Wings
Movement and interactive relationship with the body has been the most important element throughout my body of work. However through these works, I also started to explore the mechanical structure as a form. Mechanical structure becomes the most enjoyable form to me as it becomes complex yet remains simple and coherent. The contrast between metal structural form and natural feather, together with the repetitive and whimsical movements of fragile wings, provokes the imagination and evolves the intimate relationship between work and viewer/wearer. Although the recent series, segmented wings have been focused on the formal challenge to engineer an intricate movement that simulates bird wings, these works are intended to be a series of poems in which I develope my own formal language, interpret the nature of wings, create various structural forms with movements, and share the metaphor, imagination, humor, with viewer/wearer.
4 all u kids who wanna study some figure drawing/anatomy
- Figure Drawing For All It’s Worth - Andrew Loomis >PDF download<
- Mastering Drawing The Human Figure - Jack Faragasso >PDF download<
- Figure Drawing Design and Invention - Michael Hampton >PDF download<
- Dynamic Figure Drawing - Burne Hogarth >PDF download<
All the downloads are free they only take a little bit time to download because these are big files!
Clothing references
How to Keep Moving Forward Even When Your Brain Hates You
Oh my GOD. This is so important. “My brain hates me,” is literally one of my refrains, and I have EVERY SINGLE PROBLEM in this article, depression-related and not. Read it, for the love (or hatred) of grapefruit juice. Read. It.
(via YA Highway)
Rambling about color zones of faces.
When I work with a dead layer (the greyscale or a monochrome underpainting to get values and the general gist of the painting) my favorite part is right after laying down the first colors of the skin. It just looks neat to me. Even when using photo reference I don’t really like just drawing it exactly as I see it. Deeper colors that are more stylized is so much more interesting than just copying the reference. If I just try and do exactly what I see I think it tends to look flat and dead :P
I’ll lay down a wash of ochre, burnt sienna or other orangish/brownish skintone base on a layer set to “color” or “soft light” if it’s not some kind of crazy lighting. (Otherwise I might lay down the color of the surrounding light first and build up skintones from that. Depends on how I feel.) I usually end up with a few layers set to various modes to get the colors laid down. It just takes some fiddling and practice. I don’t think I ever do it exactly the same way twice.
Then go in a lay down what a professor of mine called “the apples” of the face. How much red appears in the face all depends on the person. Someone like Mr. Bates here tends to have a sort of “jolly” look to him so I’m making him look very kind and soft by accentuating his nose, cheeks and lips with my “apples”. Now if I were painting someone like Thomas, I would only use enough red to not make him look dead since Thomas isn’t exactly a “warm” character. >.>
Yellows and oranges for the forehead and sometimes on the upper lip area on girls does the job. These areas are easy to make look too flat and pale otherwise.
Blue, grey, green or purple on the lower half of the face. More pronounced on men then women. It can be really subtle on a lady but an easy way to get a five o’ clock shadow on a dude! (I should have put it more on his upper lip too…)
Then I’ll flatten it all and go in to paint “glazes” in varying opacities and layer modes on top of this to get the final painting and a realistic blending on the skin. Laying down the basic underlying colors this way helps me keep faces looking fleshy and alive. I also do it on the rest of the painting to be sure there is a unifying feel to the colors.
I’m still trying to perfect it and there’s more than one way to skin a cat, but I really like working this way for portraits most of the time. It really reminds me of oil painting which I don’t really do anymore. P:
(Last image has the saturation pumped up to accentuate the color zones as an example. I probably won’t actually work on it at that level because he may look like he’s glowing lol.)
It's google street view without the boring bits.
The Secret Door could take you anywhere in the world. Only unlike completely randomised websites that drop you in the middle of the Australian outback, it’s likely to take you somewhere really, really cool.
it dropped me in a mexican restaurant in tokyo.
It dropped me in the Dolphin Cove at SeaWorld Orlando and I got so nostalgic I had to take a walk around ; x ;
I got an artist’s apartment, an antique shop, and an enormous cave. This is easily one of the coolest things I’ve ever seen on the internet.
I don’t know what this place is but that looks suspiciously like a dead animal on the bed.
It dropped me in an abandoned office building, one that was only recently abandoned… parts of it were falling apart and then I found out it must’ve been somewhere in China, I think? I found a window and outside was all these lovely unoccupied rolling hills and trees, I was all alone, but on the other side was a few more buildings and some construction going on. I looked around, went over a walkway, found a copy machine that looked perfectly usable though most of it looked a bit unsafe, but when I eventually got to the bottom floor I left through the front doors and there were tons of flowers, these large wooden pegs with text on them, and police tape. I hope nothing bad happened :(
This is one of the best design lessons you can ever learn. Straights vs. curves.
gfghhff those illustrationsss hffff
i always keep this in mind when designing characters or just drawing anything. it really is one the best things you can ever know.
aaahhh!! So beautiful and insightful
