This is Marty from Blue Lightning TV. A year ago I did a tutorial on how making a pencil drawing from a photo using an earlier version of Photoshop. Now, I'm going to show you a faster and easier way to do it. This document is approximately 6 1/2 by 9 1/2 inches with a Resolution of 150 pixels per inch. Open a photo and make a copy of it by pressing Ctrl + J on a PC or Cmd + Jon a Mac. Click on the Adjustment layer button and choose Hue / Saturation. Reduce the Saturation to -100. Click on the thumbnail of Layer 1 to make it active and change the Blend Mode to Color Dodge. Invert it by pressing Ctrl or Cmd + I. At this point, your image should look white. Go to Filter, Blur and Gaussian Blur. Slide the Radius to an amount that looks good to you. Your image should have the look and feel more of a pencil drawing than a photograph.
To make the overall image look densest, click on the Adjustment Layer button again and this time choose Levels. Slide the Input dark to the right until the face is just the right amount of density. If other areas are too dense like the dress in this example, open your Brush Tool, make the Brush Size-relatively large, the Hardness 0% and the Opacity, 40%. Make sure the foreground color is black and then brush over the areas you'd like to make less dense. To clean up some areas, make a "composite snapshot"by pressing Ctrl + Shift + Alt + E on a PC or Cmd + Shift + Option + E on a Mac. Invert the foreground and background colors by clicking on the curved, double-arrow icon or pry pressing "x". On your keyboard. Make the Brush Size small to medium and the Opacity, 100%. Now, simply brush over the areas you want to clean up. Using these quick, simple techniques, you can transform any photo into a beautiful pencil drawing. This is Marty from Blue Lightning TV. Thanks for watching!
Hey there! My name is Stan Prokopenko, I'm going to be doing a series of video tutorials on drawing the head from various angles. Hopefully there will be some interest and I'll continue making more of these for you guys! In this first video I'm going to *attempt* to summarize and simplify Andrew Loomis' approach to drawing the head. Here we go. . If we remove the eyes, nose, lips, and ears from the head we are left with 2 simple masses. The first is a ball for the cranium and the second is a boxy shape for the jaw. The cranium is spherical, but with the sides flattened. So, chopping off a slice from both sides gets us a simplified but close representation of the cranial mass. When drawing the head, I'll start with the circle for the ball. and after a few failed attempts. . . rip out your hair. Take a deep breath and try again. But seriously, make sure it looks like a circle and at least the height and width are the same. The oval is a bit more tricky. The height will always be the same, no matter what angle you're drawing the head from. It's 2/3 the height of the circle. So I'll usually look at the area From the center of the circle to the top, divide that area into thirds, and this top third will be where the oval begins. and the same for the bottom. The width of the oval depends on the direction the person is looking. Compare the width of the front plane to the width of the side plane. The top portion of the oval falls into the corner of the forehead. This is where the front plane meets the side plane. This area is usually rounded so it's open to the artist's interpretation. I've found that it usually lies near the end of the eyebrow. So as I just showed we indicate the left and right turn of the head by the width of the oval. Now we need to find the up and down tilt. This is indicated by an angle along the side plane. If the head is tilted up, the angle will point up and if the head is tilted down, the angle will point down. The degree of the tilt will determine how steep to make this line. I like to use the angle from the ear to the brow. From there, I'll continue that line over to the front plane. Since this line represents the brow, pay attention to the angle from one brow to the other. Then, draw a curve parallel to the first one, this time starting from the bottom of the oval.
This represents the bottom of the nose. Drawing the same line again from the top of the oval, would bring you to the hairline. Since the face can be broken down into nearly perfect thirds, chin, nose, brow, and hair, we can use the measurements we've already found, to find the length down to the chin. Observe the general shape of the jaw and draw in the major angles starting from the brow coming down to the chin, and going around to the side plane of the head. It's usually about halfway into the oval, or a little bit further back. We've already found the side plane of the cranium. Now we need to do the same thing with the cheek and jaw area. There's a rhythm that starts at the top of the ear and curves down to the outside of the chin. Then find the centerline of the face. Remember, this is the center of the front plane, not the center of the whole head width. And finish with the neck. Now that we have the foundation of the head established, we can finish it by putting in all the features! eyes, nose, lips, ear, hair, jaw, cheeks, chin. Don't worry, I'll explain this step in more detail in another video. Each feature deserves it's own tutorial. This approach is really good to establish the perspective of the head. A good exercise is to try to think about the head as a simple elongated box.
The angles in the front plane of the face such as hair line, brow line, nostrils, lips, and chin will be the same as the angles on the front plane of the box. The angle of the brow line to the ear is the same as the angle on the side plane of the box. These angles are really important because they establish the head as a three dimensional form in space. Let's go through that one more time. Start with a circle for the cranium. Oval for the side plane of the head angle to show the person looking up or down. Draw an identical curve to find the nose and double that distance to find the chin attach the jaw and you have a 3 dimensional representation of the head ready for the features. At first this approach might seem a bit technical with a lot of important details to remember, but once you get the hang of it, it actually becomes really easy. So get that sketch book out and practice this a hundred times, with various angles. Did you like this video? Your friends might too. Please help me out and share on your favorite social network and don't forget to subscribe to my newsletter on proko.com
Hello my friends and welcome to another Tuesday of tutorial. I am Leonardo Pereznieto and today we are going to draw a glass of water. We begin by sketching an oval for the upper part of the glass. With lose strokes and several passes, we shape it. Like so. Then the sides, and the oval for the lower part. For the vertical lines you may use a ruler. I did it by hand and so maybe it's not perfect. We erase the marks that we don´t need. And then we draw the first white reflections. We are ready to lightly start shading. We give a tone that then we can smudge with the chamois. On the inside of the glass I want some curving darker reflections. We smudge it and then we can pull some lights, with the eraser. Very good! The waterline, and then some reflections on it. This is going to be a glass half full because that´s the correct viewpoint! We do some more white reflections, and to give some dark contrast, we can use the black of the color pencils. Something like this. Very good! Playing with the black and with the white, we can give a very interesting effect.
Here on the water surface there will be even brighter lights. I did this with the white pastel, while the softer whites I do them with the white of the color pencils. And the gray shades with the mechanical pencil. The complete list of materials is in the information below the video. The cast shadow will be over here, a good shadow always helps the drawing very much! This is so fun! The drawing is so pleasurable! We place some lines and then smudge to give a tone. We erase some areas and then, give light! Good! Both lights and shadows can extend into the sides. I darken this part a little bit more, so that it gets more volume! By the way the white works in this case because I am drawing on gray toned paper, if I was drawing on white paper it wouldn't show at all. Very good! We give it the last reflections, the last final touches…and it´s ready! If you enjoyed it, please give it a LIKEshare it to your friends and subscribe to Fine Art-Tips, you know where to follow me, the links are below, and I will see you, on Tuesday Subtitled by Grethel Trejo
Being in a small space really sets you up to weed out the things that are just there to fill space. I tell people how small it is. I think when they first come in, they think, wow, it really is that small. I'm Michelle James, and I'm a product photographer. And this is my 311-square-foot apartment in the West Village in New York City. So I moved from California. I had 1,500 square feet there and just had no time to keep up with it, because I worked so much. I didn't want to spend every single weekend cleaning my condo. I wanted the New York kind of feel. I didn't want a box in a high-rise. I grew up in Florida, so I'm sort of a beach girl. I don't surf, but I love being on the water or being by the beach. The painting that's on the wall here is where the colors cheme sort of came from--the plum that kind of makes the outlines, the green in the shirt has kind of become the table. A dress that I had that I had worn for a Christmas card one year, I was like, why is it in a box? It's a beautiful piece. It needs to be something I can look at every day. By really using paint, I think that helps to pop some of the moldings. It's nice and open, but I also have a living area where I can have guests over, we have seating. There's a couch that becomes a queen size bed. I can also--I have the table that's on the wall. I can pull it down. It can become a two- to four-person eating/dining area. So the chairs I found on eBay. I had been looking for a specific chair. And then I basically gutted them, stripped, sanded, repainted, reupholstered, and they're the new dining room chairs.
On the one windowsill, I have a Tic-Tac-Toe board of Paris. I have a small little garden and a container of sand from my hometown that's a little piece of home that I'm able to bring into my small space. So another thing that I am really passionate about, obviously, is photography. I collect vintage cameras. And then I also had some space above, where I decided to use it as storage for my shoes, because a girl loves her shoes. So the apartment is not a studio. I think it's technically a one-bedroom. But it is 12'x8'. So based on the size of the space itself, all that would fit in there is a full bed. I think it would just be bed if there were any larger-sized bed in there. We built this out of just plywood. We put drawers underneath so I had space for clothes. And then I have a shoe cube to help, again, use some of the vertical space to put some storage in for that. Based on some of the moldings that I have in the room itself, I kind of got the idea that I believe it was part of the hallway, originally, because when you go outside, it's the exact same molding on the ceilings, and it's about the size of a hallway, when you look out there. So they just put a wall and said, we could make this a bedroom. When people come over here, I think at first they're taken aback by all the color and how small it really is. But I can clean in 10 minutes and go out and do fun stuff in the city. I don't have to be a slave to my space. But I also have created an environment that I really feel at home in. The comments that I've gotten are like, this apartment represents you and your hobbies and your loves and the things that you're passionate about. I feel so good in this space because of the colors, because of just little elements that I really, truly love. So I'm surrounded by those things, and it makes me really feel at peace to be in this space. TRACY METRO: Are you a social media darling? Do you like to hang out on Facebook, Twitter, Pinterest, or even Tumblr? If so, you can check us out at all those places, or of course you can just click Subscribe right here to see what we've got going on. MICHELLE JAMES
There's something about the fact that it's this incredibly complex machine that at the same time, is just so sculptural that captivated me since I was literally two years old. Like, I can remember every single toy we had was a little car. And every time I see, new cars come out, new designs come out. I absolutely love it. So that kept me interested and has just kept me following transportation design, and design in general The thing that makes the automobile, so unique as a product, is the fact that it touches more of the human senses. It's wonderful, it's beautiful, or it's it's own statement. But how it got there took a lot talent, and a lot of choices and a lot of collaboration. It's really taking from the very beginning lines on paper all the way through to a finished 3-dimensional vehicle and something that you might think would show up in a showroom someplace. The students here need to understand engineering and they also need to be artists. They've got to be able communicate an item that has passion. It evokes emotion. We don't want to just emulate what's being done in industry, we want to lead what's being done in industry. Oh yeah, I've seen that. Oh yeah, I've worked with that. Sure, I know that software program. I did my senior thesis using that. That's really where we want to be and how we're positioning ourselves. The faculty that we have in Transportation Design are an amazing group of people. These working professionals are able to get to know people on a personal level and imagine how their particular personality or character would fit their studio, which is great. The companies are really looking for people that are outside the box.
Super creative, super adventurous. That's what I try to teach here at Art Center. Getting them to really experiment more and not be afraid. I try to be as honest as I can, I try to relay a lot of the sentiments that we experience in the industry with the students. And it gives them a great benefit because they're effectively plugged into the real world. The connections they make between us, as students, and the industry is huge. They really help us get where we want to go. They really put a lot of effort into making things happen. If you're not doing well, they'll tell you very straight-forward and you gotta get on it. So I think that's one of the best qualities here. I teach because it gives me, great, great, great satisfaction to see them succeed, but also I enjoy looking at really, really good cars. So when they make good cars here I'm like"Yes! This is awesome!"Many of our students by the time they graduate from our program have had two or even three internships. Some in Europe, some in Asia, some here in the Southern California studios. Seeing what you expect it to be as a child to what actually happens. How they develop it, how they go through it, how they work with the clients. It just definitely makes you become a lot closer to a professional designer. We don't really know what cars are gonna be like, if they're going to be around in the future.
What is that something that we don't know about yet. A lot of unexpected really great possibilities will show up you know. One was interested in space tourism, and ended up, he's a designer with Virgin Galactic. Another is working on autonomous vehicles with Google. So you just can't predict I think where the opportunities are going to open up in the years ahead. I believe that if you stay in your comfortable bubble, nothing will happen that could be as great as if you get out of your way. If you really want to be a car designer, and you like drawing, start sketching cars and just don't stop. Just the raw, passion and enthusiasm has to be the number one thing. Because there's no substitute for that. When you see a car, and you see that shape and you see that design and not saying "that's the most beautiful thing I've seen but I think I could do better. That's when you know you're right for this place".
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Luqman Reza is a Watercolor Illustrator when he was a small boy, he lived in the countryside with a modest small family. His parents did not have enough money to pay him fancy toys. As a compensation, his mother gave him a drawing book and a set of markers. From that every minute he's spent most of his time sketching and drawing instead of playing. For him, a piece of paper is a playground that from the every beginning that he had found his joy of life. Since he was in the kindergarten till the high school, he continued to harness his skill autodidactically. He was challenged to use various mediums, such as spindles, pencils, crayons and oil. Until one day he discovered the watercolor paint which has a specific difficulty on its own that caught his heart.
His is spending too much attention to the rules and techniques for doing watercolor paintings. He needs to understand the character of the watercolor, the paper and the water itself. Watercolor really wet, unpredictable character and expression.
