naamahdarling:

howtonotsuckatgamedesign:

mirrepp:

Some harsh but very very true words

When people let me review their portfolios (on career day or open days at my game design school) I explicitly ban them from commenting during the review… …because otherwise they will follow the impulse to downplay everything I see in an attempt at being humble.

“this is an old image…”

“I’m not happy with that one…”

“this is just a sketch…”

“I did this really quickly…”

“there is better stuff on later pages…”

It’s totally understandable to have those impulses. The quality of art is not empirical data and therefore impossible to measure. Good art, bad art, it all comes down to standards. And you don’t want to come off as naive or self-absorbed.

But just don’t do it. Don’t talk yourself down in front of others. In the best case you have someone supportive who now thinks “damn, this person needs to be prepped up all the time. Do I really want to work with somebody like that” or in worst case “now that you say it, yeah, this is kinda lame/rushed/unfinished/lazy, go away.”

You can only submit what you have. If that is not enough, then it’s not enough. Your attitude will not change that. But if it is enough, you can do serious harm by not being confident of who you are now.

This means appreciating what you are able to do right now and have a clear vision of what you want to learn, be confident that you will learn it in time. 

Be proud.

This is really important.  Eliminate this urge.  Eliminate it professionally, when having contact with people in a position to buy your work.  Eliminate it socially, when you just share your work for fun.  Destroy this urge as thoroughly as you possibly can.

Because when you have done that, you’ll find that you feel at least 25% less shitty about your own work.  You lose the urge to do it.  You stop reinforcing those negative thoughts, and they retreat.  They may never go away completely (although they might!) but this is good practice for ignoring those thoughts flat-out.

Don’t shit-talk yourself.  Even if you can’t be SO PROUD, don’t ever try to influence anyone’s opinion toward your work in the negative.

Try to love your work.  Try to see what you learned from each piece, even if it’s a failure.  If you feel that you learned nothing, appreciate the fact that just spending time on it is honing your skills and giving you valuable practice.

i used to be super not-confident in my own work.  When I stopped pointing out the flaws in my own stuff, I felt better about it almost immediately.

kyunomahou:

whatfulllipsyouhave:

meredithalden:

a public service announcement

I still don’t understand why none of my art teachers ever told us this.

THANK YOU!

pigeonbits:

A handout I made for a coloring workshop I’m teaching tomorrow at CCS.  TEACHING HERE IS SO MUCH FUN ALL THE TIME OMG OMG

ghostvomit:

inkydonkey:

dredsina:

dredsina:

broadfields asked you: Could you possibly do a mouth tutorial? Unless you’ve already done so. In that case, possibly pointing me in the right direction? :]

I wash my hands of this. It’s evidence of my piss-poor design skills.

This is why I normally draw skulls first and then a face on top of it.

haha

HAHAHAHAHA

Of course I would reblog this are you all daft

giancarlovolpe:

grizandnorm:

Tuesday Tips SUPER WEEK - Push it!

Clarity is probably the most important thing to think about at all time when boarding. Pushing your poses to an undeniable level of clarity will improve the clarity of the storytelling in general. Don’t leave space for uncertainty in posing out your characters. Your audience will be more engaged and entertained by the sequence.

This is the last post for the Super Week. I hope you enjoyed it. Back on the regular schedule next week (Every Tuesday).

Norm

What a great series.  Thanks for posting these!

stridersknowbest:

geisttotend:

no but seriously i have this text post stuck in my sketchbook it genuinely motivates me to do art

THIS IS THE BEST DAY OF MY LIFE

lemonteaflower:

its about time i try to explain this as the obviously unprofessional i am. 

i just pick colors depending on my mood, there are colors that look colder and warmer, so i take advantage of that 

do you feel the colors. you gotta feel them. 

then it’s time to pick the best colors for your piece, aka AVOID THESE IF YOU CAN. 

sometimes they work tho, but why pick those when you can pick these

they give you cuter colors and better color palettes.

remember to feel how warm or cold or neutral you want anything to look. 

that’s better looking than the MS Paint default palette. after some time you will be able to choose nice colors, give it a try. (you can also make a new layer with a solid color and set it to Overlay and it should help). 

then the shading comes in, you’ll eventually realize some colors look better with others. BUT PLEASE PLEASE AVOID SHADING WITH BLACK/GREYS OR MAKING LIGHTS WITH WHITE.

ew that looks so simple, why do that when yOU COULD BE SHADING WITH COLORS TOO??? 

yeah that looks more lively. 

i really like colors and that’s why i experiment with them a lot so to fully understand them you could either learn on your own by trying (like me) or you could take color classes, which is good too because they will teach you about other important stuff like this 

but basically its just 

don’t take me too seriously because i just fool around with colors hnnn. u3u 

belovedlights:

(tutorial)

i just did a cool thing that i think would be useful if you’re like me and sometimes have a hard time picking colours / a colour scheme for an image

basically i just took a brush with moderate spacing, turned on colour dynamics and set all the hue/sat/brightness to a low (~10%-30%) jitter, picked a base colour, and drew a line down the side of the canvas

it’s sort of like when some people save colour swatches so they can keep their shading consistent, but more for playing around with different tones and lighting on a single surface. it’ll probably be pretty good for skin which is very multi-tonal by nature.

a lot of colours came out that i probably wouldn’t have picked manually, but they still looked pretty cool. and it saves a lot of time because now i have a broad range of colours without having to browse through my pantone swatches or open up the colour picker.

click for more tutorials

fucktonofanatomyreferences:

A mouth-watering fuck-ton of gun references.

Before you draw any gun, be absolutely certain you are familiar with the parts of a gun. That sounds cliché and dumb, but if you end up wondering “Why does this thing look so shitty?” it’s probably ‘cause you don’t know how a gun works. Know how it moves and what fits in where. And please know where the hands are placed when firing!!! If you hold a gun at the wrong place, you can lose a finger! Don’t know enough about guns, let alone what type to utilize? Here (the Glock and the “Frag Nade” are mixed up):

And if you’re pro on guns, here’s an orgasmic list: http://en.wikipedia.org/wiki/List_of_firearms

And if you wanna get a little creative:

I’m always a fan of the minigun………

[From various sources]