This is a Youtube tutorial on how to understand and analyze colours that you see in a photograph, as well as how to effectively make use of a Hue/Saturation/Value colour picker.
dude.. you kick ass xD I tried doing the exercise immediately after (I suck with backgrounds) and I'm already starting to understand a huge part of my problem. Keep'em comin' xD
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Headaches are like bees that don't quit buggin' you; It's never good to swat them.
Man, thank you. This tutorial and its partnering one, "Important Colors," have been infinitely helpful. No joke: My entire goal for the summer had been to gain a better understanding of color, how to view it and how to properly apply it, and within the past week I'd joined and dropped a color course because it had been so unsatisfactory. I'd been pretty down over the fact that I wouldn't have the jump start a class would have provided, but these two videos have more than put a band-aid over that wound. Obviously, there's still much more information I need to truly understand color, but these provided such an clear and easy to follow way for me to begin looking at color. I feel like I'm finally heading in the right direction. So thank you, sincerely, again.
If you'd like an (unsolicited) suggestion for a future tut, though you may have other ideas lined up already and are probably quite busy, one focusing on color palettes or how colors interact with and effect each other would be great. Again, purely suggestional. I really just appreciate you taking the time to make these.
dude....i love you!!!(no homo). ur tutorials r a REAL help to us artists. Especially since we dont have to pay loads of money to learn this in some art school or whatever. I really appreciate ur tutorials and hope to make use of them when im off punishment T_T
T_T... I only wish people felt that these videos were worth even a fraction of a school course. I could teach at a school, but then it leaves me no time to make videos.
It's not so much about how colours interact with one another - it's how OBJECTS interact with one another (and generate the colours we see). Every time you lay down a silhouette or a shape or a brush stroke, you're adding an "object" to the "world within the canvas". Once you've added that object, it's up to you to show how the world affects that object, and how that object affects the world. This is the true meaning of interaction.
Now, sometimes one object will be affected by another object but the relationship is one-way. For example, you may have the sky, which casts a lot of light down and illuminates everything, but can't be affected by the pitiful meagre amount of light bouncing back from the objects below. You need something really f*cking big to affect the sky, and it has to be sitting above the sky. You might have trees around a shiny car. The trees may affect the car's appearance by casting shadows and by being reflected in the car's enamel paint job, but the car does not affect the trees.
When you want to paint a full scene with a background, you may find it easier to paint first the things that do the affecting, and then paint the things that are affected. I.E. Sky and sun first, then anything big that will cast shadows or catch large amounts of light and throw it back, then move to somewhat smaller things and work out the interactions between the smaller things and the big things, etc.
yups!.. i was expecting something a bit different but it was very interesting... i will probably try that exercise.. ^^ thank ya man... now i gotta watch the other one you posted ^^
Below we have compiled a list of 101 tips to help you improve your photography. You may know some of them already but were confident that you'll find at least a few gems in there! Go get yourself a cup of coffee and make sure you are sitting comfortably!
Spencer Kelly visits the Royal Albert Hall to see a digital graffiti wall where you can virtual spray paint to your heart's content and email the results to yourself.
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Each day we will feature 10 deviations from the Literature categories in a News Article. In order to support the artists that we feature, we ask that you the news article as well as check out the individual pieces. We understand that each day you may not be able to check out each and every one of the pieces, everyone has their own things going on. We just ask that you make an attempt to help support the growing Literature community.
When it comes to community spirit, `Rushy is a shining example. From participating in devmeets, to providing positive encouragement to other artists, `Rushy can always be found demonstrating what it really takes to be a true deviant. It's without any hesitation that we are delighted to award the Deviousness Award for July 2009 to `RushyRead More
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Headaches are like bees that don't quit buggin' you; It's never good to swat them.
If you'd like an (unsolicited) suggestion for a future tut, though you may have other ideas lined up already and are probably quite busy, one focusing on color palettes or how colors interact with and effect each other would be great. Again, purely suggestional. I really just appreciate you taking the time to make these.
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You can pick ur friends and you can pick ur nose but u cant pick ur friend's nose...Wat a drag
I am worth $2,018,058 on HumanForSale.com
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DAcademy - Live drawing sessions
It's not so much about how colours interact with one another - it's how OBJECTS interact with one another (and generate the colours we see). Every time you lay down a silhouette or a shape or a brush stroke, you're adding an "object" to the "world within the canvas". Once you've added that object, it's up to you to show how the world affects that object, and how that object affects the world. This is the true meaning of interaction.
Now, sometimes one object will be affected by another object but the relationship is one-way. For example, you may have the sky, which casts a lot of light down and illuminates everything, but can't be affected by the pitiful meagre amount of light bouncing back from the objects below. You need something really f*cking big to affect the sky, and it has to be sitting above the sky. You might have trees around a shiny car. The trees may affect the car's appearance by casting shadows and by being reflected in the car's enamel paint job, but the car does not affect the trees.
When you want to paint a full scene with a background, you may find it easier to paint first the things that do the affecting, and then paint the things that are affected. I.E. Sky and sun first, then anything big that will cast shadows or catch large amounts of light and throw it back, then move to somewhat smaller things and work out the interactions between the smaller things and the big things, etc.
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DAcademy - Live drawing sessions
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DAcademy - Live drawing sessions
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DAcademy - Live drawing sessions
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