Prefilled Easter Basket With Card Games or Art Projects in Them
thirteen ways to improve your card fine art
Fifty-fifty though I started dabbling in how to draw fantasy fine art every bit a teen, for a long time I never idea of information technology equally any more than a hobby. The first decisive stride on the analogy path was putting my best pencils to ane side and getting a Wacom tablet. Switching to digital eventually proved to exist a game changer for me considering it solved both the issue of speed and the high cost of art materials.
I attended an art school, but establish that the emphasis was placed on contemporary trends, so I had to larn most of what I know about figurative painting on my own.
However, a formal art didactics gave me a ameliorate perspective on technical matters and perchance created a framework for an efficient learning approach. And then the tips in this workshop are an assorted collection of theoretical principles I picked upwards in school, personal observations and advices I establish online.
I'm currently illustrating cards for Applibot's Legend of the Cryptids, a fantasy game for smartphones, so I'1000 going to employ images I created for the company to prove how I apply this information in practice and, hopefully, provide some useful insight for those who are interested in producing like work.
01. Deciding on the composition
There are basically two types of composition: dynamic and static. The first is characterised past diagonal lines that add together movement, while the second features strong verticals and horizontals that either help to create a at-home atmosphere if horizontals predominate or advise harshness if the verticals are emphasised.
I prefer static compositions, simply they tin can exist a bit deadening for fantasy themes. Every bit a compromise, I use softer diagonal shapes every bit accents in the foreground. For instance, placing objects such every bit flowing textile here and there helps to break up the monotony and develops a pleasing dissimilarity with the groundwork.
02. When to use symmetry
There'due south a time and a place to employ bilaterally symmetrical layouts. Indeed, I'd go so far every bit to say that this blazon of composition should be used sparingly, just it's certainly effective in advisable contexts. Its visual impact is loftier because all lines converge and the eye is drawn towards the centre, so illustrated subject thing such as book covers or moving-picture show posters tin benefit from it.
Symmetrical poses tin make a graphic symbol look regal, powerful or heroic. They ordinarily piece of work especially well with characters who have wings and mythological beings in general, because they remind the viewer of iconic representations.
03. Apply the Southward-curve principle
This goes dorsum to ancient Greek art and is considered platonic for depicting the human figure. The body should be positioned in a way that describes an South-shaped line, then that the shoulders and the hips are angled differently. The near bones pose that uses this principle is contrapposto, where the figure rests all its weight on one leg.
In analogy, this formula can be taken even farther, and curves and proportions tin can be exaggerated or stylised according to your own painting method.
04. Develop focal points
The get-go thing people notice in a picture are human faces, and so they become natural focal points and should, as such, be placed carefully. There are several ways to accentuate them or shift the interest towards other areas of the image. 1 is manipulating calorie-free, such equally keeping most of the paradigm relatively equally lit and have stiff light hit the surface area we desire to stand out.
Variation in brush strokes or colours can also exist used, rendering the focal point and keeping the rest of the image rougher and more than desaturated.
05. Dramatic low-cal
Interesting lightning tin rapidly give an image a fantasy expect. I of the most commonly used – and my go-to lightning scheme – comprises a main softer low-cal and a harsher back light. This combination is even more than striking if the lite sources have complementary colours, but this can before long become cheesy if overused!
Some other of my favourite set-ups is a single light source filtered through a window, placed at an bending that suggests the late afternoon sunlight.
06. Framing techniques
Depending on the purpose of an illustration, some limitations can come into play and one of them is framing. My card art is viewed on smartphones, so the characters need to exist large plenty to discern details and this ways sometimes they won't fit into the frame.
There are a few rules of thumb on how to crop figures: don't cut where there are any joints, never cut through the hands (they should be either visible or out of the pic) and, for portraits, avert cropping the ears or mentum.
07. Detail placement
People organise visual elements in categories and group them into larger shapes, based on their proximity to each other. The Gestalt theory of visual perception has derived a series of rules from this premise.
An open up surface area or a barely suggested object will be "autocompleted" by the viewer, every bit long as its shape is recognised equally a whole. This is why information technology's non necessary to shine every item or worry about perfect edges – just ensure that the principal shape is readable from a altitude.
08. Make more of the background
In game cards the focus is apparently on the grapheme, just backgrounds and other details add a whole new dimension. You can hint at a character's personality through their environment or describe their social status or occupation with diverse nearby objects.
A scholarly character could be surrounded by former tomes and scrolls, a warrior will expect more than menacing with a stormy sky as a backdrop, and a character could be recognised every bit a witch even without stereotypical costumes, merely by decorating her place with alchemical paraphernalia and other mysterious-looking items.
09. Costume design
The greatest claiming I face up when designing game cards is coming upwards with fresh ideas for costumes, weapons and accessories. I follow various manner, history and civilisation-related sites and blogs, and I relieve the well-nigh interesting clothing and armour designs in an inspiration folder.
I occasionally use Alchemy, which generates unpredictable brushtrokes and random shapes, then I try to find patterns in the resulted image. Costumes can become quite detailed, so to prevent them from looking likewise monotonous and "crowded", details should exist grouped and placed simply in a few central places.
Fantasy fine art draws inspiration from historical sources, and then ornate armour and weapons are commonplace. When dealing with metal objects, I often cake in solid shapes and use the the Bevel and Emboss option (Layer> Layer styles).
This is merely to create a quick base of operations to work with and shouldn't be used every bit a standalone technique (except perhaps for very small details), because it'll produce an bogus-looking result. As a concluding bear on, I add a few highlights using a textured brush that's set on Colour Contrivance style.
11. Advice for painting peel
Subtle colour variation is crucial for illustrating realistic skin, but it tin also take a while to alloy assuredly. To relieve time, I've reduced this principle to alternating betwixt the cold and warm hues that correspond to value zones: if low-cal is warm, then shaded portions are cold and darkest shadows warm again, and vice versa.
The transition line between calorie-free and shadow should be slightly more saturated. Skin is slightly translucent, so bright light volition shine through information technology, peculiarly in areas with prominent bones and/or less muscles, such equally the cheeks or fingers.
12. Colour considerations
In theory, it seems simple to selection a colour scheme according to the established fine art theory rules, but achieving realistic results involves more effort than that. You have to keep in heed that an object's colour isn't equally much determined past the way it'south pigmented, merely decided more than by its surround: direct and reverberate light, weather, time of the day and and so on.
On the other hand, values are even more important; washed correct and you can go away with less-than- perfect-hues. Complementaries are my customary color scheme, with the warmer colour equally an accent.
thirteen. Across fantasy
There'southward no need to limit your concepts at dogmatic sword & sorcery themes; clashing elements that work unexpectedly well together are definitely skillful for fantasy designs, whether the approach is serious or playful.
Besides the obvious cross-pollination between fantasy and sci-fi art, other types of imagery, ranging from Renaissance fine art to clean 3D looks can be incorporated into illustrations to varying degrees. Steampunk aesthetics are known to behave well in the mix and classical pin-upward styles are a perfect way to spice upwards a card character.
This article originally appeared in ImagineFX outcome 131.
Related manufactures
Source: https://www.creativebloq.com/illustration/13-ways-improve-your-card-art-41619873
0 Response to "Prefilled Easter Basket With Card Games or Art Projects in Them"
Post a Comment