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Wednesday, 16 February 2011

Trick of the Trade

Posted on 05:00 by Unknown
-By Jesper Ejsing


I just wanted to tell you about this little trick of mine. It is a neat way of blending wet colours that I use all the time.  I learned it from an animation background painter from back when that stuff was still made in acrylic or gouaches. You'll need: A badger brush (It is a thick fanned brush that has a round tip instead of a pointed one), and an Airbrush with a large cup, preferable with a lid on it. Fill the reservoir with water. 


The idea is this: with a quick hand you add the 2 colours you want to blend thickly up against each other. With the airbrush you mist the surface with water to keep it from drying while you work on it. with the badger you then let it gently touch the area between the 2 colours, thus mixing them or blurring them together. When needed, you can spray more water and brush in and out of the 2 colors to add shapes or broader fading.






I use this technique primarily for skies and for mixing soft edges in lets say clouds or smoke or mist. The great thing about it is that I can keep semi hard shapes and forms but blend the edges to a soft line. In the end it has more strokes than had I airbrushed the whole thing, but it has less hard strokes than had I done it in brush only. Acrylics is kind of a hard medium in the shape of the strokes, and this little trick allows me to keep areas of a painting smooth and thus lacking focus, creating calmness to the eye and by then adding focus to the areas that are hard and edged. 


On the Ice Giant cover I have added small arrows to show you where I have used the water fusing technique. 






In the 2 magic card illustrations it is clearly visible in the sky.








Well, that was my best kept secret... if you do not count the alien abduction or the crossdressers for the Satan Country Club.
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Tuesday, 15 February 2011

FREE Webcast with David Kassan.... right NOW!

Posted on 12:32 by Unknown
David Kassan, a damn fine figure painter, will be hosting a free webcast HERE, demonstrating a charcoal portrait study. The webcast starts in just 2 hours, 5:30 EST. Thanks to Matthew Innis for the heads up.



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Crit-Submit Reminder

Posted on 09:29 by Unknown
Just a reminder, this is the last day to enter a piece for the Crit-Submit.

More info here: http://muddycolors.blogspot.com/2011/02/holy-crit.html
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Monday, 14 February 2011

Models

Posted on 23:55 by Unknown
-By Dan dos Santos



Quite a few people expressed envy about having a budget for models in the comments section of my invoice post. Yes, most large Publishers will pay for a professional model. But even if you aren't doing a professional commission, there is no reason you shouldn't hire a model.



Having a good model will greatly improve the quality of your reference, and thusly your painting. Quite often, I have had models come up with poses and ideas that I never would have thought up, and it ends up making the painting for me. Yeah, you could pose for yourself, or have your buddy or girlfriend pose... But having a really beautiful person in front your lens is an incredible inspiration all it's own. Plus, you don't have to spend all that time guessing what it would look like if you actually stuck to that sit-up regiment like you promised you would!



One of my favorite resources for models is a website called Model Mayhem. Unlike a lot of other modeling websites, MM is totally free to join for both models and photographers. The result is a really large pool of talent to pick from.



No matter where you live, there is likely someone who would like to pose for you. Many of the models, being amateurs themselves, are even willing to pose for free. These people will be listed as willing to work for TFP... meaning: Trade For Prints. This means they are willing pose for a reasonable amount of time, and in exchange you provide them with portfolio worthy photos. It's a win-win for all.



Obviously, the pickings will be slimmer the further away from a big city you live. But don't underestimate the talent available. I live in a very small town of just 5000 people in Connecticut, and below are some of the amazing models I have had the great pleasure to work with.













As you find better models, their rates will likely be higher than those just starting out. Typically, a professional model in NYC gets paid about $150/hour for a commercial illustration shoot (If they are doing an advertising campaign, and the final product is a photo where their likeness will be obviously recognizable, it is a totally different thing and I believe they get paid differently). Here in CT, I pay my models anywhere from $50/hour to $100/hour depending on their skill level and how difficult the shoot is. However, if both the artist and the model are amateurs, you could likely spend $25/hour and still find a great model.



Doing a professional quality painting is a major time investment, and you are doing yourself a great injustice if you are not willing to spend a little on good reference. In the end, the time (and frustration) you save yourself by having good reference is well worth the time expended acquiring it.
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IMC

Posted on 05:00 by Unknown

by Arnie Fenner


In my post two weeks back I hinted at another Spectrum-ish bit of news that we needed to work out the details for prior to mentioning.

As some of you know, my mom passed away in January (and thanks very much to everyone that sent notes of condolence); while I've been going through her effects I've discovered sketchbooks from her youth (who would've guessed that mom would draw pin-ups?) as well as works of mine that she'd kept through the years. It made me think about how she had encouraged my early interest in drawing (as I'm sure most of our moms did), how she had bought me how-to books and paints and pens and paper. And it got Cathy and I thinking about the importance of nurturing and encouraging talent.

Rebecca Guay has started something wonderful with her annual Illustration Master Class each June in Amherst, Mass. Who wouldn't benefit from a week's intensive instruction from the likes of Donato, Boris, Dan Dos, and company? And it got us thinking that it would be a good thing to sponsor a scholarship for a student (or otherwise aspiring artist) to attend such a once-in-a-lifetime workshop.

So...we think we will.

With this year's class just a few scant months away and pretty-much full, it seems to be too short of notice to do this for 2011—so with Rebecca's approval we're tossing the idea out now to plant the seed for the 2012 class. When Rebecca opens enrollment for the '12 Master Class, Cathy and I will sponsor a scholarship for a worthy artist who might otherwise not be able to attend. Someone with the passion to create who just needs a little help and instruction and encouragement. When the time comes—say in the latter part of this year—I'll give an e-mail address for hopefuls to send a jpeg of their work and a couple of lines about themselves; Cathy and I (and maybe a surprise judge) will pick someone as the recipient of a scholarship to the 2012 Illustration Master Class. Getting there and back home and the necessary supplies will be the student's responsibility (which makes the extra lead-time both helpful and important); it's never too soon to start thinking about the future.

Obviously, I'll post a reminder as the time nears.

Oh...and for those interested in more information about Spectrum Live!, we've listed some special guests on our website.
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Friday, 11 February 2011

Rick Berry Reception Tonight

Posted on 10:38 by Unknown

by Arnie Fenner

Just a quick note that if you're in the Boston area, Gallery 360 at Northeastern University is hosting a reception this evening for Rick Berry's new show, "Seeing in the Dark." Music, eats, and great art: who could ask for a better way to cap a busy week?

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Holy Crit!

Posted on 05:00 by Unknown
We will be trying out a new feature here on Muddy Colors, called the Crit-Submit.



We will select at random a piece of art that has been submitted to us. One of the blog's core members will then do a thorough critique of that piece (and possibly a paint-over), and post it here for all to learn from. This is a rare opportunity to get personalized input on your work from some of the industry's top talents.







Here are the rules:

-After a call for entries, send an email to dsillustration@yahoo.com by the specified deadline.

-That email should contain the title "Crit-Submit" in the subject, and nothing else.

-In your email, paste a LINK to the piece of art you would like to submit.

(If you do not have the means of hosting the art yourself, there are a lot of free hosting sites like www.photobucket.com)

-The art should be between 800 - 1200 pixels on the longest side.

-All skill levels are welcome, though the art in question must look near completed, and not be an in-progress piece.

-Entries may be in any medium.

-Each person may submit only one piece per challenge.

-You can remain anonymous if you so choose, and do NOT need to include your name... we will critique the piece just the same.



So what do you say? Is your desire to learn strong enough to conquer your fear of public humiliation?!



Crit-Submit #1 
Call for entires now open!
Submission deadline: Wednesday, February 16th, 12:01 AM EST
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  • ▼  2011 (131)
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      • Eowyn vs. Nazgul... The line up!
      • Tips and Tricks and your suggestions #3 - Workstat...
      • 3-D Art Ready to Print ...Awwwwesome
      • Deadline!
      • A Question of Paper
      • Career Choices
      • Road to Legend
      • REMINDERS!
      • Spotlight On: CHRISTOPHER MOELLER
      • Life After Art School: Five Years to An Illustrati...
      • Robert Fawcett
      • Early Art Hero
      • Power of the brushstroke
      • Welcome, Petar Meseldžija
      • Inspiration: Yugoslavian Monuments
      • IlluXcon 4 Trailer
      • The Black Pharaohs, Part 3
      • New-fangled Water-Mixable Oils vs. Old, Reliable T...
      • Eowyn and the Nazgul... Critiques: Round 2
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