Showing posts with label How to Draw?. Show all posts
Showing posts with label How to Draw?. Show all posts
true colors - infographic
what your brand colors say about your business? Integrade your brand colors across the board.
How To Create an Infographic
Here we go....
1. Collection: Collection of all the raw materials for the infographics – such as PowerPoint slides, White Papers, face-to-face interviews (multiple sessions), network diagrams etc. The more details you dive in and expand on in this phase, it’ll make it that much easier for you to develop the infograpahics in the later stage.
2. Identifying the objectives: Who are the target audience? What’s their range of technical knowledge? What are their main pain points? What we want to highlight to them? Its great if you can sketch a persona.
3. Classification: Grouping the infrastructures into physical spaces. Grouping can be done by process phases, physical locations, activities or be cause-effect based.
4. Blueprinting: Time to draw individual groups (pencil sketch) with the technical details. It’ll also give you a rough idea about the space you’ll have for textual description or labeling.
5. Space planning: Basically – doing a collage i.e. sticking together different A4 size papers – the photocopies of the individual groups.
6. Planning the interrelations: Between the groups. How the groups will be connected? The best way is to work with a theme.I choose the theme of a laboratory, then defined each group (process phases in this case) according to the theme in different visual metaphors.
7. Go digital: time to draw the infographic on the computer; we used Freehand and Flash. Any Vector graphics editor should do the job.
8. Integrate: the purpose of any infographic is to bring everyone to the same page and tell a complete story. Integration of different elements to tell a coherent story is the most vital step in the creation of an infographic.
9. Optimize detail: Add in the useful details, get rid of the extras, work out the balance between aesthetics and usability.
10. Labeling: Copywriting and inserting the labels; this is a tricky part – you need to be specific and clear whilst avoiding big chunks of text.
11. Coloring and Typography: Effective typography is not only for corporate identity or enrichment of visual appearance, it also helps you to represent the bound emotions of your graphics.
12. Iteration: Varying the colors, reducing the saturation of what is less important and increasing it for the most relevant data, modifying the typography, the size of fonts, eliminating everything that doesn’t contribute to showing and clarifying the data (irrelevant grids, redundant data, and unnecessary labels) without losing relevant information sometimes provides surprisingly improved results.
1. Collection: Collection of all the raw materials for the infographics – such as PowerPoint slides, White Papers, face-to-face interviews (multiple sessions), network diagrams etc. The more details you dive in and expand on in this phase, it’ll make it that much easier for you to develop the infograpahics in the later stage.
2. Identifying the objectives: Who are the target audience? What’s their range of technical knowledge? What are their main pain points? What we want to highlight to them? Its great if you can sketch a persona.
3. Classification: Grouping the infrastructures into physical spaces. Grouping can be done by process phases, physical locations, activities or be cause-effect based.
4. Blueprinting: Time to draw individual groups (pencil sketch) with the technical details. It’ll also give you a rough idea about the space you’ll have for textual description or labeling.
5. Space planning: Basically – doing a collage i.e. sticking together different A4 size papers – the photocopies of the individual groups.
6. Planning the interrelations: Between the groups. How the groups will be connected? The best way is to work with a theme.I choose the theme of a laboratory, then defined each group (process phases in this case) according to the theme in different visual metaphors.
7. Go digital: time to draw the infographic on the computer; we used Freehand and Flash. Any Vector graphics editor should do the job.
8. Integrate: the purpose of any infographic is to bring everyone to the same page and tell a complete story. Integration of different elements to tell a coherent story is the most vital step in the creation of an infographic.
9. Optimize detail: Add in the useful details, get rid of the extras, work out the balance between aesthetics and usability.
10. Labeling: Copywriting and inserting the labels; this is a tricky part – you need to be specific and clear whilst avoiding big chunks of text.
11. Coloring and Typography: Effective typography is not only for corporate identity or enrichment of visual appearance, it also helps you to represent the bound emotions of your graphics.
12. Iteration: Varying the colors, reducing the saturation of what is less important and increasing it for the most relevant data, modifying the typography, the size of fonts, eliminating everything that doesn’t contribute to showing and clarifying the data (irrelevant grids, redundant data, and unnecessary labels) without losing relevant information sometimes provides surprisingly improved results.
Things you need for Oil Painting
1. Oil paint:
Obviously the first thing you’ll need is oil paint, and lots of it. For beginners, I’d suggest Winsor & Newton oil paint. It’s a less expensive brand of oil paint, but the quality is fine. As far as colors go, here’s a list of the must-haves:
Titanium White, Ivory Black, Cadmium Red, Permanent Alizarin Crimson, Ultramarine Blue, Pthalo Blue, Cadmium Yellow Light, and Cadmium Yellow. Buy each of these colors in 200 ml tubes except for Pthalo Blue—Pthalo’s pretty powerful so you probably won’t need as much as you do with the others.
Technically those are all the colors you need, but you should also get a few greens and browns until you learn more about mixing colors. Pick up some Permanent Green Light, Viridian, Burnt Umber, and Burnt Sienna to round out your palette.
2. Proper painting brushes: All you really need is a few natural bristle brushes in different sizes. I‘d suggest six: two small, two medium, and two large.
3. Turpentine (AKA paint thinner): Unlike watercolors or acrylics you can’t clean up oil paints with water. Instead, you’ll need to use turpentine or mineral spirits to get the paint out of your brushes (and off your skin).
4. Newspaper: Newspaper is handy to have around when you clean your paint brushes at the end of the day, but it’s also good to use WHILE you’re painting. Because it’s important to clean your brush every time you start painting a new section or switch colors—and that‘ll happen a lot in every painting. There’s no need to use turpentine for a full cleaning, just grab some newspaper (cut 4 inch squares ahead of time if you feel like it) and quickly squeeze all the paint out of the bristles. That’ll keep your colors from contaminating each other throughout the painting process.
5. Linseed stand oil: As you’re mixing colors you’ll find they’re easier to mix when you add a little painter’s medium. I usually pour out a few tablespoons of medium every time I sit down to paint. You won’t need much—just dab your brush into the medium before mixing colors. Medium is made by combining linseed stand oil with turpentine.
6. A charcoal pencil: Before putting any paint down, I’d suggest sketching out whatever it is you’ll be painting. Charcoal works pretty good on the texture of canvas (better than graphite, anyway) and it doesn't have to be perfect, just an outline drawing so you can see your composition ahead of time.
7. A “palette”: When it comes to palettes, you don’t have to be fancy. For a while I used a big piece of glass. To clean it, I just took a flat razor blade and scraped all the old paint off. Palette can be cleaned using wax paper.
8. Comfortable, messy clothes: If your clothes don’t start out messy they’ll get that way soon. Every painter needs a few painting outfits that they can get paint on, but make sure they’re comfortable too.
9. A painter’s easel: Every oil painter needs an easel but you may not need an expensive one right at first. At the very least an easel should be adjustable to your height (whether you like to sit or stand) and securely hold your paintings, whatever size they may be.
10. Canvas (or other painting surface): Canvas is great for painting on but if you’re just starting out, why not use paper? At least to practice on and get a feel for the paint. If you do use paper (or wood, or masonite, or any other surface) you should probably coat it with Gesso first, using a big house brush. When you’re ready to buy canvases, get a pre-primed canvas and you won’t have to worry about any preparation at all.
That’s the list! Good luck and happy painting!
Obviously the first thing you’ll need is oil paint, and lots of it. For beginners, I’d suggest Winsor & Newton oil paint. It’s a less expensive brand of oil paint, but the quality is fine. As far as colors go, here’s a list of the must-haves:
Titanium White, Ivory Black, Cadmium Red, Permanent Alizarin Crimson, Ultramarine Blue, Pthalo Blue, Cadmium Yellow Light, and Cadmium Yellow. Buy each of these colors in 200 ml tubes except for Pthalo Blue—Pthalo’s pretty powerful so you probably won’t need as much as you do with the others.
Technically those are all the colors you need, but you should also get a few greens and browns until you learn more about mixing colors. Pick up some Permanent Green Light, Viridian, Burnt Umber, and Burnt Sienna to round out your palette.
2. Proper painting brushes: All you really need is a few natural bristle brushes in different sizes. I‘d suggest six: two small, two medium, and two large.
3. Turpentine (AKA paint thinner): Unlike watercolors or acrylics you can’t clean up oil paints with water. Instead, you’ll need to use turpentine or mineral spirits to get the paint out of your brushes (and off your skin).
4. Newspaper: Newspaper is handy to have around when you clean your paint brushes at the end of the day, but it’s also good to use WHILE you’re painting. Because it’s important to clean your brush every time you start painting a new section or switch colors—and that‘ll happen a lot in every painting. There’s no need to use turpentine for a full cleaning, just grab some newspaper (cut 4 inch squares ahead of time if you feel like it) and quickly squeeze all the paint out of the bristles. That’ll keep your colors from contaminating each other throughout the painting process.
5. Linseed stand oil: As you’re mixing colors you’ll find they’re easier to mix when you add a little painter’s medium. I usually pour out a few tablespoons of medium every time I sit down to paint. You won’t need much—just dab your brush into the medium before mixing colors. Medium is made by combining linseed stand oil with turpentine.
6. A charcoal pencil: Before putting any paint down, I’d suggest sketching out whatever it is you’ll be painting. Charcoal works pretty good on the texture of canvas (better than graphite, anyway) and it doesn't have to be perfect, just an outline drawing so you can see your composition ahead of time.
7. A “palette”: When it comes to palettes, you don’t have to be fancy. For a while I used a big piece of glass. To clean it, I just took a flat razor blade and scraped all the old paint off. Palette can be cleaned using wax paper.
8. Comfortable, messy clothes: If your clothes don’t start out messy they’ll get that way soon. Every painter needs a few painting outfits that they can get paint on, but make sure they’re comfortable too.
9. A painter’s easel: Every oil painter needs an easel but you may not need an expensive one right at first. At the very least an easel should be adjustable to your height (whether you like to sit or stand) and securely hold your paintings, whatever size they may be.
10. Canvas (or other painting surface): Canvas is great for painting on but if you’re just starting out, why not use paper? At least to practice on and get a feel for the paint. If you do use paper (or wood, or masonite, or any other surface) you should probably coat it with Gesso first, using a big house brush. When you’re ready to buy canvases, get a pre-primed canvas and you won’t have to worry about any preparation at all.
That’s the list! Good luck and happy painting!
Drawing as a Learned Skill
During the last thirty years, I’ve taught millions of people how to draw during my extensive travels around the country and through my television shows, websites, and videos. Many children have grown up watching my drawing lessons on public television and have gone on to pursue careers in illustration, animation, fashion design,design engineering, and architecture. I have a example who have helped design the International Space Station, NASA’s Space Shuttle, and Mars Exploration Rovers and others who have worked on animation megafilm projects such as Shrek, Madagascar, Flushed Away, The Incredibles,Happy Feet, and A Bug’s Life.
But here’s a secret—learning is learning and drawing is drawing, no matter how old you are. My techniques work for adults just as well as they work for kids—I know this, because I’ve taught thousands of adults as well. In this blog, I will introduce sophisticated concepts and complex drawing theories in a simple, easy-to-follow way, but because I’m a kid at heart, I will not cut back on any of the fun that I believe drawing must be.
As a cartoon illustrator by trade, but these lessons will give you the basic skill set that will enable you to draw three-dimensionally in any style (realistic drawings, photograph studies, portraits) or medium (oil paints, watercolors, pastels).
I will focus almost exclusively on what I call the “Nine Fundamental Laws of Drawing,” beginning with basic shapes, shading, and positioning, all the way through more advanced perspective, copying from photos, and drawing from life. These basic concepts, discovered and refined during the Italian Renaissance, have enabled artists to create three-dimensional renderings for more than five hundred years. I believe that anyone can learn how to draw; it is a learnable skill like reading or writing.
The Nine Fundamental Laws of Drawing create the illusion of depth. They are as follows:
But here’s a secret—learning is learning and drawing is drawing, no matter how old you are. My techniques work for adults just as well as they work for kids—I know this, because I’ve taught thousands of adults as well. In this blog, I will introduce sophisticated concepts and complex drawing theories in a simple, easy-to-follow way, but because I’m a kid at heart, I will not cut back on any of the fun that I believe drawing must be.
As a cartoon illustrator by trade, but these lessons will give you the basic skill set that will enable you to draw three-dimensionally in any style (realistic drawings, photograph studies, portraits) or medium (oil paints, watercolors, pastels).
I will focus almost exclusively on what I call the “Nine Fundamental Laws of Drawing,” beginning with basic shapes, shading, and positioning, all the way through more advanced perspective, copying from photos, and drawing from life. These basic concepts, discovered and refined during the Italian Renaissance, have enabled artists to create three-dimensional renderings for more than five hundred years. I believe that anyone can learn how to draw; it is a learnable skill like reading or writing.
The Nine Fundamental Laws of Drawing create the illusion of depth. They are as follows:
- Foreshortening: Distort an object to create the illusion that one part of it is closer to your eye.
- Placement: Place an object lower on the surface of a picture to make it appear closer to your eye.
- Size: Draw an object larger to make it appear closer to your eye.
- Overlapping: Draw an object in front of another object to create the visual illusion that it is closer to your eye.
- Shading: Draw darkness on an object opposite the positioned light source to create the illusion of depth.
The Ways We Draw
There are many kinds of drawing: realistic (as much as anything can be), subjective, schematic, abstract, cartoony, impressionistic, expressive, controlled, free, tortured, obsessive, spare, inventive. We could go on. And on. But we'll divide drawing into three main categories: making marks, drawing what we see, and drawing from imagination. Children begin with making marks, basic scribbling, then go directly to drawing from imagination. As we grow older, we want the skills that come from doing observational drawing so that we can draw whatever we want.
Here, we'll begin with making marks and go directly to drawing what we see. Then we'll come back to where many of us left off as children to drawing from imagination but this time we'll do it with heightened awareness, a sense of our own purpose, and greater skill. Our goal is to find our creative voice, not to stop with careful rendering. There are now cameras to record the world around us, but we can still benefit from drawing it, if we're so inclined. Careful observation gives us a more intimate connection with our world, and knowing how to draw what's around us, in one way or another, can give us greater freedom of expression. Even if we focus on this kind of drawing, we want to discover our unique, imaginative self in it.
We'll soon see that drawing begins to ask questions questions like, who are you and what do you want to say or do? We don't need to answer right away, just know that the questions will arrive, one after the other, at awkward moments, niggling like uninvited guests. We can be well mannered, of course, and hospitable, too. We provide a bed and a little food, but we'll go on with our lives and get to know our guests in time. We can't rush these things. Still, it's good to know that in drawing we don't just learn skills; we come to know ourselves as creative beings.
So, now, let's begin. Get out your paper, your pencils, charcoal, pens. Get out your ink and brush. From a tree outside, pluck a twig to dip into ink and draw with. As you read what follows, try each kind of drawing yourself. By experimenting, you'll start to get that feeling of freedom we need so much in making art and in living a full, rich life.
Here, we'll begin with making marks and go directly to drawing what we see. Then we'll come back to where many of us left off as children to drawing from imagination but this time we'll do it with heightened awareness, a sense of our own purpose, and greater skill. Our goal is to find our creative voice, not to stop with careful rendering. There are now cameras to record the world around us, but we can still benefit from drawing it, if we're so inclined. Careful observation gives us a more intimate connection with our world, and knowing how to draw what's around us, in one way or another, can give us greater freedom of expression. Even if we focus on this kind of drawing, we want to discover our unique, imaginative self in it.
We'll soon see that drawing begins to ask questions questions like, who are you and what do you want to say or do? We don't need to answer right away, just know that the questions will arrive, one after the other, at awkward moments, niggling like uninvited guests. We can be well mannered, of course, and hospitable, too. We provide a bed and a little food, but we'll go on with our lives and get to know our guests in time. We can't rush these things. Still, it's good to know that in drawing we don't just learn skills; we come to know ourselves as creative beings.
So, now, let's begin. Get out your paper, your pencils, charcoal, pens. Get out your ink and brush. From a tree outside, pluck a twig to dip into ink and draw with. As you read what follows, try each kind of drawing yourself. By experimenting, you'll start to get that feeling of freedom we need so much in making art and in living a full, rich life.
"All things come from nowhere. How vast, how invisible, no way to explain!"
—Chuang Tsu
Drawing with ink
Drawing with ink is the most exciting drawing material in my view. Although pencil
and charcoal have certain attributes and characteristics, drawing with ink is so much
more demanding and at the same time versatile. The very nature of the ink as a substance and the multiple ways that it can be applied as a medium gives it a wider spectrum of use both in traditional and experimental ways.
Personally, I have found that working with ink can help correct our weaknesses and enhance our strengths. Artists tend to develop traits and these tend to fall into two types. We can be artists who are very much controlled by our intellect or thinking processes, and use our materials accordingly. Alternatively, we can function by allowing the processes to take us to a visual conclusion that is furnished by a more emotional, expressive approach.
Each one of these ways of working has to have a bit of the other in it to bring about some form of aesthetic order. Ink is a medium that allows these innate qualities to flourish.
Personally, I have found that working with ink can help correct our weaknesses and enhance our strengths. Artists tend to develop traits and these tend to fall into two types. We can be artists who are very much controlled by our intellect or thinking processes, and use our materials accordingly. Alternatively, we can function by allowing the processes to take us to a visual conclusion that is furnished by a more emotional, expressive approach.
Each one of these ways of working has to have a bit of the other in it to bring about some form of aesthetic order. Ink is a medium that allows these innate qualities to flourish.
** Put your ballpoint pen to shame with these tips.
system for hard pencils
HARD PENCIL
Hard pencil marks have very little variation in the range of mark making. They only usually vary through a linear progression. Tone is usually made from a build up of crosshatch effects. Hard pencils are denoted by the letter H. As with soft pencils, they come in a range, comprising HB, H, 2H, 3H, 4H, 5H, 6H, 7H, 8H and 9H (the hardest).
These pencils are mainly for use by designers, architects and people who produce precise technical diagrammatic drawings for which a fine, accurate line is essential, such as perspective or other projection drawings. Although the marks made with hard pencil show very little variation it can be used in an expressive manner. As with soft pencil, tone can be built using a cross-hatching system, although the result is much finer and more formal, the cross-hatching emerging out of a series of linear progressions.
These pencils are mainly for use by designers, architects and people who produce precise technical diagrammatic drawings for which a fine, accurate line is essential, such as perspective or other projection drawings. Although the marks made with hard pencil show very little variation it can be used in an expressive manner. As with soft pencil, tone can be built using a cross-hatching system, although the result is much finer and more formal, the cross-hatching emerging out of a series of linear progressions.
THE PENCIL
The pencil fundamentally works by pushing or pulling the lead end across the surface fibres of the paper, which act as graters, breaking up into small flakes. Pressure on the pencil pushes the flakes of lead into the fibres of the paper to leave a mark or trace.
Graphite, a form of carbon, also known as mineral black or plumbago, is the major constituent of the modern pencil. The softness or hardness of a pencil varies depending on the amount of clay mixed with the carbon. The softest varieties of pencil contain little or no clay. Artists and designers will use a range of pencils, varying their choice according to the effect they are trying to achieve.
As the graphite is worn away by use, it can be repeatedly exposed. This is done by the action of sharpening the pencil using a purpose-made sharpener or blade. Sharpening and exposing the graphite should be regarded as an important act, because how it is done changes the type of mark you make with it. There are many ways of sharpening. A particular point produces a particular result. The artist should experiment to discover what is possible and how to make each type of pencil meet his particular needs at any given time.
The pencil can be used for a variety of purposes and, as with any material you use, you must be fully aware of its potentials and its limitations - different pencils and types are designed for particular uses. In the ensuing chapter some of these practices will be revealed with particular relevance to the appropriate pencil or graphite material. The marks shown over the following few pages give some idea of the wide range of mark making possible. When you have looked at them, take each of the pencils in turn and see what marks you can make.
Apart from being very stimulating and a way of opening your mind to new possibilities with your drawing, you will find it increases your ‘feel’ for the pencil itself. As artists, what we feel through the materials we use has an affect on what we produce, and familiarity with those materials is vital to a good outcome.
Color space conversion
Color space conversion is what happens when a color management module (CMM) translates color from one device's space to another. Conversion may require approximations in order to preserve the image's most important color qualities. Knowing how these approximations work can help you control how the photo may change — hopefully maintaining the intended look or mood.
BACKGROUND: GAMUT MISMATCH & RENDERING INTENT
The translation stage attempts to create a best match between devices — even when seemingly incompatible. If the original device has a larger color gamut than the final device, some of the those colors will be outside the final device's color space. These "out-of-gamut colors" occur with nearly every conversion and are called a gamut mismatch.
Each time a gamut mismatch occurs, the CMM uses the rendering intent to decide what qualities of the image it should prioritize. Common rendering intents include: absolute and relative colorimetric, perceptual, and saturation. Each of these types maintains one property of color at the expense of others (described below).
PERCEPTUAL & RELATIVE COLORIMETRIC INTENT
Perceptual and relative colorimetric rendering are probably the most useful conversion types for digital photography. Each places a different priority on how they render colors within the gamut mismatch region. Relative colorimetric maintains a near exact relationship between in gamut colors, even if this clips out of gamut colors. In contrast, perceptual rendering tries to also preserve some relationship between out of gamut colors, even if this results in inaccuracies for in gamut colors. The following example demonstrates an extreme case for an image within a 1-D black-magenta color space:
Note how perceptual maintains smooth color gradations throughout by compressing the entire tonal range, whereas relative colorimetric clips out of gamut colors (at center of magenta globules and in the darkness between them). For 2D and 3D color spaces, relative colorimetric maps these to the closest reproducible hue in the destination space.
Even though perceptual rendering compresses the entire gamut, note how it remaps the central tones more precisely than those at the edges of the gamut. The exact conversion depends on what CMM is used for the conversion; Adobe ACE, Microsoft ICM and Apple ColorSynch are some of the most common.
Another distinction is that perceptual does not destroy any color information — it just redistributes it. Relative colorimetric, on the other hand, does destroy color information. This means that conversion using relative colorimetric intent is irreversible, while perceptual can be reversed. This is not to say that converting from space A to B and then back to A again using perceptual will reproduce the original; this would require careful use of tone curves to reverse the color compression caused by the conversion.
ABSOLUTE COLORIMETRIC INTENT
Absolute is similar to relative colorimetric in that it preserves in gamut colors and clips those out of gamut, but they differ in how each handles the white point. The white point is the location of the purest and lightest white in a color space. If one were to draw a line between the white and black points, this would pass through the most neutral colors.
The location of this line often changes between color spaces, as shown by the "+" on the top right. Relative colorimetric skews the colors within gamut so that the white point of one space aligns with that of the other, while absolute colorimetric preserves colors exactly (without regard to changing white point). To illustrate this, the example below shows two theoretical spaces that have identical gamuts, but different white points:
SATURATION INTENT
Saturation rendering intent tries to preserve saturated colors, and is most useful when trying to retain color purity in computer graphics when converting into a larger color space. If the original RGB device contained pure (fully saturated) colors, then saturation intent ensures that those colors will remain saturated in the new color space — even if this causes the colors to become relatively more extreme.
Saturation intent is not desirable for photos because it does not attempt to maintain color realism. Maintaining color saturation may come at the expense of changes in hue and lightness, which is usually an unacceptable trade-off for photo reproduction. On the other hand, this is often acceptable for computer graphics such as pie charts.
Another use for saturation intent is to avoid visible dithering when printing computer graphics on inkjet printers. Some dithering may be unavoidable as inkjet printers never have an ink to match every color, however saturation intent can minimize those cases where dithering is sparse because the color is very close to being pure.
PAY ATTENTION TO IMAGE CONTENT
One must take the range of image colors present into account; just because an image is defined by a large color space does not mean that it actually utilizes all of those extreme colors. If the destination color space fully encompasses the image's colors (despite being smaller than the original space), then relative colorimetric will yield a more accurate result.
The above image barely utilizes the gamut of your computer display device, which is actually typical of many photographic images. If one were to convert the above image into a destination space which had less saturated reds and greens, this would not place any image colors outside the destination space. For such cases, relative colorimetric would yield more accurate results. This is because perceptual intent compresses the entire color gamut — regardless of whether these colors are actually utilized.
SHADOW & HIGHLIGHT DETAIL IN 3D COLOR SPACES
Real-world photographs utilize three-dimensional color spaces, even though up until now we have been primarily analyzing spaces in one and two dimensions. The most important consequence of rendering intent on 3D color spaces is how it affects shadow and highlight detail.
If the destination space can no longer reproduce subtle dark tones and highlights, this detail may be clipped when using relative/absolute colorimetric intent. Perceptual intent compresses these dark and light tones to fit within the new space, however it does this at the cost of reducing overall contrast (relative to what would have been produced with colorimetric intent).
The conversion difference between perceptual and relative colorimetric is similar to what was demonstrated earlier with the magenta image. The main difference is that now the compression or clipping occurs in the vertical dimension — for shadows and highlight colors. Most prints cannot produce the range of light to dark that we may see on our computer display, so this aspect is of particular importance when making a print of a digital photograph.
Using the "black point compensation" setting can help avoid shadow clipping — even with absolute and relative colorimetric intents. This is available in the conversion properties of nearly all software which supports color management (such as Adobe Photoshop).
The decision about when to use each of these depends on image content and the intended purpose. Images with intense colors (such as bright sunsets or well-lit floral arrangements) will preserve more of their color gradation in extreme colors using perceptual intent. On the other hand, this may come at the expense of compressing or dulling more moderate colors. Images with more subtle tones (such as some portraits) often stand to benefit more from the increased accuracy of relative colorimetric (assuming no colors are placed within the gamut mismatch region). Perceptual intent is overall the safest bet for general and batch use, unless you know specifics about each image.
BACKGROUND: GAMUT MISMATCH & RENDERING INTENT
The translation stage attempts to create a best match between devices — even when seemingly incompatible. If the original device has a larger color gamut than the final device, some of the those colors will be outside the final device's color space. These "out-of-gamut colors" occur with nearly every conversion and are called a gamut mismatch.
Each time a gamut mismatch occurs, the CMM uses the rendering intent to decide what qualities of the image it should prioritize. Common rendering intents include: absolute and relative colorimetric, perceptual, and saturation. Each of these types maintains one property of color at the expense of others (described below).
PERCEPTUAL & RELATIVE COLORIMETRIC INTENT
Perceptual and relative colorimetric rendering are probably the most useful conversion types for digital photography. Each places a different priority on how they render colors within the gamut mismatch region. Relative colorimetric maintains a near exact relationship between in gamut colors, even if this clips out of gamut colors. In contrast, perceptual rendering tries to also preserve some relationship between out of gamut colors, even if this results in inaccuracies for in gamut colors. The following example demonstrates an extreme case for an image within a 1-D black-magenta color space:
Note how perceptual maintains smooth color gradations throughout by compressing the entire tonal range, whereas relative colorimetric clips out of gamut colors (at center of magenta globules and in the darkness between them). For 2D and 3D color spaces, relative colorimetric maps these to the closest reproducible hue in the destination space.
Even though perceptual rendering compresses the entire gamut, note how it remaps the central tones more precisely than those at the edges of the gamut. The exact conversion depends on what CMM is used for the conversion; Adobe ACE, Microsoft ICM and Apple ColorSynch are some of the most common.
Another distinction is that perceptual does not destroy any color information — it just redistributes it. Relative colorimetric, on the other hand, does destroy color information. This means that conversion using relative colorimetric intent is irreversible, while perceptual can be reversed. This is not to say that converting from space A to B and then back to A again using perceptual will reproduce the original; this would require careful use of tone curves to reverse the color compression caused by the conversion.
ABSOLUTE COLORIMETRIC INTENT
Absolute is similar to relative colorimetric in that it preserves in gamut colors and clips those out of gamut, but they differ in how each handles the white point. The white point is the location of the purest and lightest white in a color space. If one were to draw a line between the white and black points, this would pass through the most neutral colors.
The location of this line often changes between color spaces, as shown by the "+" on the top right. Relative colorimetric skews the colors within gamut so that the white point of one space aligns with that of the other, while absolute colorimetric preserves colors exactly (without regard to changing white point). To illustrate this, the example below shows two theoretical spaces that have identical gamuts, but different white points:
SATURATION INTENT
Saturation rendering intent tries to preserve saturated colors, and is most useful when trying to retain color purity in computer graphics when converting into a larger color space. If the original RGB device contained pure (fully saturated) colors, then saturation intent ensures that those colors will remain saturated in the new color space — even if this causes the colors to become relatively more extreme.
Saturation intent is not desirable for photos because it does not attempt to maintain color realism. Maintaining color saturation may come at the expense of changes in hue and lightness, which is usually an unacceptable trade-off for photo reproduction. On the other hand, this is often acceptable for computer graphics such as pie charts.
Another use for saturation intent is to avoid visible dithering when printing computer graphics on inkjet printers. Some dithering may be unavoidable as inkjet printers never have an ink to match every color, however saturation intent can minimize those cases where dithering is sparse because the color is very close to being pure.
PAY ATTENTION TO IMAGE CONTENT
One must take the range of image colors present into account; just because an image is defined by a large color space does not mean that it actually utilizes all of those extreme colors. If the destination color space fully encompasses the image's colors (despite being smaller than the original space), then relative colorimetric will yield a more accurate result.
The above image barely utilizes the gamut of your computer display device, which is actually typical of many photographic images. If one were to convert the above image into a destination space which had less saturated reds and greens, this would not place any image colors outside the destination space. For such cases, relative colorimetric would yield more accurate results. This is because perceptual intent compresses the entire color gamut — regardless of whether these colors are actually utilized.
SHADOW & HIGHLIGHT DETAIL IN 3D COLOR SPACES
Real-world photographs utilize three-dimensional color spaces, even though up until now we have been primarily analyzing spaces in one and two dimensions. The most important consequence of rendering intent on 3D color spaces is how it affects shadow and highlight detail.
The conversion difference between perceptual and relative colorimetric is similar to what was demonstrated earlier with the magenta image. The main difference is that now the compression or clipping occurs in the vertical dimension — for shadows and highlight colors. Most prints cannot produce the range of light to dark that we may see on our computer display, so this aspect is of particular importance when making a print of a digital photograph.
Using the "black point compensation" setting can help avoid shadow clipping — even with absolute and relative colorimetric intents. This is available in the conversion properties of nearly all software which supports color management (such as Adobe Photoshop).
The decision about when to use each of these depends on image content and the intended purpose. Images with intense colors (such as bright sunsets or well-lit floral arrangements) will preserve more of their color gradation in extreme colors using perceptual intent. On the other hand, this may come at the expense of compressing or dulling more moderate colors. Images with more subtle tones (such as some portraits) often stand to benefit more from the increased accuracy of relative colorimetric (assuming no colors are placed within the gamut mismatch region). Perceptual intent is overall the safest bet for general and batch use, unless you know specifics about each image.
Why drawing?
There appears to be a consensus amongst commentators that ‘drawing turns the creative mind to expose its workings’ (Hill 1966: 4). Some define the activity as a cognitive tool to facilitate and assimilate information (Tversky 1999). Others interpret drawing more personally as being akin to the conflict between signature and outcome of intelligence (Godfrey 1980; Chhatralia in Kingston 2003). Yet others emphasise how drawing plays a developmental role in the process of thinking through ‘an interplay between the functions of seeing and knowing’ (Rawson 1979: 7). Whilst many of these were the views of practitioners, they were still in effect the opinions of others. I was left wondering how I might have some understanding of these findings for myself, and began by reviewing a number of contemporary theoretical assumptions about the drawing/thinking relationship.
Style and thinking
Perhaps the most easily assumed visual connection between drawing and thinking is the possibility that a drawing’s style can reveal the nature of the thinking processes that made it. In other words, style is analogous to mode of thinking and, by extension, its purpose (Thompson 1969).
It is often assumed that cool or analytical drawings which are linear, hard-edged and precise in their mark-making are the outcome of pre-determined and conventional cognitive processes (Rawson 1969; Thompson 1969). The plan section and elevation drawings used in the architectural process rely on their ability to operate like a language that is understood by a wide range of disciplines. Warm or intuitive drawings on the other hand suggest informal, gestural and experimental attitudes to mark-making. They appear to involve processes with no a priori or forward-thinking cognitive strategy, where aims are revealed only on completion of the drawing (Perry 1992).
These assumptions have been challenged on the basis that their use very much depends upon the social and cultural context in which drawing is used (Robbins 1994). I also noticed how a variety of practitioners often use drawing styles out of context; in fact, some practitioners actively play with these assumptions. I investigated the grey area in which architects such as Kiesler rely on a range of non-technical drawing conventions for conceptual architectural projects, and where artists such as Paterson explore technical drawing conventions more traditionally associated with architectural drawings to make social comments.
However, this idea fails to take into account how, in practice, ideas often appear to emerge as the activity progresses. I began to question whether it was actually possible to carry out a totally pre-determined drawing without the process of making it changing one’s plans as one went along. Could it be the case that the act of making would always interfere to change one’s intentional or logical reasoning?
Freeing the hand
Enjoy discovering what your hand and the material can do. Choose other materials and do the same. Much will be learned on these test sheets and in your first drawings, just through the act of making. With no help and advice at all, you will naturally make progress on your own in response to concentration and the decision to look and draw. As you follow lessons in this book, take your time and don't worry if you need to make several attempts to grasp a concept.
Drawing is exploratory, and mistakes are a valuable process of learning. Try to keep all of your first drawings, even those you dislike. Put them away and look at them later, at a point when you feel you are not making progress; you will be
surprised and encouraged to see how far you have come. One of the advantages of a drawing book is that you can shut it. Pages do not have to lie open for other people to inspect and comment on. It is yours. Such books are personal: the territory of new exploration and experiment;potential ideas still forming; diary-like observations; and miscellaneous items of inspiration.
Sketch your cartoon...tips for beginners
Cartooning is not about drawing it is about telling stories,even when you are drawing a single illustration you are telling a story. Cartooning is about expressing your thoughts. And it is your thoughts expressed beautifully through your cartoon characters that make you different from other average cartoon makers.
1. Do not start with computers. I agree I run the risk of sounding backdated. But here I am not opposing usage of computer altogether, no sane person can do that. But for beginners there is no alternative to using paper and pencil.There are various software that help you so much that you can go ahead even without learning how to draw a smooth line. This kind of over dependency on computers from the very beginning always backfires down the road.
2. Nail the fact in your mind that construction of human, animal, cars and most of the things that that we see around us are complex 3d structures though we draw them on paper which is 2D. So when drawing you must mentally analyze your model in terms of 3d shapes like spheres and boxes and not in terms of 2d shapes like circles and rectangles.Also when you draw something from paper (i.e. 2D), look for and find out the 3d shapes that make up the character.
3. Most of the cartoon drawing or figure drawing tutorials always start with some basic 3d shapes and after a number of steps end up in a complete and beautiful figure. This technique is very effective in learning how we can draw complex figures starting with simple shapes. But what I am going to tell you will make your pace of learning even faster. It is in fact very simple way of using the same tutorial. Just a lot more effective.
Article references:
1. ezinearticles.com
2. cartoons drawing course
3. how to sketch
4. here to check this simple tutorial on head drawing
How to Draw?
Firstly.....basically before you sketch anything...your brain needs to know-how to draw. Hahaha... don`t scare about this... at drawsketch and tearain and other related post from true online will help you, sharpen your skill and many more on how to draw properly....hopefully u'll get what you really want... enjoy!!!- You can learn how to draw. It's easier than what you think. Start here with this free lesson on how to draw. This 'Learn to Draw' lesson hub will guide you through each step of the process. Work through each article in each section, do the exercises and try out the ideas. Don't skip the exercises - they are like scales for musicians and will help you to learn on how to draw faster... learn from here drawsketch.about.com
- There were a few people asked me on how I draw - my way. I figure if the handful of people who ask me want to know, there are probably more who haven't written but wouldn't mind knowing, so here's basically my drawing manual (formatted to be kind to printers), which really isn't that much different from many others. And this, as opposed to email, has the benefit of coming with illustrations!....get to know here tearain.tripod.com
- Do you want to learn how to draw? Now you can online! Learn how to draw like an artist, from a professional artist. Begin by learning the fundamentals of drawing with easy to follow interactive instruction.
Learn how to draw a person and make it actually look like the person! Take drawing people further and learn how to draw a caricature of a person! ...another related post here learn-to-draw.com
- Improve your drawing skills in as little as 1 day with these drawing tips…click here drawingprofessor.com
Subscribe to:
Posts (Atom)