of free resources you can download, including a Blend Modes cheatsheet, but fair warning: you have to create an account to get them!
Want to learn even more about the math-y stuff? It has great film visuals! A video from FilmmakerIQ: You need some basic knowledge of RGB color models, understanding of values/luma, and at least a tenuous understanding of Algebraic formulas. (26 minutes) https://youtu.be/F7_kaTP7_W4?si=x0urqXZ8f51nQVKl
ok so, I approached my local library with a proposal to donate a mural as a way to A: build portfolio/gain practical experience and B: give back to a beloved public institution. The director was very enthusiastic about it and i've been working on it since the beginning of March. Come with me as I endeavor to paint what is in all honesty an excessive amount of birds
I wanted the birds to look like they were actually in the space so first thing after doing the draft was to do a lighting study
after that I covered the walls in letters in lieu of a projector/vr headset bc i have neither of those :) Then i take a picture of the section of wall and superimpose the lineart over top of it so I can pencil in the lines
et voila
and that was a whole week on it's own so next comes the paintin' >:)
I don't like they are regarded as legitimate medical professionals (including by insurance companies!!) when they do ghost bone magic massages. Just a thing I have about quackery
#op this is great bc this is such a good representation of what its like#save#aphantasia#not losing this#this is what its like in my head all the time#i can barely draw i cant write or create#i just feel#and then i cant even describe what the vibes and what i feel#bc its too much#so i just kind of#learn to give up lol#i still try to draw but ive accepted im not a creator anymore#i hate having that hope and that drive and then not being able to do anything just stare with literally silence and emptiness in my head
Hi! I’m aphantasiac and I’m a writer. Detailed visual description is a bit of a weakness of mine (not because I’m bad at it, but because I just keep forgetting to do it), but I get along just fine. The OP here clearly has aphantasia, and is clearly excellent at drawing. I mean, look at that skill. The characters, the detail. The ability to visually depict aphantasia with perfect accuracy, which I’ve never seen anybody do ever. I’ve met many artists with aphantasia, visual artists and writers and musicians and actors, and it’s never been a problem -- most, like me, just assumed that this was how everyone’s brain worked and ‘visualising’ was a metaphor for like, remembering a thing exists.
Aphantasia won’t stop you from creating. I’ve never even noticed it being an impediment (beyond me sometimes forgetting to visually describe something I guess). There’s no reason to despair.
If we could see our galaxy, the Milky Way, from the outside, it would look like an enormous, bedazzled pinwheel. Vast sprays of stars form spiral arms that curl outward from a bright center that bulges like the yolk in a fried egg. Dark, dusty tendrils darken some regions, while glowing pink gas clouds light up others.
We have a pretty good idea of the Milky Way’s overall structure, but since we’re nestled inside it, fine details are hard to see. Those clouds of gas and dust strewn throughout interstellar space block our view, especially of the far side of the galaxy. Astronomers have used observations from different telescopes to piece together our galaxy's anatomy. Let's scrub up and dive in!
An artist’s concept of our Milky Way galaxy’s central bulge.
At the heart of our galaxy, an enormous swarm of about 10 billion mostly old stars crowd into a slightly peanut-shaped region around 10,000 light-years across called the bulge. The innermost stars dance around an invisible object. By measuring the stars’ orbits, scientists have calculated that the central object must be as hefty as about 4 million Suns.
This unseen behemoth is a monster black hole called Sagittarius A* (A* is pronounced “A-star”). Its gravity is so powerful that if you came within 7 million miles (12 million kilometers) or so –– less than a tenth of Earth’s distance from the Sun –– you’d never be able to escape its grip, no matter how hard you tried! But don’t worry, Sagittarius A* is a pretty friendly giant; it’s largely dormant, releasing only faint flickers of X-rays and radio waves.
An artist’s concept of our Milky Way galaxy’s disk.
The disk, which is home to the bulk of the Milky Way’s stars, extends out from the bulge like the brim of a sombrero. It’s around 100,000 light-years wide and divided into two parts. The thin disk is about 1,000 light-years from top to bottom, and the thick disk (which isn’t as densely populated by stars) extends above and below it for another few thousand light-years. So, the thick disk is like a bagel, and the thin disk is like a generous layer of cream cheese spread inside it.
The thin disk hosts our galaxy’s spiral arms, which look like they spin around the Milky Way like bicycle spokes, although they actually work more like galactic traffic jams. We live along one of these dense areas in an arm called the Orion Spur. All of the Milky Way’s arms extend outward from the bar –– a rotating structure of stars in the middle of the galaxy that’s about 16,000 light-years long.
The edge of a nearby stellar nursery called NGC 3324, found at the northwest corner of the Carina Nebula, forms the “mountains” and “valleys” spanning this image captured by the James Webb Space Telescope.
The spaces between stars in the disk aren’t quite empty –– they’re home to the interstellar medium, which is made of dust and gas. Dark, smoky ribbons of dust wind through the starlight, clumping up here and there to form clouds of molecules. To some astronomers, the dust is a nuisance that blocks things they’d like to study. But for others, the dust is the target –– interstellar dust is both the leftover crumbs from stars long dead and raw material from which new stars and planets may form.
An artist’s concept of our Milky Way galaxy’s stellar halo.
A sparse smattering of incredibly old, faint stars lives in a football-shaped “halo” that’s about 300,000 light-years across, encasing the disk and bulge. Stars there are tiny, which means they burn through their nuclear fuel so slowly they can live 12 billion years or even longer! Many of them formed early in the universe’s history, before many generations of stars enriched the galaxy with heavier elements than hydrogen and helium.
This Hubble Space Telescope image shows one of the Milky Way's many globular clusters. Known as NGC 6388, the cluster is more than 10 billion years old.
The stellar halo is also home to at least 150 globular clusters –– huge, spherical collections of ancient stars bound to each other by their mutual gravity. These groups of tens of thousands or even millions of stars are the ultimate squad goals. They’re so tightly packed together, sometimes just a fraction of a light-year apart, that from Earth they look like glittery disco balls. And they’re practically inseparable, sticking together for billions of years.
This artist’s concept visualizes gamma-ray bubbles discovered by NASA’s Fermi Gamma-Ray Space Telescope. From end to end, the bubbles extend 50,000 light-years, or roughly half of the Milky Way’s diameter. Hints of the bubbles’ edges were first observed in X-rays (blue) by ROSAT, a Germany-led mission operating in the 1990s. The gamma rays mapped by Fermi (magenta) extend much farther from the galaxy’s plane.
Vast “bubbles” of gamma rays, each about 25,000 light-years long, stretch into the stellar halo from the center of the galaxy. Scientists found them by surprise in data from NASA’s Fermi Gamma-ray Space Telescope. The mysterious structure may be only a few million years old, perhaps leftover from a massive burst of star formation or an eruption from Sagittarius A*.
An artist’s concept of our Milky Way galaxy’s dark matter halo.
An even larger halo of dark matter (about a million light-years across) cocoons the stellar halo. This mystery material has mass, so its gravity pulls on things we can see. But it isn’t visible itself, and no one knows exactly what it’s made of. This strange stuff makes up about 90 percent of our galaxy’s mass.
This illustration, taken from a computer simulation, visualizes the Milky Way's dark matter halo (as well as several surrounding dark matter clumps) in blue.
Scientists know it’s there because if it weren’t, stars would orbit much faster near the galaxy’s center than on the outskirts. But for the most part, orbital speeds are pretty constant regardless of distance from the center. Stars toward the edge of the disk whirl around so quickly that they should be flung off into space if there weren’t something keeping them anchored to the Milky Way. Dark matter holds our galaxy together.
This collage shows the Milky Way in 10 different wavelengths of light, from radio waves to gamma rays. By studying our galaxy in different types of light, astronomers can learn far more than they could otherwise.
While astronomers have mapped much of our galaxy’s bulge, disk, and stellar and dark matter halos, key details about its structure and hidden components remain unknown. NASA is tackling the Milky Way’s mysteries with a fleet of space telescopes designed to explore the universe in different ways.
For example, our upcoming Nancy Grace Roman Space Telescope will peer through dust with a large field of view to map stars, dust and gas clouds on the far side of the galaxy, revealing hidden structures, spiral arms, and stellar nurseries. Our picture of our home galaxy will soon be clearer than ever before!
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OP: Look at the 'fire-butterfly' we managed to film. The picture really doesn't do its beauty justice. (cr 鸟王艾雅康，观鸟景jhin，生态摄影阿博特，毕强，Sjxxphotograph，Fische，鱼摆摆，Shanalotte，冰鹡鸰）
I love this Chinese guy who is so excited to show everyone this really cool bird. This is why the internet was created, so we could show strangers on the other side of the world cool things we know about. Xie xie <3333333
Still the freakiest fact about him is that despite being as tall as a person or more, he banged out these beauties in a day or two at most (and smaller ones ina matter of hours). The longest he spent on a painting, at age 81, to make his largest ever painting, was TEN DAYS:
It is 2.9×4.3 meters large. That’s 9'4"×14'1" for people in other measurement systems. It’s HUGE. There are artists out there that spend years on paintings much smaller than this. He was not one of them.
He also didn’t only paint the sea, but he MOSTLY painted the sea. Very few people could draw light filtering through waves the way this guy did and apparently it was tied into his layering technique that allowed him to paint so goddamn fast.
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