How to Draw Water

In the works of art, water can appear in various forms, including droplets on leaves, flowers, buildings etc., or as water bodies. Drawing drops is not such a tricky job. You begin with sketching an oval or a spherical shape over your base object. While maintaining the transparency of the rest of the oval, add arch-like shading near the circumference facing the viewer. Keep this arc small and of irregular thickness. This will give an impression of a dome-like shape of the droplet.

For a sketch, the outlines and the shading is done by pencil. In the case of a painted work, the concentrated color of the base object, say a leaf, is used for the purpose. Following is a systematic guide on drawing water bodies:

• Reference image. The ideal start would be to look for a reference picture. You may choose a single picture or a combination of two. For instance, you may like the ground and water elements in one and the composition of the sky in another. Nevertheless, you may choose to rely upon your imagination.

• Preparatory drawing. Divide your frame into principal sections using light, freehand lines. If the distant shore of your water body extends far beyond the view, the horizon becomes the primary partition. In the case of the contrary, other main components, like mountains, bridges etc. form partition lines.

• Creating other objects. Regardless of the type of scenery, water is drawn in the end. Position each individual figure, e.g., boat, trees, bridge, huts or houses, mountains, and so on. Begin with the fundamental geometrical shapes first. For instance, use triangles for mountains, combinations of rectangles, and triangles for boats & houses, etc. While adding the details, keep in mind that if you intend to use colors, the pencil shading should be minimized. Now, consider which all objects will have a reflection in the water. Draw their reflections in the area designated for water. You should always sketch wavy curves even for still water such as a pond or a lake. Remember, water is more stable in the middle, in the case of still bodies. Therefore, the reflection of the trees on a shore is much distorted than that of a boat towards the centre. For a river or a brook, the flowing water is rippled everywhere. The length and angle of these figures will vary with the time of the day captured.

• Portraying water. Once all the mirror images are drawn, the effect of the waves is produced with the aid of pencil strokes or colors, as the case may be. In the case of a painting, the appearance of the sky above will be replicated in the waters below. However, take care to add deeper shades towards the depth of the body. The shallow water near the shoreline appears lighter in color. This step completes your picture.

Source by Annette Labedzki

“Biggest show, Smallest state.” art empowerment documentary (Rhode Island Comic Con)

My name is dante luna and I’m an artist and entrepreneur. I’ve photographed and interviewed people in 48 of 50 states. I’ve invested a lot of my energy into documenting culture all over the country. Rhode Island Comic Con has been a place where I can stretch creatively once a year. The promoters of this show organize what they call the biggest show, in the smallest state. It’s a pop-culture experience that attracts storytellers, writers, actors, illustrators, painters, cosplayers, all kinds of creative people and an audience that fills every room wall to wall. At Rhode Island Comic Con I like to interview artist and craftsmen about their lives and their creations. For me theres always lessons to be learned from people who’ve dedicated their lives to their expressions.

directed by dante luna
executive producer Steve Perry
filmed by dante luna, Joseph Rivers, Greg Molina iv, Flakoveli, Alberto Montalvo, Eli Torres, Sito Sosa, Wilfredo Carrasquillo, Anthony Moschella , Bryan Nadeau & Corey Payne

features interviews with:
Lou Ferrigno
Jon Heder
Thomas Ian Nichols
Brandon The Shapeshifter
Raymond Ramos
Carley Winn
Brad Adams
Amy Jo Johnson
Jorge Elorza
Bret Hart
Tom Wilson
Christopher Lloyd
Robert Englund
Jason Isaacs
Simone Missick
Jade Wu
Frank Whaley
Theo Rossi
Mike Colter
Rey Misterio Jr
David Morrissey
Tony Danza
Chris Sabat
Charles Fleischer
Erik Stolhanske
Paul Soter
Gene Simmons
Dennis Haskins
Bad Ass Billy Gunn
Charles Martinet
John Ratzenberger
Kevin Conroy
Tom Kenny


Moving Onto 3D Animation

Animation (at least the cel-based incarnation) is not a new art form. Well, okay, in comparison to other media like painting, it is brandspanking new, but it has been around long enough for some definite trends to have developed. The most basic tenant of animation is that it is a string of still figures placed together and shown in rapid succession to produce the illusion of movement.

This is not unlike all film and television, which take a series of photographs and place them one after another to create motion. The marvel of animation is that each of those rapidly changing frames must be drawn. The number of frames differs from studio to studio and from media to media.

Television shows usually run at about 30 frames per second (fps), while film is typically 24fps. Animation can be anywhere from 24fps to as low as 8fps for some forms of Japanamation. Either way, when you begin to add up fps and multiply it by minutes or even hours of animation; well, you are talking about a lot of drawings. One of the trends in animation that has emerged is the idea of master/apprentice hierarchies within many studios.

New animators learn by working under a master animator. When working on a project, the master animator will often draw keyframes. Keyframes are frames within a sequence of motion that are most important in defining the moment or motion sequence. For instance, if a character was hopping over a log, the master animator might draw a keyframe as the character begins his leap, at the top of the leap, one as the character hits the ground, and another as he straightens up to walk.

Then the apprentice comes in and draws all the frames in between these keyframes to flesh out the animation. These junior animators are often called “in-betweeners.” The interesting thing is, the junior animators in a studio will often draw the most frames of a completed animation.

However, the movement, timing, and overall feel of an animation are still controlled by the master animator. In computer animation, there exists a similar structure of animating. You are the master animator and define keyframes. The computer then acts as an in-betweener and fills in the frames of the animation.

Source by Daniel Kreimer

+ gallery Chicago Reflection

A look back at + gallery Chicago’s first year of art, community, and action. This is an appreciation of the artists, vendors, and community members we had the honor of constructing and disrupting with this year.

Music: *~love 2~* by + and sasha tyko, courtesy of: