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thekyllerjermsblog · 10 years

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words to grow on

So, I'm in the process of becoming a self-taught illustrator. Do you have an advice about how I could design an art self-study program to be a better artist, or could you tell me about your process in becoming a better artist? Also, how do I get out of the rut of just sketching in my sketchbook. I never actually *create* anything, because I think I suck, so I just sketch in my sketchbooks. Sorry for the lengthy ask, but I see you as such an inspiration and would love to hear what you have to say

Here’s the stock answer: work hard every day, and eventually you’ll become better. Draw some hands in the morning. Do master copies. Do mock editorial assignments, etc. Be a good diligent craftsman, and one day you’ll be rewarded by this kind of weird creative force that circles the globe looking for conduits.

That’s not a wrong answer, but it’s also not the whole answer. I can’t tell you the whole answer because I don’t know what kind of artist you are, or what kind of artist you want to become. I’m also just a guy still figuring it out myself; I’m far from some kind of authority.

But here’s my advice based on what you’ve told me: embrace the suck.

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thekyllerjermsblog · 11 years

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The Innovations of Fleischer Studios

Besides changing the face of animation by bringing the world the invention of the Rotoscope, as well as the concept and animation technique of "Follow the Bouncing Ball" sing-alongs, Max Fleischer and his studio also pioneered a revolutionary technique in animation, known as the “Stereoptical Process”.

In this process, a circular, 3-D model of a background - a diorama - is built to the scale of the animation cells. It allowed for a spectacular sense of depth and dimension, long before Ub Iwerks came up with the Multiplane. Within the model setup, the animation cells could be placed at varying levels from the scenery, and even between objects, so that foreground elements could pass in front of them, adding to the dimensional effect. It was an effective method for panning and tracking shots, which would require a turn of the table with each photographed cell of animation.

The process was used in many of the studio’s cartoons, particularly in their longer, “two-reel” shorts, such as Popeye the Sailor Meets Sindbad the Sailor (1936), Popeye the Sailor Meets Ali Baba’s Forty Thieves (1937), and Betty Boop in Poor Cinderella (1934) - the only color (albeit in two-strip Cinecolor), theatrical cartoon ever made starring the iconic animated songstress, which features her as a redhead!

So interesting :D

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thekyllerjermsblog · 11 years

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5555

by John Larriva

Deviantart // Tumblr

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thekyllerjermsblog · 11 years

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Samantha Mash

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thekyllerjermsblog · 11 years

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Bumble Bee

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thekyllerjermsblog · 11 years

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Nembrotha cristata

like most nudibranchs this species has no official common name. they can be found in tropical Indo-Western Pacific oceans. they grow up to 50mm in length and their body is black but their external organs are edged in a almost neon green like color. they are poisonous and get their poison from the stinging cells of fallen Cnidarians.

Phylogeny

Animalia-Mollusca-Gastropoda-*-Polyceroidea-Polyceridae-Nembrothinae-Nembrotha

*Clades: Heterobranchia,Euthynerua,Nudipleura,Nudibranchia,Euctenidacea,Doridacea

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thekyllerjermsblog · 11 years

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Unportraits, 2010 by Lucas Simões

“In this series of works I invited intimate friends over to tell me a secret as I took their portrait. However, my intention was not to hear their secret, but to capture the expressions of each one at the moment they revealed their secret. I also asked each one to choose a song for me to listen to in my ear phones while I photographed them. And, after the photo session, I asked each one if the secret had a color, and these are the colors the portraits carry. From this photo shooting session I chose 10 different portraits to cut and overlap.”

- Artists’ Statement

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thekyllerjermsblog · 11 years

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