⭑★Quartz★⭑

A mouth-watering fuck-ton of hand angle references.

for environments:

shot deck is a massive database of film shots searchable by grading, tod, shot type, characters and content! Studying from films really helps improve your values and composition as the shots are usually very carefully constructed! It helps you find ways to maintain realism while still packing mood and narrative into your work!

master paintings! I recommend the orientalists like Jean Leon Gerome in particular their environments had great compositions and throw around a ton of colour and light! I like the modern artists Craig Mullins and Richard Schmid also, as there is so much impressionist lost detail and simplicity yet the environments feel so real.

The 1960s era disney background artists like eyvind earle are a masterclass in stylisation and simplification and make a wonderful choice for studies. (That being said modern disney visdev artists like Nathan Fowkes are just as fantastic to study for the same reason)

architectural photography can be a great resource too- I love to look for work by urbEX people!

thumbnailing and comp studies- trying to break down a photo into as few values as possible and still have it be readable- this really helps train your brain in the relationship between light exposure and local value.

Im begging you if doing it in colour is too hard to start with just do it in black and white!!!!! Greyscale painting is an essential step in learning to paint and understand lighting scenarios!! Colour is hard!!!

there is no substitute for going outside and doing some plein air painting- really looking first hand at how the light effects different materials and objects, how it bounces around, what edges your eye naturally loses in certain lighting scenarios. Just go outside and draw and try to notice stuff.

for characters:

figure studies!!!! from life if you can but if you cant there are a ton of great resources out there- personally I love croquis cafe and posespace, but if you can afford it (and are interested in intense anatomy study) then scott eaton has a site called bodies in motion which is fantaaaastic. I think by now everyone knows nyx and senshistock, I also use a lot of grafit studio photorefs to study more complicated poses!!

Master studies (again). I particularly like to study the work of John Singer Sargent, Joaquin Sorolla, Edwin Austin Abbey, Alphonse Mucha (his le pater compositions are out of this world), any of the New Rochelle artists (e.g rockwell, tom lovell, those 1950s illustrators REALLY knew their shit).

I literally have a resin skull on my desk that I've used to do quick studies with different lighting, just 10 mins a day back when I was doing it and it levelled up my skill a lot!.

Material studies are essential to leveling up your character painting!!! Look at fur, look at metal, look at the way something embroidered reflects light vs tooled leather!!

gesture studies! Look at a dynamic pose and see how you can exaggerate the motion in away that captures the sense of movement. This is tricky to start with but its really worthwhile especially when you combine it with other exercises. Mixamo is a cool library to look into for this kind of thing as you can pause and rotate the models in the middle of their actions!

breakdown the work of artists you admire- it's ok to study other living artists (and try to reverse engineer how they are making their decisions) it's a very effective learning tool! Really figure out what it is about that persons workflow you like, and how you might incorporate that element into your own. Obviously, dont post studies of living artists work!

The most important thing is that when you do a study you go into it knowing what you want to learn. Dont try to do everything at once! It's ok to focus on the muscle structure and not give a damn about the gesture. It's ok to focus on the texture of the fur and completely ignore the characters face.

The best way to keep doing studies is to find refs you like- things you are interested in and that capture your imagination! Follow your curiosity and remember that just a tiny little bit a day makes a huge difference.

thanks for the tag @hootybal-lecter :3 this was fun

I want what he's having

This is a modern riso ink swatch, but still you find a similar and limited selection of colors to mix with. (Mixing digitally as to emulate the layering of ink riso would be coloring on Multiply, and layering on top of eachother 👉)

If you find some old prints, take a closer look and see if you can tell what colors they used and which ones they layered... a lot of the time you'll find yellow as a base!

Misprints can really reveal what colors were used and where, I love misprints...

Something else I keep in the back of my mind is: how the human eye perceives color on paper vs. a screen. Ink and paint soaks into paper, it bleeds, stains, fades over time, smears, ect... the history of a piece can show in physical wear. What kind of history do you want to emulate? Misprinted? Stained? Kept as clean as possible, but unable to escape the bluing damages of the sun? It's one of my favorite things about making vintage art. Making it imperfect!

You can see the bleed, the wobble of the lines on the rug, the fading, the dirt... beautiful!!

Thinking in terms of traditional-method art while drawing digital can help open avenues to achieving that genuine, vintage look!

YELLOWING!! Digital art is very blue-light based. Cold, clean, flat. But traditional art has warmth to it. Why?

Over time, paper gets yellowed with dust, oil, dirt, and nicotine from cigarettes! So colors got warmer. This makes art look pretty aged, on top of the slight toned papers and hand made/factory made inks they printed with.