Ten Hour Clock

Paint Bucket Resources: Tutorial: plastic keychains

charlesfosterofdensen — Sun, 07 Apr 2013 18:29:56 -0400

Paint Bucket Resources: Tutorial: plastic keychains:

I know a ton of you have been waiting for this one. Teaching you to make your own plastic keychains!

To start off, I think the biggest question everyone has is what I use to make them. I work with shrink film. You might be familiar with Shinky Dink brand shrink film as a kid. I use Grafix brand white inkjet shrink film. The inkjet kind is relatively pricey compared to the regular kind. If you’re using regular, I don’t recommend you stick it in your printer. Sharpie markers would be good for that.

Alright, now open up the file with the images that you’re working with. Make sure your images are a lot bigger than you want your finished product to be since they shrink significantly.

You’ll also want to lighten the opacity to about half. I go somewhere between 50-60%.

Now print your image out! I’ve found that it works best for me when I have it at the plain paper setting, and standard print quality.

Holepunch with a 1/4” holepuncher BEFORE you shrink them. It’s so much more work to have to punch holes when your plastic is thick!

Cut out your design, leaving the amount of border you want.

Set them on a tray for convenience. An aluminum foil sheet works too, but I recommend cookie trays because they are easier and quicker to get out of the oven.

Preset heat. Your shrink film package will tell you what temperature to set it at, but I find that it isn’t always accurate for me. I generally set temperature to 350 degrees or so.

Put them in the oven. Remember to keep track of time! I leave them in for about a minute and a half.

After time is up they should be super small! Magic!

If your charms are not flat, put something heavy on it right out of the oven when they are still hot and malleable.

If you’d like to, you can seal them now. In my last two batches, I used clear topcoat nail polish. The problem with that is that I need between 3-5 coats of it, and it takes a while to dry. I’ve been experimenting with modpodge.

For lariats, you can use jump rings or lobster clasps.

Here is one that I made that wasn’t sealed. The finished texture after shrinking is a little bit rough. There’s nothing wrong with leaving them unsealed, but because they are inkjet printed, the colors wash right of without protection.

This is one that was sealed with modpodge. The colors become a little more vibrant and smooth and water resistant. Things often get stuck on when applying or drying so be careful.

These ones down here were sealed with clear nail polish. They come out shiny if you put enough coats, but the grainy texture will still be there.

Well, there ya go! Have fun making your own keychains!

* These glues are not ideal for adhering the material but can...

charlesfosterofdensen — Tue, 02 Apr 2013 01:07:00 -0400

* These glues are not ideal for adhering the material but can be sufficient if the project is small and lightweight, and non-functional (craft only). When using hot glue for styrofoam projects, choose a low-temperature glue gun only. High-temperature hot glue will most likely refuse to bond and melt the plastic, which gives off harmful fumes. Also note that only waterproof glues should be used on ceramics such as mugs, dishware and vases. Lastly, if your paper projects involve fine artwork (or anything you’d like to keep for a very long time) you should use archival adhesives instead of the standard glues above.

From diy 101

How to sew on single fold bias tape.

charlesfosterofdensen — Wed, 20 Feb 2013 14:26:25 -0500

How to sew on single fold bias tape.

eschergirls: helpyoudraw: Clothing Folds (Part 1) Adding the...

charlesfosterofdensen — Tue, 05 Feb 2013 19:16:42 -0500

eschergirls:

helpyoudraw:

Clothing Folds (Part 1)

Adding the bigger version of the previously posted tutorial for the anons who couldn’t read it, also added the source. The second part will be added very soon. -ivona

Another tutorial that people might find useful. :) This is about how to draw clothing over bodies (specifically bodies with curves) and how folds in clothing work.

Photo

charlesfosterofdensen — Tue, 05 Feb 2013 18:04:58 -0500

vicious-violet: foervraengd: elliotoille: felt like doing a...

charlesfosterofdensen — Tue, 05 Feb 2013 17:55:44 -0500

vicious-violet:

foervraengd:

elliotoille:

felt like doing a tutorial thingy (what should I call these??) again! I think I’ll make a tag for these in case I do more. This time I’m gonna talk a little about how angles affect how clothing falls aaaand stuff. here we go…

Given: The first drawing of these three is how the clothing naturally wants to fall, how it is made to be shaped. Or, whichever pose you could take that will give the garment the least amount of creases.

I’ll actually talk about the green first; this is a representation of the hip box, which itself is a representation/simplification of your whole pelvis area. You see how your legs and hip box oppose angles here. in almost all poses except standing straight, your hip box and legs will create a bent angle, which affects how clothes fall.

The red/blue is the skirt (obvs), the red specifically is the ellipses of the top and bottom openings of the skirt. This skirt is very stiff material for the sake of this example, so notice how the two ellipses always match eachother. the top ellipse is where the skirt is actually attached to the body, so it’s the boss; the bottom ellipse will more or less do exactly what the top one does.

here’s where the fact that the legs and hip box are at different angles becomes important. The top of the skirt is attached to the hip box, but the bottom ellipse is in the realm of the legs. The orange lampshade shape diagram there is a simplification of this. It is very much like if you were to tilt a lampshade. The side you are bending towards will hug the body and create creases. The side you are bending away from will fall off the body in a straight line.

It even works with pants, though as the bottom ellipse(s) gets farther away from the top there’s more room for the garment to get distorted by gravity, perspective, and bent knees and such. But with this last example you can really see how the side touching the legs really hugs the body underneath, whereas the other side hangs off of it in a straighter, crease-less line.

Dresses are a little different because their top ellipse is attached to your torso/ribcage mass rather than the hip box.

Much of the time you get the same result as with a skirt. However if the hip box and ribcage mass are opposed sideways rather than forward or backward, it becomes a little tougher:

You can see in the third drawing how a shirt and a skirt together would fall in opposite ways if your body is bent sideways. If the shirt is long, just like I mentioned above about the long pants, there is more distortion of this effect.

I’ll take what I said above, “The side you are bending away from will fall off the body in a straight line”, and add a bit to the end: “… until it hits something.” In the fourth drawing above, the garment is falling off the body in a straight line on the right side. If you lengthen the garment:

The straight side continues down as normal until it hits the leg and becomes the body-hugging side. in response to that, the body-hugging side from farther up becomes the straight side when it falls off the hip.

Aaand with that I think I’ll stop lol. I hope that wasn’t hard to understand. It’s easy to do yourself, just wear a skirt or some loose pajama pants and take hula poses in the mirror lol.

For all of you who have been longing for ME to make a tutorial about clothes, I truly recommend you to read this post. Since it covers the area in clothing that many other tutorials never mention, clothing is more than just “drawing folds and wrinkles”, it’s about knowing how the design and the behavior of our bodies affect it.

So yeah.

Read this. Please. It’s so easy explained.

Get on my blog, useful information.

simonist: Cloth tutorial - the basics- by Jane Mere There is...

charlesfosterofdensen — Tue, 05 Feb 2013 17:53:00 -0500

simonist:

Cloth tutorial - the basics- by Jane Mere

There is much more information at the source! She is also going to do more tutorials in the series on drawing different types of cloth, sketching types of clothing, and using references properly.

fy0ra: swooningsenorita: turntechlongbottom: drawing wings on...

charlesfosterofdensen — Tue, 05 Feb 2013 17:50:30 -0500

fy0ra:

swooningsenorita:

turntechlongbottom:

drawing wings on humanoids tutorial

seriously the best goddamn tutorial i’ve EVER FOUND goddamn

thought maybe my good omens bros would appreciate it?

THE FULL TUTORIAL IS TOO BIG FOR TUMBLR SO CLICK HERE TO SEE IT

This one’s really good too…

omfg i NEED THIS

nicoception: mikidii: boondoggleprospect: skintone...

charlesfosterofdensen — Sun, 03 Feb 2013 23:18:20 -0500

nicoception:

mikidii:

boondoggleprospect:

skintone palettes

Oh hell yes

god bless

—

morbi: whitepool: abstractcactus: scarfu: archaicmodernist: ...

charlesfosterofdensen — Sun, 03 Feb 2013 23:15:56 -0500

morbi:

whitepool:

abstractcactus:

scarfu:

archaicmodernist:

katoyuu:

風で髪なびきアニメ下書き　風になびく旗や布、髪はこんな風にして丸にそって動かすといいそうです… on Twitpic

Wow, this makes folds and wind blown things a lot more clear!

Oh wow I was looking for something like this lately oAO

Oh Christ reblogging this for myself.

OH…

Gosh it’s like magic

medacris: Incredibly useful advice. Heels can be tricky!

charlesfosterofdensen — Sun, 03 Feb 2013 23:14:09 -0500

medacris:

Incredibly useful advice. Heels can be tricky!

youngartist-city: Beep beep~ My feet feet. I like this tutorial...

charlesfosterofdensen — Sun, 03 Feb 2013 23:11:00 -0500

youngartist-city:

~~Beep beep~ My feet feet.~~

I like this tutorial for feet! Easy to understand :)

- Nina

ionosphere-negate: Crystals Progress Tutorial andCrystal...

charlesfosterofdensen — Sun, 03 Feb 2013 22:59:10 -0500

ionosphere-negate:

Crystals Progress Tutorial
and
Crystal Progress
respectively

Both by *Pikishi

-

I saw some tutorials for crystals on my dash, so I though I’d share these, since I remembered them.

coelasquid: fox-orian: Click the image to go to the fullsize!...

charlesfosterofdensen — Sun, 03 Feb 2013 22:37:23 -0500

coelasquid:

fox-orian:

Click the image to go to the fullsize! Easier to read.

A big ol’ tip on drawing cities from street-level. The drawings are pretty crude, (I did them very fast,) but I think they get the point across :) I’m sure some streets like in the first example actually exist in the world, but why would you choose to draw something so boringly bland?

Hope it helps you out!

weh I have so much to learn on in the “drawing cities” front. I always try to push myself to do better, but I can never quite stage my sidewalks right. I blame it on growing up in a town with no sidewalks or buildings higher than two stories.

wannabeanimator: Requested by gabapple 35 Tutorials on How to...

charlesfosterofdensen — Sun, 03 Feb 2013 22:33:31 -0500

wannabeanimator:

Requested by gabapple

35 Tutorials on How to Draw Hands

The Helpful Art Teacher: How to Draw Hands

Varying Your Body Types

charlesfosterofdensen — Sun, 03 Feb 2013 18:10:59 -0500

50-shades-of-yusei:

dredsina:

By me, Sara D. (Heh.)

I think it’s very important for artists to vary the types of bodies they draw! Not only does it add visual interest and diversity, but different body types can enhance your characters! (Plus it’s more realistic; when was the last time you walked down the street and everyone had the same body type?) I know I have a hard time drawing different bodies, especially with men, so I’m making this tutorial to teach myself as well (I’ve heard the best way to cement learning something is to teach someone else).

So! Bodies! I’m going to use women for this tutorial because I feel they have more variety in their bodies. One of the most obvious ways bodies differ is in their amount of fat.

[Click here for full size]

On average, people store fat mostly in core areas like the bust, the waist, and the hips. It is important to remember that people gain and lose weight differently, and this is true no matter how fat or skinny one gets. However, these are common places people store fat:

The face and neck can be immediate indicators as to how much fat the rest of the body has; when someone loses or gains weight, it’s initially obvious in the face. This is possibly because the eye is (usually) drawn first to the face.

In addition to differences in the amount of body fat, bodies vary vastly in their proportions. The two main ways they differ is skeletally and in fat distribution. The hip to shoulder ratio is skeletal, and someone with wider shoulders might look more powerful or masculine, and someone with wider hips might look more grounded or feminine.

The torso to legs ratio is also a skeletal ratio. Someone with long legs in comparison with their torso might look taller than someone of the same height with a long torso, and they might also look skinnier.

(I say as I finally get some visual variety all up in here.)

Because the hips are also one of the places with the most weight gain in women, large hips can also be a matter of fat distribution. The three main places where the fat ratio really matters is in the bust, the waist and the hips (making up the core of the body).

While men usually carry weight in the belly area, the fat distribution can really vary with women. Some women carry more weight in the bust, some in the belly, and some in the hips/thighs. Some women carry more weight in two areas, like the bust and the hips, the bust and the belly, or the belly and the hips. Some women show no obvious bias to any area and carry weight equally.

[Click here for full size]

Taking into account skeletal ratios, fat distribution patterns, a vast human weight range, muscle tone and age, there are endless permutations of body types. It would be a shame if you used only one!

Oh, and that first image looks really interesting as a gif.

omg, reference that I need

a neat perspective trick that you should know

charlesfosterofdensen — Sun, 03 Feb 2013 18:08:40 -0500

halleybutt:

halleybutt:

say you drew a box and you want this box to become, I don’t know, a building:

and you want to divide the sides of the box in half, so you can know where to put the windows and doors and whatever! if you eyeball it, you’re probably going to miss the halfway point, and it will look stupid:

that is incorrect. if you want to bisect a side of a box in perspective, try doing this instead:

1. draw x’s connecting the corners of each side of the box

2.draw a line through the exact center of the x’s, running parallel to the edges of that side

3. that’s it. now you have perfectly bisected sides, so you know where to draw your doors or anything else that this box might have on it.

but that’s not all!

you can do the exact same thing to the new faces you created, if you want to divide the sides up further.

sploosh

keep going!

you can draw so many doors or windows or anything! I don’t care what you draw, it’s your box.

this is one of the best time-saving tips I’ve ever come across. do you need an entire perspective grid? the x method has you covered!

let’s make a simple one-point perspective grid:

draw a square, figure out where the center of vision will be (hint: for one point perspective, it’s always smack dab in the center of the side facing you).

draw a bigger square around that square.

connect the corners of these two squares, so it looks like an open box.

USE THAT X-METHOD

MORE SUBDIVISIONS

DRAW LINES THROUGH THE CENTER OF THE X’S TO GET YOUR VERTICAL AND HORIZONTAL GUIDES

NOW DRAW YOUR DIAGONAL GUIDES (the corresponding sides of your two squares must be divided equally, into an equal number of segments. connect these segments to get your diagonal guides).

baby you got a stew going!

the x-method might not be 100% correct in every case, but it’s great for just getting stuff done and making it look right. I made that entire one-point grid in under ten minutes. now if I want to draw a room, I have easy-to-follow guidelines and they only took a little bit of time to make.

the x-method comes from Perspective! for Comic Book Artists, which you should read because it is amazing. read the shit out of it.

okay this got too many notes and I got the notification for every single one of those notes so everyone who liked/reblogged this better use it forever and often or I will be so pissed

very helpful art resource

charlesfosterofdensen — Sun, 03 Feb 2013 18:06:24 -0500

very helpful art resource:

marcelinedrawsooo:

I stumbled upon a website that allows you to blend any colors evenly no matter how opposite on the spectrum they are.

sharing the knowledge

Eight bad characters

charlesfosterofdensen — Sun, 03 Feb 2013 18:03:22 -0500

fuckyeahcharacterdevelopment:

shannahmcgill:

1. The Foreknowledge Fiona. The Foreknowledge Fiona has vast stores of intuition that are never wrong. She just knows to hide information from somebody who’ll turn out to be a bad guy later on. The giant monster’s weak spot is easily guessable for her. All of the author’s knowledge about the plot is hers to command. It often manifests itself in little impulses that always work out.

2. The Solver Sarah. If there’s a puzzle that a large tribe of people have been working on for thousands of years, expect the Solver Sarah to stumble upon the answer with no help in an hour. This might be acceptable once, but the Solver Sarah will then proceed to find the culprit behind a string of murders all by herself. She seems to be a staple of detective series. Remember: the more people who are working on finding something, the less likely your protagonist will be the one to do so.

3. The Obsessed Oswald. The Obsessed Oswald is only bad in a cast of similar characters. The author has decided that when they give a character a trait such as “likes cereal,” the character must then love cereal with a passion. Everything the Obsessed Oswald likes, he loves. Everything he dislikes, he hates. It’s fine to have one character like this, but the Obsessed Oswald usually likes to bring his other obsessed friends along for the ride.

4. The Correct Carl. The Correct Carl lives only to give sage advice. The magical sage advice he gives is always right. When characters follow the Correct Carl’s advice, it works out well for them. When they don’t, they get in trouble. Unless you’re writing about Jesus himself, nobody is going to give the right advice 100% of the time. The Correct Carl is at his most annoying when he works as a relationship counseler or matchmaker.

5. The Quiet Quinn. There is nothing at all wrong with having quiet, introverted characters. To accurately represent humanity, some of your characters should be quiet. The problem arises when you portray introversion as inherently better. The Quiet Quinn is always smarter than his loudmouth companions. He’s able to notice things that they miss. He’s more polite and more caring. Often, the Quiet Quinn will only really open his mouth when there’s a wise figure around to ask questions to, because the Quiet Quinn is also more curious than those idiot extraverts he has to put up with.

6. The Dark Damien. The Dark Damien tries to fit the dark and brooding character profile, but he doesn’t actually have anything to brood about. His past was pretty nice. Instead of just cheering up because he has a pretty good life, he broods about philosophy. This is always a bad idea. If your character broods about philosophy and has a bad past, that’s fine. If it’s just philosophy, you’ve created a Dark Damien. Unless you go to great lengths to portray him as just a whiny emo, you’ll create an annoying character who’s really hard to like. People can sympathize with a whiny emo. Many people were whiny emos at one point. I don’t think there’s anybody who can sympathize with a legitimate, serious dark and brooding character with nothing to actually brood about.

7. The Evil Ella. The Evil Ella doesn’t just run an evil empire and hate the heroes. She also steals pocket change and draws dirty pictures on bathroom walls. The Evil Ella is rumored to be a cannibal as well, and she keeps a whole room full of small, furry animals just so she can punch them when she feels bad. There comes a point when if you made your bad guys do any more bad things, they’d become funny instead of scary. This is to be avoided.

8. The Dialog Diana. Oh, no! There’s a battle happening, but nobody’s around who’s not fighting so that it can be talked about! Call the Dialog Diana! The Dialog Diana is like a second narrative voice. She talks about all of the stuff that should be conveyed in the narrative. The Dialog Diana voices her opinions on everything, right as it’s happening. She turns books into plays.

The follower of the day is mayoremanuel.

This is from an awesome writing tips blog that I make.

mindfangfoundthetardis: thearcanetheory: Useful for steampunks...

charlesfosterofdensen — Sun, 03 Feb 2013 17:57:21 -0500

mindfangfoundthetardis:

thearcanetheory:

Useful for steampunks who are trying to get that aged metal look. Brass doesn’t stay shiny!!

oooh that last tin one is pretty!