#art method

Have had some comments who have been interested in my lighting methods, so I decided to do a little explanation!

First you start with the flat colored base, and choose the source of the lighting and the colors for your lighting. As you can see, I have a warm yellow and a cooler brown/purple. While drawing the lighting and shadows, I blend them into a nice ombré.

Often times when choosing the colors, I go to my color wheel and see what's the opposite of the lighting, it’s complimentary color.

I also choose very bright colors most of the time. For example, I chose bright red/orange and blue for this piece.

I'll then go and mess around with the layer settings! Most of the time for lighting I choose Overlay and bring down the opacity. As for shadows, I actually go to the soft light/ hard light sometimes. In this you can see I chose Hue, though. Will say: I NEVER use Multiply for shadows (which I've seen time and time again used as the primary basis for shadows. DONT USE IT UNLESS YOU WANT YOUR PIECE TO BE DULLER, it can take away the vibrancy and saturation) or Luminosity for lighting.

For nighttime scenes, normally you have warmer shadows and cooler lights, but I really wanted to hammer the chill of this scene, and tbh there was already a lot of warmth in Wukong's design already :

Flat color vs w shadows n lighting

As you can see, I had a whole layer of grey-blue to really get the cold feeling like shown in the pic of Wukong.

Throughout these screenshots, you'll see that I have the lighting layers on all kinds of different settings. (--Never on Normal, and never on Multiply.--) That's because I don't have any specific method with lighting. I scroll through almost all of the different settings until I like what I'm seeing. You'll find some that you'll end up liking more than others. I have an affinity for overlay, soft light, and pin light.

I'll go for vibrant and warmer tones for Wukong and LMK characters to compliment them, but it all depends on their environment as well, so it's important to be flexible. Experiment with colors and look at references, like above, to get the hang of it!

not sure it sounds comprehensive enough for everyone, but I tried my best to make it sound as easy as possible!!

Because the last one i posted was waaaaaay too fast. Here’s a less sped up version.

Sketch tools;

-sketchbook. Watercolour some of the pages for fun

-ruler. Lets you be lazy when drawing long lines and perspective

-blending stump. You can use a q tip too. You don't need a blending stump per se but something to blend with. Blends lead to make it soft.

-THICK BOI GRAPHITE STICK. This is pure thick boy lead. Super important. Super soft. 9b softness. Very messy. Very strong. Beautiful. Use the tip the edge the corners. Wild. Untamed. Gorgeous thing. Blends beautifully.

-6b mechanical pencil for detail

-White lumocolor pencil for highlights. If you blend it with lead it gives a cool smooth effect too, sort of a blueish tinge

-rubber. Use this for large highlights or mistakes, or even to blend when the lead gets caked on it

Getting the Most Out of Your Sketchbook

There’s a big difference between a sketchbook and a portfolio. Growing up, I erased, scribbled over, and tore out my mistakes so that only my best work remained. I didn’t know any better at the time, but I could have gotten much more of out of my sketchbooks with a few simple tweaks. What I didn’t know growing up was that it’s okay to make drawing mistakes and that sketchbooks are the perfect…

no trouble at all! Here are some visual notes on how i approach orc teeth. 

1: get familiar with the structure. 

The better you can visualise the structure of teeth and where the tusks “plug in”, the easier step 2 will be. 

2: simplify. 

You only need to draw what will be visible. Don’t worry about drawing the anatomy right every time. If you get familiar with the structure underneath, it will be easier to spot when something’s off in your sketch. 

Zombie Media: Circuit Bending Media Archaeology into an Art Method

This text is an investigation  into media culture, temporalities of media objects and planned obsolescence in the midst of ecological crisis and electronic waste. The authors approach the topic under the umbrella of media archaeology and aim to extend this historiographically oriented field of media theory into a methodology for contemporary artistic practice. Hence,media archaeology becomes not only a method for excavation of repressed and forgotten media discourses, but extends itself nto an artistic method close to Do-It-Yourself (DIY) culture, circuit bending, hardware hacking and other hacktivist exercises that are closely related to the political economy of information technology. The concept of dead media is discussed as “zombie media”—dead media revitalized, brought back to use, reworked.