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@how-to-art
I bid thee farewell
This is late in coming, but I have not been able to continue managing this blog. The past 20 or so posts are the last I will share here. I’ve become very busy in my life outside of tumblr, and will be leaving the site until further notice.
I thank all of you for the support you’ve given this blog throughout the years, and I wish you all well in both your lives and your artistic journeys.
Never stop creating!
Okay, so, I see a lot of problems with people getting works stolen off the internet because the art is in a “public space.” While yes, that is true, the internet is public space and art is posted there, but that doesn’t make it public property, properly known as “Public Domain.”
Public Domain:
“Art becomes public domain only after 70 years after the artist who made the work has DIED, 95 years after publication, or 120 years after creation, which ever comes first”. (Source). This is why you are allowed to use famous works like Van Gogh’s “Starry Knight” or Da Vinci’s “Mona Lisa” freely with out copyright issues, the artist have died well over 70 years ago, thus the work they have produced is now free for the pubic to use.
Publishing:
Posting art on the internet is not considered published works. “Published works are works that are made into copies able to distribute to the public.” (Source). Posting art on a site like tumblr, deviantart, message boards, youtube, vimeo, or any other number of websites are meant for display, not for redistribution unless the artist as stated that: “This work is available for redistribution.” However, if you do not see that sentence anywhere, then that art is purely for display only and you must ask that artist permission to use that work unless you are favoriting it on deviantart, reblogging/liking on tumblr/blogspot, adding the video/song to a playlist on youtube, etc.
Intellectual Property:
Now, until the art work is under public domain, the works in question are protected under “Intellectual Property.” Where artist, inventors, writers, creators in general, are protected under the constitution and have full ownership of the works they have created from the moment it is created. (Source). Taking someone’s work that does not belong to you is considered theft and punishable by the full extent of the law. Meaning, the case can be taken to court and serious repercussions will ensue for the offender. (Source). The works are not just protected in the US, but world wide, and outlined in “article 27 of the Universal Declaration of Human Rights.” (Source).
Article 27.
(1) Everyone has the right freely to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancement and its benefits. (2) Everyone has the right to the protection of the moral and material interests resulting from any scientific, literary or artistic production of which he is the author. (Source).
TL;DR: Yes the internet is public space, but that does not mean the works on the internet is considered public domain. All works are protected by Intellectual Property until it has been 70 years after artist’s death, 95 years after publication, or 120 years after date of creation; whatever comes first. Posting works on the internet does not count as publishing.
It is safe to say, any works created now will not be free to use publicly in your lifetime unless stated otherwise by the creator them self.
Sources:
Public Domain:
https://www.teachingcopyright.org/handout/public-domain-faq
Publishing:
http://aigasf.org/community/legalities/legalities_22_does_posting_your_artwork_online_count_as_publication
Copyright/Intellectual Property:
http://www.aipla.org/about/iplaw/Pages/default.aspx
http://www.hg.org/intell.html
http://www.wipo.int/edocs/pubdocs/en/intproperty/450/wipo_pub_450.pdf
http://www.un.org/en/universal-declaration-human-rights/
Hot tip for poor artists: cheapo cintiq alternatives
I got the T5010 a couple of years ago and I still like it, though I’ve since moved back to using an Intuos after fixing my desktop. Colors come out a bit subdued, but for under $200 it was a great thing to get.
Make sure to get a screen protector, though.
i thought i’d do a clear acrylic charm comparison for acorn press and inkitlabs
i ordered my bat design through inkitlabs first. i believe they automatically add extra white base to your charms when you choose the “different design on both sides” option.
i then reordered the exact same design through acorn press, because i was crunched for time and they had the fastest turnaround. i opted to pay for the extra white layer when ordering.
the three major differences in charm quality:
CLEAR BORDER- acorn requires a much larger margin between your artwork and the cut edge than inkit does, resulting in a thicker clear acrylic border around your design.
COLOR- acorn’s colors seem deeper and more vibrant than inkit’s, though i think inkit has the most accurate colors compared to the original file. when held up to light, the acorn charms are slightly more opaque and the colors don’t bleed through as badly.
TEXTURE- the design from one side of the acorn charms shows through to the other side in the form of bumps and ridges, whereas the inkit charms are completely smooth on both sides.
other notable differences:
PRICE- acorn press ended up being significantly cheaper than inkit for the particular batch of charms i wanted, even with a 10% fee added for rush production. it would have cost me around $150 dollars more to buy through inkit under the same circumstances, and i likely would not have received my order in time even with their expedited shipping.
DEFECTS- i’ve ordered batches of charms through inkit around 4 times now, and i have never received a single charm that i was uncomfortable with selling due to misprint or defect. acorn sent a few charms that had scratches or nicks in the smooth front surface that i couldn’t sell, but they sent quite a few extras of each design that definitely compensated for the defects.
BASICALLY:
the many quality differences are actually pretty negligible to me, and while inkit provides a more refined product, both look nice and sharp and feel pretty sturdy. both also provide good customer service and response times.
so if you want something a little smoother and true to your file colors, and don’t mind a very rigid turnaround time and more expensive product, inkit is great.
if you want a cheaper and quicker manufacturer and don’t mind your charms being slightly oversaturated or not being glass-smooth on one side, you should give acorn a shot.
thanks for readin!
A couple days ago a friend asked me how to color a character in an environment so I decided to throw together this quick tutorial!
I hope some people find it useful!
Sorry this has like.. nothing to do with color palettes, but I found this 3D program really neat :0! If you are Very Bad at UV mapping like i am but wanna make cute low poly things, this looks pretty easy to use! I believe the creator is giving out free keys on their forums.
Crocotile Site (also, the name is a pun! even more ideal tbh!)
Kimono drawing guide ½, by Kaoruko Maya (tumblr, pixiv, site). Booklet is available in pdf for ¥ 900 here.
Here you can see:
female kimono and yukata (note how the juban underwear peeks when in kimono + how belts differ)
male yukata and kimono (note how the juban underwear peeks when in kimono)
dressing up: male (kimono is not closed yet) and female (kimono closed with datejime belt and ready to put on obi)
differences between female and male kimono once dressed (note how the collars and belts set)
common drawing mistakes (compare with previous picture: shoulders lines are too defined, there is a double hem, collars are narrow, belt is not at the right place etc)
women back collar (the lower the sexier) and men back collar (close to the nape)
back and sleeves differences between men and women
collars and sleeves and view of how kimono drapes around body
Furisode back (long sleeves kimono) and formal furisode obi knot example
Dos and don'ts on designing for accessibility
Karwai Pun, GOV.UK:
The dos and don’ts of designing for accessibility are general guidelines, best design practices for making services accessible in government. Currently, there are six different posters in the series that cater to users from these areas: low vision, D/deaf and hard of hearing, dyslexia, motor disabilities, users on the autistic spectrum and users of screen readers.
[…] Another aim of the posters is that they’re meant to be general guidance as opposed to being overly prescriptive. Using bright contrast was advised for some (such as those with low vision) although some users on the autistic spectrum would prefer differently. Where advice seems contradictory, it’s always worth testing your designs with users to find the right balance, making compromises that best suit the users’ needs.
[github]
Common Occupations in the Middle Ages
Almoners: ensured the poor received alms.
Atilliator: skilled castle worker who made crossbows.
Baliff: in charge of allotting jobs to the peasants, building repair, and repair of tools used by the peasants.
Barber: someone who cut hair. Also served as dentists, surgeons and blood-letters.
Blacksmith: forged and sharpened tools and weapons, beat out dents in armor, made hinges for doors, and window grills. Also referred to as Smiths.
Bottler: in charge of the buttery or bottlery.
Butler: cared for the cellar and was in charge of large butts and little butts (bottles) of wine and beer. Under him a staff of people might consist of brewers, tapsters, cellarers, dispensers, cupbearers and dapifer.
Carder: someone who brushed cloth during its manufacture.
Carpenter: built flooring, roofing, siege engines, furniture, panelling for rooms, and scaffoling for building.
Carters: workmen who brought wood and stone to the site of a castle under construction.
Castellan: resident owner or person in charge of a castle (custodian).
Chamberlain: responsible for the great chamber and for the personal finances of the castellan.
Chaplain: provided spirtual welfare for laborers and the castle garrison. The duties might also include supervising building operations, clerk, and keeping accounts. He also tended to the chapel.
Clerk: a person who checked material costs, wages, and kept accounts.
Constable: a person who took care (the governor or warden) of a castle in the absence of the owner. This was sometimes bestowed upon a great baron as an honor and some royal castles had hereditary constables.
Cook: roasted, broiled, and baked food in the fireplaces and ovens.
Cottars: the lowest of the peasantry. Worked as swine-herds, prison guards, and did odd jobs.
Ditcher: worker who dug moats, vaults, foundations and mines.
Dyer: someone who dyed cloth in huge heated vats during its manufacture.
Ewerer: worker who brought and heated water for the nobles.
Falconer: highly skilled expert responsible for the care and training of hawks for the sport of falconry.
Fuller: worker who shrinks & thickens cloth fibers through wetting & beating the material.
Glaziers: a person who cut and shaped glass.
Gong Farmer: a latrine pit emptier.
Hayward: someone who tended the hedges.
Herald: knights assistant and an expert advisor on heraldry.
Keeper of the Wardrobe: in charge of the tailors and laundress.
Knight: a professional soldier. This was achieved only after long and arduous training which began in infancy.
Laird: minor baron or small landlord.
Marshal: officer in charge of a household’s horses, carts, wagons, and containers. His staff included farriers, grooms, carters, smiths and clerks. He also oversaw the transporting of goods.
Master Mason: responsible for the designing and overseeing the building of a structure.
Messengers: servants of the lord who carried receipts, letters, and commodities.
Miner: skilled professional who dug tunnels for the purpose of undermining a castle.
Minstrels: part of of the castle staff who provided entertainment in the form of singing and playing musical instruments.
Porter: took care of the doors (janitor), particularly the main entrance. Responsible for the guardrooms. The person also insured that no one entered or left the castle withour permission. Also known as the door-ward.
Reeve: supervised the work on lord’s property. He checked that everyone began and stopped work on time, and insured nothing was stolen. Senior officer of a borough.
Sapper: an unskilled person who dug a mine or approach tunnel.
Scullions: responsible for washing and cleaning in the kitchen.
Shearmen: a person who trimmed the cloth during its manufacture.
Shoemaker: a craftsman who made shoes. Known also as Cordwainers.
Spinster: a name given to a woman who earned her living spinning yarn. Later this was expanded and any unmarried woman was called a spinster.
Steward: took care of the estate and domestic administration. Supervised the household and events in the great hall. Also referred to as a Seneschal.
Squire: attained at the age of 14 while training as a knight. He would be assigned to a knight to carry and care for the weapons and horse.
Watchmen: an official at the castle responsible for security. Assited by lookouts (the garrison).
Weaver: someone who cleaned and compacted cloth, in association with the Walker and Fuller.
Woodworkers: tradesmen called Board-hewers who worked in the forest, producing joists and beams.
Other medieval jobs included:
tanners, soap makers, cask makers, cloth makers, candle makers (chandlers), gold and silver smiths, laundresses, bakers, grooms, pages, huntsmen, doctors, painters, plasterers, and painters, potters, brick and tile makers, glass makers, shipwrights, sailors, butchers, fishmongers, farmers, herdsmen, millers, the clergy, parish priests, members of the monastic orders, innkeepers, roadmenders, woodwards (for the forests). slingers. Other Domestic jobs inside the castle or manor:
Personal atendants- ladies-in-waiting, chamber maids, doctor.
The myriad of people involved in the preparation and serving of meals- brewers, poulterer, fruiterers, slaughterers, dispensers, cooks and the cupbearers.
By Lise Hull READ MORE
Mens Fashion - www.GoGetGlam.com
I just came a little
Yeah Bc some of y'all walking around looking like Steve Harvey and Cedric the entertainer back in the day.
Everything you (n)ever wanted to know about archery
Don’t watch Lord of the Rings, the Hunger Games, or Avatar. At least, not for the archery. Hollywood is stock full of misinformation and misrepresentation about archery. Sadly, not a lot of writers have the opportunity to really delve into the practice. So here is my all you wanted to know primer from how bows are constructed, to lining up and releasing the shot, to treating your friend’s nasty broadhead wound.
Edit: expanded the debunking section.
Keep reading
rapidpunches:
SHORT STORY/ONE-SHOT/ONE CHAPTER/COMICS 101 CRASH COURSE RAPIDPUNCHES’ STYLE
I’m NOT an expert but I have some working experience I can share. You need experience to become great. Here is my set of instructions, tips, and notes towards making a 12-page comic.
My method is to work backwards. Personally I work “backwards” because the end is the only wholly necessary page or set of panels in the story. Everything in between is open to editing and hacking as the most important moments are emphasized and chosen.
I even plan/draw the end page first. The end is the last page a reader sees- so spend your freshest energies on making it as epic, memorable, poignant, and beautiful as #$%^&.
If you draw the pages from 1 to 12 sequentially you run the risk of fresh to burnt out- an uneven distribution of drawing skill. (treat the first page and the 2-page splash as you would the last).
Roughly… the steps to making your comic is
WRITE
PLAN THUMBNAILS
DRAW
…BEGIN THE WRITING (DO NOT SKIP NO MATTER WHAT) like this, in this order:
How does it end?
Does the protag succeed or fail?
What is the turning point of their story?
What the protag do that led them there?
Where does it start?
Who is this protag?
EXAMPLE:
Guy gets mauled by a bear.
This is a fail on the guy’s half.
The bear must eat something or he’ll starve to death.
It’s the guy’s fault the bear can’t find other food. He caused the avalanche that buried all the cabins.
The guy is yodeling in an avalanche zone.
The guy is some guy.
CREATING “THE BEAT SHEET” Take the above stuff and reorder it to make sense.
This guy yodels.
Echoes roll.
Snow slides down.
Avalanche buries the mountain.
Cabins are engulfed.
This bear has no access to cabin food and garbage.
Bear eats this guy.
Expand. Blow up important beats for emphasis. Keep less important beats brief.
This guy is hiking in the snowy mountains.
He comes across an avalanche warning sign.
There is nobody around but him.
A dumb expression forms over his face and he yodels.
Echoes roll but nothing nearby is moved.
At the top of the mountain the snow drifts twitch.
Guy, satisfied, hikes away from there still yodeling.
Frozen snow cracks.
Snow puffs billow and great slabs of ice crash down the mountain side.
Guy sees this and hightails it to safer ground.
Animals, people, are all panicking and getting pushed over by the rushing snow.
Cabins are destroyed.
The guy takes cover by an outcropping of rocks, fastens himself securely to the rock face, and waits for the avalanche to die down.
Avalanche dies down.
A lone bear shambles over from the other side of the mountain.
The bear goes to where a cabin used to be (only roof tiles are left). Bear sniffs a dish satellite.
Bear forlornly eats a food wrapper.
Bear tries to dig.
Guy comes down from the rocks he as climbing and sees bear.
Bear stops digging and sees him.
Guy runs.
Bear chases him down.
Bear eats the guy.
BEAT SHEET COMPLETED!!!
After the beat sheet, write up all the sound effects and speech bubbles and conversation/dialogue you want to be in your comic.
Since comics are a visual medium, highest priority is given to the beats. If a story can’t be told with the art without the dialogue– you messed up and it’s time to rethink your life choices.
Try to keep all your text chunks as short as a tweet. Professionally you don’t want more than 25 words per speech bubble and no more than 250 words per page.
Next is translating the beats to pages…
STRUCTURE OVERVIEW:
[1] point of entry, in media res, hero intro
[2][3] conflict. establish conflict, setting, and mood by the third page. [4][5] rising action/false resolution to conflict/investigation
[6][7] turning point/plot twist/epiphany (this one epic image, to page spread is pivotal, spend a lot of effort into creating this)
[8][9] aftermath/“darkness before dawn”/struggle [10][11] recovery/“rise and conquer”/“fall”
[12] resolution/final end/cliffhanger
[front cover][interior] [interior][back cover]
——————–
My maximum per page is nine panels but I’ve seen pages that have way more. I like to have about 3 to 4 panels per row or less but I’ve seen the “rules” broken before. Advanced comic book artists manipulate time with the number of panels and the size of each panel.
remember, DIAGONALS!!! open up an issue of batman, superman, spider man, deadpool or whatever youre reading theyre everywhere.
———-
…DRAW IN THIS ORDER:
Page 12,
Page 6 and 7 (this is typically one large image that takes up the space of two pages),
Page 1,
and then the rest.
ONLY “DEVIATION” ALLOWED:
Page 12 and 1*
Page 6 and 7,
and then the rest.
*Draw the first and last page as a spread in situations where the beginning of the story mirrors the end of the story.
Cover is dead last.
———-
(If at the very end you find out you need more pages and it’s absolutely unavoidable and totally necessary you have to add them in fours. Try to stick to 12 pages for this crash course.)
——————–
FURTHER NOTES:
Plan and draw the pages in spreads (the twos) since this is how it will appear in print and when you submit them to an editor for review guess what, the pages with an exception to the first and last will be reviewed as spreads.
You at most only need one establishing panel of the setting and environment (scene) per page.
Forget “true to life” perspective outside of the establishing panel). Practice diagonal composition of objects and subjects within panels. For dynamism.
You don’t have to present the text all in one go (one paragraph or bubble). You can and should break up paragraphs, sentences, and if you need to single out words– to make smaller, more easily managed bubbles to scatter through the panel.
Less important moments have smaller panels and or lesser detail. More details (or more word bubbles) slow down time. More drawn detail also creates a concentration of values (it’s darker and sometimes combines together as one shape or mass)
Know your light sources. Control the blacks. Control the values.
TIPS | COFFEE? :3 | dA | IG | ♡ | ❤ | ⋆
(more coming soon 11/22/2016)
Day 27 watch out I’m coming!
Knee notes for patrons :)
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Trying to draw buildings
yo here’s a useful tip from your fellow art ho cynellis… use google sketchup to create a model of the room/building/town you’re trying to draw… then take a screenshot & use it as a reference! It’s simple & fun!
Sketchup is incredibly helpful. I can’t recommend it enough.
There’s a 3D model warehouse where you can download all kinds of stuff so you don’t have to build everything from scratch.
reblog to save a life
This is an incomplete tutorial, and it drives me crazy every time I see it come around.
We live in a pretty great digital age and we have access to a ton of amazing tools that artists in past generations couldn’t even dream of, but a lot of people look at a cool trick and only learn half of the process of using it.
Here’s the missing part of this tutorial:
How do you populate your backgrounds?
Well, here’s the answer:
If the focus is the environment, you must show a person in relation to that environment.
The examples above are great because they show how to use the software itself, but each one just kind of “plops” the character in front of their finished product with no regard of the person’s relation to their environment.
How do you fix this?
Well, here’s the simplest solution:
This is a popular trick used by professional storyboard and comic artists alike when they’re quickly planning compositions. It’s simple and it requires you to do some planning before you sit down to crank out that polished, final version of your work, but it will be the difference between a background and an environment.
From Blacksad (artist: Juanjo Guarnido)
From Hellboy (Mike Mignola)
Even if your draftsmanship isn’t that great (like mine), people can be more immersed in the story you tell if you just make it feel like there is a world that exists completely separate from the one in which they currently reside – not just making a backdrop the characters stand in front of.
Your creations live in a unique world, and it is as much a character as any other member of the cast. Make it as believable as they are.
Great comments and tutorials!
I’m a 3d artist and have been exploring the possibilities of using 3d as reference for 2d poses. I want to add a couple of tips and things!
Sketchup is very useful for environment references, and I assume it’s reasonably easy to learn. If you’re interested in going above and beyond, I highly recommend learning a proper 3d modeling program to help with art, especially because you can very easily populate a scene or location with characters!
Using 3ds Max I can pretty quickly construct an environment for reference. But going beyond that, I can also pose a pretty simple ‘CAT’ armature (known in 3d as a rig) straight into the scene, which can be totally customized, from various limbs, tails, wings, whatever, to proportions, and also can be modeled onto and expanded upon (for an example, you could 3d sculpt a head reference for your character and then attach it to the CAT rig, so you have a reference for complex face angles!)
The armature can also be posed incredibly easily. I know programs exist for stuff like this - Manga Studio, Design Doll - but posing characters in these programs is always an exercise in frustration and very fiddly imo. A simple 3d rig is impossibly easy to pose.
By creating an environment and dropping my character rig into it, I have an excellent point of reference when it comes to drawing the scene!
Not only that, but I can also view the scene from whatever angle I could ever want or need, including the character and their pose/position relative to the environment.
We can even quickly and easily expand this scene to include more characters!
Proper 3d modeling software is immensely powerful, and if you wanted to, you could model a complex environment that occurs regularly in your comic or illustration work (say, a castle interior, or an outdoor forest environment) and populate the scene with as many perspective-grounded characters as you need!
reblogging to save a life
!!!!!!!!!!!!!!
Look at this amazing addition! This is fantastic!
I was getting pretty fed up with links and generators with very general and overused weapons and superpowers and what have you for characters so:
Here is a page for premodern weapons, broken down into a ton of subcategories, with the weapon’s region of origin.
Here is a page of medieval weapons.
Here is a page of just about every conceived superpower.
Here is a page for legendary creatures and their regions of origin.
Here are some gemstones.
Here is a bunch of Greek legends, including monsters, gods, nymphs, heroes, and so on.
Here is a website with a ton of (legally attained, don’t worry) information about the black market.
Here is a website with information about forensic science and cases of death. Discretion advised.
Here is every religion in the world.
Here is every language in the world.
Here are methods of torture. Discretion advised.
Here are descriptions of the various methods used for the death penalty. Discretion advised.
Here are poisonous plants.
Here are plants in general.
Feel free to add more to this!
An exceedingly useful list of lists for writers.
