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Reunited Airlines...
This is a picture of Madonna in the 1600's before she started to sing In Cinemas, Some think
she's a good Mom & Musician, More Cultural than Alka Fizz in wash and wear,
at any rate!
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In mixed media, I use cost saving methods so if you like my illustrations it's easier to learn from me than others. I'm perhaps the only mixed media of whiz this sort in the world, after you read this you may be also, there are lots of authors in my family! And you'll be a real painter if you know what I'm up to by reading my brain, the site is almost!
ART
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REALIST, Folk (I'm a Real Song Smyth), Creative
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ABSTRACTION One important motif used by painters through the ages is deliberate abstraction, this means to use a regular change where in reality there would be more random lines or shapes. This you see in the ancient Greek art, with all the lines smooth of a goddesses face. (Her broadcast for BC powders.) And it's used a lot in folk art. In folk music you may find this, where a simple though constant change is repeated a lot. (It's a waste of memory if the musician just repeats what was in the first repetition, so for sounds I just record it for what it's worth and listen to the motif if it's good and stop the record at that part of the song.) They say Bach had a mind like a machine, and this may be so if he was boring! So if deliberate abstraction is just some of the illustration, one motif among more, I use it in moderation and use at least one real portrait, such as real mountains, real boughs, real faces ect. to add more life than a landlord would rent in 150 months! An important addition to this idea of deliberate abstraction is by making the general shapes regular (or both regular and fuzzy around the edges for added jolt cola) but with the sub motifs more random in a sort of dance of the what rhythm is, a method Van Gogh used a lot in his paint. And another advanced method of worth is to make the general ratios deliberately a bit unreal (such as drawing a wheel a bit four sided not oval, or faces with unusual proportions) and then adding in the detail, as above. And more continuous change in your ratios of the general shapes to the smaller rhythm so there are in between rhythms, and not just all large simplicity and small random motifs is a good way to create complexity if you are without. All creations of even the best painter are deficient of complexity at the outset or at some stage, so methods of generation of complexity such as this are of general value. Too much of anything is not hoot, even if there's no bad that doesn't cause some good however so remember it's just as important to use this method combined with other methods of multiplying up your power only up to the point when you can add no more because your paint may be more muddied up than the waters. Generally however since most painters don't not make real goofs, the usual method I use is to draw and edit in my absolute best, and if the drawing with shading turns out perfect I leave it without edits. If as usual there are some luxuries of the rich in need, after consideration of any other way, I just coat over the botch with paint, matching the paint with the rest of the image by adding inbetween stuff common to both and using dabs of paint with skill where I drew so the blobs of paint goeswith the rest. See PEN, PAINT, and PRECISION WITH ACRYLICS for precision. Art teachers say that The Canon of painting says that a picture is great or at least good if the picture has each element contributing to the idea and skill of the picture and at least one element of the picture not over edited. So I (and many) need it to not all be paint and so the "unedited" "drawing" part of the picture is important to maximize and conserve. Often you'll achieve this without edits necessary, acrobats say a safety www is no luxury!
A good way to do abstraction well from a real image is by finding the most important lines that define what you're drawing and make lines that are abstractions of what you see. By drawing your most defining lines abstract or somewhat abstract, you then put your vision in a more religious zone from the foundation and then you can then elaborate from here with your own ideas about where you want your drawing to go. While there is no unimportant line in a drawing, be sure to go slow and plan these abstract definition lines the most, SEE PEN HOW TO DRAW WELL about how (Slow up, Zoom, Calibrate, and so on.). Use like three units from the base measured via your hand sighting with your eye, if the whole picture also fits from the base, and sides by the horizontal units, so you can blow up your picture to fit in general and have room with what's not drawn or painted on the wall.
B BRUSHES CHEAP See PAINT
"BLOCKS" HOW TO BALANCE To find precise grouping of "Units of Translation" (usual units of visual meaning such as a hand, a house or a face) with the large Translators as well as I may, I add some unusual with more common ratios to "argue my return to the usual" by bright motifs plus use other reduced units to add more life and sharp balance. The Main Translation units at random are made definite via small motifs.
BRIGHT OR DARK, if thus see (C) COLORS TOO BRIGHT OR DARK
C COLOR A good general method is to find a list you like (a collection) and then pick "most important hues" of such as faces, air, or herbs in your rich art collection like a cash connoisseur. The import of these are defined by what we usually see and may be chosen so they're usual schemes. For example a face may be bronze, golden, pink, yellow, at least in highlights, but unusual if dark blue or polkadotted. So the anchor hues must be first chosen to then add the rest in that may be of more creative value. For example the heat may be rendered in pinks oranges, golds and terra cottas, and the air and steam in greens and blues and the herbs in usual herb hues. You want to give your audience the impression the air is air not just an impression and the branches of the herbs are this so I choose a major defining hue of the anchor hue combination, for example the herbs may be mostly browns golds and copper and the vapor of the air may be light olive as the main hue with pink and medium blue for the hues of the haze. I recommend a more usual list for what you paint such as the herbs or water, with a few unusual ones in each combination for life and then these unusual ones such as the olive of the air in the above used as the main link via other usual plus the unusual hue, with the unusual hues being the real part of the most import. Usual hues are improved by such as more use of the unusual hues. This is actually how to cause too much hue by these methods, and then good paper is important to have in store because you may have to edit out a bit, and this involves erasing or painting over with such as typing ink my mother used to paint her doctoral (this gives a more smooth write over surface than paint which is important for many saves). Going over with paint I use for edits only as a last resort and only at the last of the painting when no other method has worked because paint as I know it is tougher to edit.
This is a way of realist color. Another good theory is a "drama" or "power" causology where you first draw all lines to fit real well by motifs like turning your illustration upside down or other methods see EDITING LINE. When your first major drawing room is finished the drama theory is where you add your more extreme paint or line and then balance them in with more moderate hues. This may be more like Van Gogh, his general hues are strong, and strength alone is too simple, so balancing in with moderate hues is I think how he achieved power. So to achieve a good real Van Gogh type illustration, I would look at what it was of, find a cosmic motif (from a collection of motifs like, the most wow mom!) that would go well and in a classic combination from my list menu (not the like the "real" picture, but that are like them and more intense. A vision in the forest may be not bad for example but use dark blue, or dark metallic green, on the good side of what you're painting and drawing. For example to draw a good draw bridge, Van Gogh used instead of grey, brilliant gold stones balanced by a beauteous blue sky balanced by deep green Cyprus. This is another classic motif, instead of balancing mostly dark hues by in between light, you balance bright hues such as the bridge with dark like the cypress, the bright hues on the good side of your sub themes of your picture). To illustrate about what I mean about the good side of hue like Van Gough's golden arch here's one of my own pictures, of the sheep on my neighbor's lawn. If you want to be a poet with paint look for chances to see what could be dots of paint and more and in more enlightened hues, a take off of life.
COLORS HOW TO ADD. When you see a brilliant picture, you may think it would be tough to achieve. How are they able essentially, just red blue and yellow and make so much out of it? It's simpler than it sounds. If you use the above method of picking positive hues, gold for the sun, off powder metallic royal blue for the slosh, my method of lots of unusual shades is by first finding the basic chroma by this method. All the rest may be picked more at random, but they still must be of definite motifs. If I have about just 10 hues and no more, how are the best shades found? I find a motif that seems of worth already, then I see if it goes well with the ones un the near proximity. If I've put more shades on the illustration by making effort, I see what I like here and for my general fuzzy image, I just use some, based on how I feel. If the motif is based on good general worth and still is unmatched, instead of just starting over, I find what's like the general motif but fits the shades beside it in just the right way. If reddish brown won't go I use orange, if not blue than off blue, if not green then teal. This way by both adjusting your hue well while you add lots of change just by luck, you can take the three basic hues, and continually liven up.
TOO BRIGHT OR DARK, ALL VALUES. If after all edits with a bit too much of worth and can't be via erasure (often if buildup on the paper) you can add in moderate balancing lines (lines that are already geometric from your careful buildup of the picture) with medium paint of a related type and precisely balance the hue while adding more to your picture, though this is the last to try because the paint is unpredictable, if you achieve it well this often adds life and perfection no other media than paint has. In this illustration I drew the entire scene and there were some goofs on the side so I used blobs of paint to balance and coat the left (actually the picture looks a bit worse than it is, my scanner won't zoom the left so you can't see the left where the feet and the rest of the cushion are.) This is finishing because it is the medium hues to balance the more extreme hues you already arrived at in other parts of the illustration, so precision is important especially with paint so I use either a swab for the general paintbrush and or a toothpick with paint for the finer resolution. Am I cheap or just so rich I put up a power roof while in a downpour? As you paint your reflexes improve, so you often get more able to be precise during the finish lines of the picture, your goal. See Also WHOLE RANGE OF VALUES
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DETAIL Being nearsighted may actually be good for you as an artist (70% of painters are). Most real artists in the old days were thought to continually go from the picture and back to find the general picture well. I think this is so about being of some use if you edit a lot. If so I think shops should develop lenses just for this purpose that would deliberately fade to a distance and then zoom way up close at the flip of a control would reduce all the huge amount of walking otherwise necessary to edit.
However the best method to have it mostly good near and far is above all to retain your first go overs (up to where you may add no more by more added). This should be your goal, however edits are often necessary see EDITS.
DRYING OF PAINT such as three paints at once, let one paint dry while you paint the rest. Monet would paint three or more illustrations at once and this is a of worth since it's often tough to know what you painted while the picture dries, so by separating the labor the error will be reduced. Otherwise you'll paint over wet paint, this I don't council in for because you lose a lot of "line" of the paint, the small edges of the paint where you paint it the first time that are tough to reedit. The same is true about the "Line of Paint" (though if you follow these methods you're not by any means without great saves if needed). When your paint is dry you may use other paint or pencils ect. to add more to the "lines" without nearly as much loss of line, and each step is more sealed in so you won't lose visual labor in this realm of your picture, mostly since paint is balky and slower I just use it for editing out areas or lines that were bad since paint is opaque and adds more hues (or reduces hue). As in This Example (of the Coal Hill Beijing) I drew the picture and added the color and it was easy all the way up to the flowers on the branches and I got tangled up in the paint, I may have tried 30 times to edit the paint while saving the rest of the drawing as it was (important too). The problem is often about the finished surface of paint, it's uneven which makes it dry more uneven which causes loss of control, which needs more painting and so on in life after life of Ooh and Om. Finally I just printed out a copy and painted on paper and then scanned in the finished zoom. This trick may be of real worth to you to save you from all the edits of paint, paint that glorious stuff. All the elaborate painting may be unneeded if you are willing to have your finished drawing and painting at a bit lower resolution and on paper, saving you a 1000 afterlifes and rebirths. If you must edit if you're like me and not a saint (or a god) of paint this is of value and one of the more important motifs of how to edit your creation. This is more than just luck. It sez on the radio I may drive a brand new IzusbaMazdaroo absolutely at no cost, I said yeah, but what if my lot is not what it used to be when I won an my 80 room villa at bingo when I was 21!?
E EDITING BY COMPUTER It's a bit suprising that a scene that has been put in the computer takes 200 kilobytes of memory but when you do just a bit of edit it's all the way up to 3 megabytes. The computer just thinks well of us and the web!
Once I've drawn the drawing in all the general lines and edited the such as the geometry doing such as turning the picture upside down, sideways, making more sure lines are in good shape, and so on I often then go over the lines with either erasable ink or other stronger line. Since it's more definite and usually not as easy to edit, to make it the most I look at the somewhat imperfect light part of the drawing as I add the ink or other line. Instead of just copying the light line, try to draw the heavier line even a bit to the side of the light line, continuously comparing them for a much better line by making more effort. (Even lab mice if given the option of labor to earn a payoff or no labor for the same payoff choose labor. And if the mice are given usual bread in stores they starve-bread is tough to paint with, so I'd rather paint with a marm I know.) The usual rule of retaining what's good about your line or image and leaving out more of the bad plus adding more of your own if better for the same line or image holds here. If yours is better use yours, if the original line or image is better use it, improving on as you go, the general area is the foundation with your own motifs added on so the hoped for result is twice as hoot or higher.
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Finishing. The idea of first going with pencil and editing by such as erasers and making building lines vertical and seeing the sharpness of this by turning your picture upside down, then adding in dark lines (like old time etchings for shade) in pen and darker pencil then matching in-between and more light hues, or painting on Polaroids, can all be improved. Except at the start this may be by usually not trying to overpower what's already on the scene for edits. (If you make an error, power methods of editing become more of value like with paint, and since to make erors is not unusual this is better!) In the best of all possible world wide webs the best method is to edify and accentuate what's been already well established by the pencil edits. This is because all you achieve are edits or you wouldn't be improving but you've already well established the picture by the pencil and then you are really mostly copying in the heavier lines, this is not the same as just rote by rote copying. You are adding in and building up with most of your picture, so there is real skill involved here, in all you are, be of power. As I say one of the main reasons I'm a mixed media painter is, I'm so amazin I can draw with paint, why buy a hat with 100 when you could for 20? So I like copies from a copy machine, and make effort here too. If I draw a usual illustration with pencil and it's not so heavy to have edited, it usually won't copy on a copy machine so by ink and such as medium grey watercolor mark if black ink (see PEN on how to achieve this) on part of the drawing and then by edits by matching more pencil for such as better lines and inbetween lines in shade (these are precisely added and aided often just of some type not found in other realms of the illustration, adding value before you achieve more). The copy machine is an aid because it forces me to add heavier line so it's more a real drawing with the whole range of value from light to dark and dark to light with all shades between (a usual method of great illustration (this is just one of several motifs to achieve glory, and my own)). the copy machine is also fast to edit with just chalk on the copy plus recopy. See also (C) COLORS TOO BRIGHT OR DARK about finishing and what to do about hues.
FIRST What to add first after the edit of the general geometry with pencil. When you're warmed up (example; if you've been drawing for 3 go rounds of what would be an hour each) do the motif of the scene that you think is the toughest to achieve. If you have trouble with this you can at least try to match the rest of the picture to it. For example if part of my illustration is blobs because I edit with paint over some of the picture, if any problem is controlled by methods such as using good hue of the blobs and usual good line of some sort, the painter then may match the rest of the picture to the blobs by adding a few carefully positioned blobs between the blobs and the part of the picture that was in good shape. You want to generally get out of this about the errors of paint as soon as you can, the ideal vision of mine would be with the hue of pencil and pen and marker and chalk being just precise and always with what the hue is on the outside of the marker being the way it looks, no line or paint dropped by accident on the paper, actually to me this is somewhat impossible! So edits with paint over the pen ect is a valuable way out to find optimal solutions, such as How does a Web Brain know when he's at the office or the beach? Use heat waves of Wifi to feel around the world!
One of the most important ways of creativity in the visual realm is where I first find themes and edit them to a high level in line and then add ink so I can see if the line is complete, and then once this is done I add the hues (see COLOR). Once the theme is well established and edited up in line including some lines of all from white to black, I then add chroma with such as pen and pencil. It's extremely important to preserve line with minimum edits and erasures so once your hues are picked you're allowed to use the method to edify and accentuate what's in the then edited idea and not overpower it. If you choose your paint to add more with such as hue you are, YES! accentuating the positive which is a good way to stay alive in many walks of life and is not dumb with bosses who judge you they know so much. Life is exercise and I like music so I listen to my boombox. This builds up arms from my wrists and higher so it reaches the creative brain!
HAIR is well drawn and painted if it frames the face in a general geometric shape, (a box, a hexagon, or other) with randomness within this frame in how the waves are flowing. For hair flowing like flames like an ancient grecian motif (see SYMMETRY) visualize about the waves with the person's head on a cushion. You can freeze the motion without having to wait for a scene of a giant retro fan.
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IDEAS I would go to sleep and think more of my paintings each night for months, With changing conditions, other than about realism (see REALISM), my other three methods of ideas for pictures are no doubt to study other artist's work but look at blobs of dust or other randomly generated patterns in usual life. When you find one that lights your FM tube copy it down and edit up. (See FINISHING). If you have a roof like mine with lots of small dots and you see a good picture in the dots or when you wake up and on your rug from your own zoom you "see" a good picture idea and want to be able to find it later, a good method is to go from general like say 5 somewhat larger dots in a line you might see on your roof or cushion and then a bit to the side, like finding constellations of stars on your roof. Even so if like me, you may want to always be sure to be active and oid stuff only after you wake up! Another method is to paint on polaroids after your skill at drawing is developed by the method in FINISHING. And a third method of ideas for illustrations other than dreams is, draw shapes on the canvas or paper and then edit them to what they remind you of (This is sort of a modern folk method since abstraction is at the source.)
JJokes
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Where do Pizza Hat employees eat out? Radio Shack!
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LINE See EDITING LINE MEDIA
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MEMORY How to remember what you're drawing if you draw something complex like the sail on airships? To stretch off your picture and collage it to your memory and then to the drawing or painting, remember that all lines no matter how complex are the foundation of all shapes including shadows. So to find your way in a complex picture imagine what it reminds you of, say the number two or 0 or other visuals. No doubt you may also use your own most memorable beautious wife's image. She may help if you're in a rush and make your depth more perceptive by finding the familiar in the picture you would be using this motif.
MIXED MEDIA If acrylic is better because of MEDIA WHY I THINK ACRYLICS ARE BETTER THAN OILS (above in KL) acrylic is the main paint to use other than correction fluid (used by authors to write over pages but also good for opaque fast dry changes in your picture. It's like gasoline and causes brain damage long term so use the least possible). But oil and slosh don't gowith so of the two oil or acrylic the main paint I like is acrylic.
MOTIFS It's been said god is in the details.
Here are some tactical motifs I use to add power and suprise
Over and underegularization, you make what's more simple more complex and vice versa
Geometry is one subset of this (it's more regularized)
More light overall
Not too many hues, and more harmony of the shades than not
Symbols Example, a boombox with flowers in the tweeters, A submarine tower with a big umbrella, Giant Santa in christmas land (Giant is an important type of symbol if it's of something good, or even of something bad and a giant of even more good).
Small good "faces" and "bodies" and some bad and no doubt other small subimages
Deliberately leaving out lines or objects (especially of they are "bad") and mediation of the missing motif with another motif
More than one contour (pressure added to line at "random")
Heavy shade (via lots of lines) in some parts of picture and leave other parts just with line around outside. Van Gough did this once in a while, thas is how I achieved my picture of the castle in Room VIII.
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WHERE THE HECK IS N? N the MA BELL Commercial! You'll find her beside the box of chocolates on my machine! Merry Christmas! Noel, Is better than No R&R!
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PAINT Why water based paint is better than oils; you don't have to blend them with turpentine, the fumes not so bad, and water is always handy for usual smoothing with non oil based media. And instead of a poision brush cleaner compound at an exorbitant sale price (I'll never Die Now And Save!) vino is almost as good. Acrylic also dries in just 30 minutes to an hour (oils take days) Most important is that they can be used with watercolor pens and blend in lots of chroma while achieving great precision and they can often be smooth fast with the broad brush strophes for smoothness.
How to edit. I edit paint with first the broad brush and let it dry, and then for super precision of the edges of the area I've already sloshed over I use a toothpick for a brush much cheaper than a small brush for 20 bucks that you throw away in a week. As always zoom up for the detail and slow down while you watch your moves. Toothpicks are also unlimited in number and you don't have to drive 50 miles to the store if you live in the country and by no means if you live 18 floors up. I zoom in with the toothpick and for inbetween size brushes often a cotton swab is cheap and disposable and clean, a good way to sell my headset and pay for the audiologist! About once in a 5 or so go rounds a bit too much paint is on the toothpick and a blob is caused. To control this I just do a practice dab on a paper and see if it's the right level of paint. Sometimes it may blob even if this is achieved. When even so it blobs, a way out is to use the toothpick with perhaps some old dry paint on it and roll it around in the blob, absorbing up a good bit of the wet paint.
PAINT More About How to edit. When in the final steps, following drawing well to achieve your good lines by editing, and all the other steps and then addition of shades of your general scene with paint edits to "erase" errors while you retain as much of your drawing as you can, how to edit the paint? I paint in the medium hues filling in where I had put the well hewn lines, than I let this dry. To edit, adding the light hues as you choose, I let these dry well, then go over the light forms in the picture with pen and ink. Tone down the light hues to just match the medium or dark paint around the light, or add more paint if you tone it down too much, going from paint to line in cycles. This way you can balance the medium with out the light overpowering the medium while you add more line to complexify the illustration more than just the luck of paint would allow, and with super sharp resolution.
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A problem with edits of paint is, the painting must be with no error. Paint is uncontrollable, it takes much skill to put it on well and it dries in unpredictable ways. The best way is to put the paint on by the motifs in the rest of this site (with line and paint or other methods to take out errors, and so on). If this is your luck, it's the best to just go all the way with perfection, but often too a good paint edit method is of real worth. The problem with paint is I would go in cycles of paint, it's random, let dry and it would be uneditable, line, more paint, and it would still be uneditable for just the realm where the paint is not the rest of the picture (damage control is important) with no boost to improvement about the fine lines. While this may seem so, it's actually a surface problem, about the paint like whether it dries smooth or with other contour. With a smooth surface to edit on, most of the painting is just like a good drawing and erasure is well, which is faster than the speed of edits. As on EDIT, HOW TO a good method in general is to draw your best, if in error somewhat, next try solve a limited area with paint and damage control, if this fails paint your best in the area, let dry and then you can edit over by drawing the stronger lines via the watercolor markers which go on the smoothest over the paint for general regular lines, and then finish up with pencil like colored pencil which you can actually draw and erase right on the paint for sharp resolution See EDIT, HOW TO. Even so, the uneven surface of the paint is a problem this method of EDIT, HOW TO fails. Here's another solution, it took years to find it but it's fast and labors much with love. To solve the buildup of paint, I scrape the paint away with a planar piece of metal. I use a big paper clip, they're in Kmart, a buck for a few, these if of reduced size are good for fit in small spaces so it's more editable without error in just the area you want to edit.(This is an important idea in painting. Always use tools and methods that allow you more than enough room to maneuver. Here this means I choose a smaller brush than the amount of room to be covered, it's also true about other types of creativity.) They also have more narrow blade so they cut the paint I use well. Painting is just two things, random change by some general rules, and edits. If you can find out how to edit well, you have a lot more times you can try and the bet is higher that sooner or later you'll win. Edits with the clip are good if you just edit a bit of your surface with a go round. It's also a brightness problem (mudd!) with paint edits, and bright hues are good. To add bright hue over your scraped and perhaps repainted surface just go over it with an oil pastel (3$, am I cheap and rich or what!) this adds real brilliance that looks just like paint, and for a more painted look and with chalk. The brightness was what was out of much of my superedited paint. From this more moderate hue may be added balanced around the chalk and the rest of the area with paint, and some line with ink pen, sharp permanent mark. and pencil (medium, dark, and light line, all of real worth).This is a real paint simulation method that looks just like you painted the area, but more control. It has all the elements of good paint, bright blobs, inbetween blobs, no muddied look, good sharp outlines if you like to match the rest, and moderate lines to add in good life. This is one way to edit paint, it's easier than edits with paint and ink. For a more living impressionist look if it's still not finished, often you can just take chalk as I painted to finish the shade of the bank below the picture of the Arches of Ebb and Flo of Tourists as you see when you go Euro or Click here in 27 Asian Mom Gossips! I had almost achieved this after much toil and oil! and it was too finished looking so just a bit of chalk added the "life" to make it look great, by essentially adding in another option, that looks like paint, but actually is just plain chalk on the imperfect paint due to edits. Believe it or not there is chalk like to add a good power of highlights on the right of the bridge as you see. The chalk both adds change while shielding the paint, so chalk is an option worth considering but mostly for the finish because it's rather like paint to edit and won't stay as definite as pencil or other marker to edit. I had a mostly imperfect paint and I added the chalk and tried to cover the bad lines while the chalk completely changed the character and beauty of the finished right side of the picture, even if just completely by luck, actually not by luck because I had been building up for days and so I knew unconciously where to put the finishing touch, even so if I had failed I could have gone over with other editing methods as I say, even so there are only so many chances to be great and even though you can learn a lot by practice with editing to build up, like a great move in the last laps of a competition, often there are ways that no other than inspiration will allow. Chalk is a last resort, and often good over paint since it's semiopaque, and the dry paint shows through for a painted look, many people have said they were sure my paintings/drawings are in oil. Chalk is especially good with paint or other heavy or bright hue with no other way to achieve the finish without lots of edits like paint. They have lots of resorts Out West! Remember you can combine the chalk and pencil and markers with the paint for sharpness and ways to win by many tricks, the main tricks are here, and there are others you can make up or use to save money if needed, ect.
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PAINT IN TUBES Paint in the jugs for just 99 cents at a store like Micheal's are more spillproof, will not run out for 1000 ages (cheap) and won't dry out so much it's a solid mass like a tube. If like me you have some left under tubes of paint you like and want to paint with (the family likes me when Mrs. Santa is at the store!) just clean out the jug of bad hue of 99 cent paint with water if you have a good number of bad hue jugs and good tubes. To achieve this, squeeze out most of the paint of the jug into a ziploc, pour some water in, cap it, shake it to blend the water and the paint, then pour it in the zip loc. Repeat this till the jug is clean and toss the ziploc. Then just squeeze the paint in the tube into the jug and seal it. Better than a tube is you can see just what paint is in the jug often of translucent polymer.
PAPER. Good paper to me is about 300# watercolor paper. It's heavy and strong enough for editing (heavy duty and no heavier is necessary) and it's cheaper than paying more. If you're on a Visa saving fest like me the best I've found at about half the price of watercolor paper is illustration board. It's not the most five star for a strong pencil line of hue however it is durable enough to take many edits and cheap, and it holds paint relatively well, and since it's cheaper you can paint so hoot you may live your own life or more often.
PEN HOW TO DRAW WELL To add sharp line (usually drawing over other line of pencil (see FINISHING)) use a sharp pen with smooth but non globby ink flow (Important). LIFT so you press down with light moderate pressure so you have maximum control with mininum blobs, and so the line is not too dark to match the rest (for later edits) ect. SLOW UP the right speed is so you always have more than enough computational power to stay ahead of the line you are drawing both in idea and skill. ZOOM IN andCALIBRATE your arm and eye. The center of your control is somewhat above your wrist. See also SYMMETRY (about Zebra pens) Always make the effort to make effort (after you've drawn your well edited lines).
PERSPECTIVE Think of perspective as two things, Matching up lines and arches according to the general rule (just that the lines converge away and are wider near you, and horizontal lines are wider spaced near you and narrow far away) and finding "good" changes the perspective creates (the most beautious part of the perspective are often what you wouldn't expect like in a photo) and accentuating perhaps these a bit more than the others in the angle of the line. Matching by these rules means perspective is really relative of one line to it's neighbor without error in the basic wider near and narrow far rules. So when you edit up the drawing for a picture it's considerably more of a boost to know what to achieve by this method. I draw lines at random, heavy or light so it doesn't look too real, considerably for life, this especially on the good side of what's being drawn (artistic rhetoric of the vision or it's smaller subcomponents). Then when you can see enough of your lines you are sure enough to have drawn that were heavy you can correlate more of the lines by the near method, making sure all the lines fit. You can do this in sittings of just an hour or two where once your picture is in good enough shape to see and inspire you, then you have the pleasure of augmentation, where you just pick an improvement to a rule broken, then solving it by zoom up edits in a luxurious problem/solution event, the building block of the cosmos. Once you've improved the drawing well, to make the perspective for gusto find the unusual perspective and draw in the lines that are unusual in like a polaroid and make them a bit more unusual by exageration of the lines.
PRECISION WITH ACRYLIC PAINT. After you achieve all the general motifs, use a toothpick, zoom up, and add just a bit of water to your toothpick so you can blend such waterbased marks as with a watercolor markers or watercolor pencils (dry pencils that can be smoothed to a watercolor when wet so you get both real precise line and smoother washes and often good goofs of worth). SEE UNDER MEDIA (M) WHY I THINK ACRYLICS ARE BETTER THAN OILS.
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RANDOMNESS They say a person can't make dots that are precisely random, so I have two methods of generating random dots for such as stars in a painting. The first one is where I close my eyes and spin around landing at random on the page, then seeing if this is were I want to add a larger area of hue or ect. The second method for smaller dots is just to erase with the pencil and leave the eraser bits on the site and then use these as guidelines about where to draw the stars. They say on a translucent night you can see the same number of grains of sand up in the afterlife as there are stars in your hand!.
REALISM Just try to solve whatever is before you, concentrate more on the how rather than the why. Do the why through the way of the how. To do the why itself, it's of import to remember that all there is has both a good side and a bad side, so find the good side of the visual and try to accentuate it or exxagerate it for folk or humor, exaggeration is the most important for this. "Reading" your drawing or painting with a lense is a good startup. Ask youself questions about such as numbers of events, geometry, or such is how to be of good rhetoric (not the good side or bad side of what you are portraying, the good side overcoming the bad). Forming these questions and answers is like causology and experiment in science, each time you ask a question and find a definite answer, you can then combine this well proven computation with others and eventually build up the whole picture. This method of Realism of finding the good side more through the way of the how is the source of prose and metaphor in much of life and in pictures. People say to me they can't paint like me since they can't make the picture "look real". Good news for them, two thirds of a "real" picture is often using the poetry of findiing the good side of what is painted, and the poetry of deliberately leaving in or out lines, exaggeration, ect. In other words it's usually more important to win others over than to just be a machine.
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START. Though with illustrations with buildings or other perspective it's of worth to turn your illustration upside down and sidewise and via other motifs, this is not the final word in linear powers since a frown upside down is a hoot and breath exercises are a boost for your heart and lungs for example research has shown.
SYMMETRY (Symmetry of general motifs.) A good method of generating a central motif such as a person in field or other important central themes is to draw and or paint the center of the motif such as a face or other view with more mirror type symmetry on either side, with a sharp line and beautious image, and also add the Head and Shoulders as if flowing in the air to one side or the other. Another example of this is a zebra face, on his shoulder is not symmetrical in a sidewise arch plus more unsymmetric zebra lines on the side of his shoulder. Even if the hair of the face or zebra's shoulder is not symmetric with the main face or other theme for most power the side I would paint with a symmetry of it's own and in a general ratio. The zebra's shoulder is mostly a round arch and the flow up and to the side "in flame" would be perhaps twice the face width and symmetric about the face with the source of the line at about half a 45 degree angle, and so on. I recommend the Zebras for some exact uses, while they allow ink edits, the blue edits of much higher exellence than the black, it's a sharp bold line that also sets in a while (permanent in 24 hours). It's cheap, is not so luxury sized you can't reach for the moon and stars with the cash we may win to go to Mars in the Euro Hoosier Millions, and I use it for my general writing and editing of such as comedy or math! I'm unable to read much of my old authorship because pencils are so light in line, the paper shows up more. Editable ink improves skill because with each line you write when you boost your memory, you are more skilled than if you use more temporary ink. CAUTION! If you type in via socks, a big big copy machine on hand is a must!
PS; I found there are just two problems with erasable pens, they don't erase and they don't write. If you like erasable ink, be prepared to buy a lot on them, they are sort of cheap and are not a month of Methuselah (He was lots of ages at lots of months!). The Zebra biz may endorph you!
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"TACTICAL MOTIFS" OF ILLUSTRATION SEE MOTIFS
TREES To overegularize trees (See ABSTRACTION) a good shape is cones with round shadows and small randomness and some morph of the rings of branches so they look unreal also. To overregularize decididous trees (such as in scenes of golf links or lawns) spheres and round off center shades may be used.
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UNENRICHED I went in this store, I said to the manager, I said, "this bread is enriched and old" he said, "This bread is in no way enriched and old" and I said , "here, it says right here on the bread, "best if used before December 18, 1917!" The S and L rate makes me rich!
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WATERCOLOR WASH,
A simple way to achieve this of use for large areas of your image in light hues is to just draw some lines with your marker on some outside paper and then brush over with a wet brush, see if the hue is what you want of the page by another brush and then use it where you want to worth of a wash. This tends not to drip and is a fast easy way to add large areas of light paint. The light hue also means if you goof it won't show up so much, this is one more good option along with PAINT, CHALK, PENCIL, MARKERS, AND PEN in your paint solution toolbox, and win with MAMMA V and her Hug Station!
If WATERCOLOR MARKER FAILS ON ROUGH PAINT ECT To repair the line use medium acrylic of same hue as the marker on a toothpick and let dry on the picture before more edits.
WHOLE RANGE of VALUES Generally it's one important strategy to have the whole range of values all the way from almost dark to the lightest of hues. Although adding lots of light shades is like impressionists, the whole range of shades is another important motif, and oftenmodern since it's dramatic and leads to the question of how the drama is resolved. A good method is to use a dark base coat and then argue your way back to the solution with lots of bright solutions. So this is more of a power theme method. If your subject is something unusual, and complex, drawn and painted well, and goes from dark to light and light to dark, these are three important motifs great pictures share. If you try to incorporate these three into your pictures, you're up higher than Ohio in June. To add in the whole range of values, draw outlines and edit with your eraser (so geometry and line is perfect as possible) then to fill in;
Always remember a mostly unedited somewhat imperfect drawing is usually better than overedited if too good to be true. You may only get so many tries before it's overworked so meditate on the good ones between each go round.
There are two most used ways to do an idea, an unusual motif in an usual way, or a common motif (classic) done an unusual way. For many of my real pictures you see on my site I've used an unusual subject, for example the grand canal, the pagoda, the castle in wales, and added as much of the good side as was around. There is no sharp line between these two methods or between the equivalent bad hues, drawn with high sharp resolution of the lines, or good hues drawn with like beautiful rhetoric (e.g. impressionism tres boucoups.) even so these are important to keep in mind when putting spin on as you go from idea to your finished labor.
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The use of medium hues plus light hues then dark then a tuneup of all 3 is the same as in exercise where it's thought good to always work out a bit above the current fitness level, speeding up till tired and then slow till recovered then speed up again cycling back and forth. The actual level is somewhere between so the painter starts inbetween and cycles between two sides only up to a saturation of the painting somewhat is achieved, not too much, Van gough used this well.
The best method may be to start with the more extreme "good" paint or line (metallic dark blue or metalic dark green) and after matching in the line and adding the paint well by general to more exact (larger, to small brushes (toothpick)) then using medium paint to balance the extremes, like in the middle. Both the medium to extreme for a subtle motif, and extreme to medium for power are of worth.
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