Here's about newpaper in Club Penguin.
Hey everyone! Screen Hog has posted on the Club Penguin blog about how long it takes to make a Club Penguin Times Newpaper. He says that there’s sketching, drawing, coloring, writing, joke and riddle collecting, and a lot of other stuff that goes into every single newspaper in Club Penguin. It’s a lot of work! Here is a picture of Club Penguin being drawn out:
2. Make a list of information you’ll need from partners as you are reading the RFP or very soon afterward. Your partners will be able to respond to your needs more quickly if you give them a checklist that they can easily follow. When you have 30-45 days to work, you can develop that list collaboratively, but with a deadline of 2 weeks or less, you simply don’t have the time.
3. Get the partners together quickly to agree on a program design. You can do this through an in-person meeting or a conference call, but assemble as many of the project partners as quickly as possible so you can reach agreement quickly on a project design.
4. If letters of support or Memoranda of Understanding (MOUs) are needed, start gathering the as soon as you have decided on a program design. In a normal grant development process, you have the luxury of developing the narrative first, but when the process is accelerated, you need to develop narrative and gather letters concurrently.
5. Develop a budget and the program design at the same meeting, if possible. People usually want to walk away from the program design meeting to work on the budget later, but it will be very helpful to you if you are able to agree on the budget – at least in general terms – at the same time that you talk about the project design. Try putting up some butcher paper and sketching the budget as the design conversation progresses.
Preparing a large grant application in 2 weeks or less can be a challenge. These tips can help make the task a little easier.
This is ten tips to design logo.
1. A logo doesn’t need to say what a company does
Restaurant logos don’t need to show food, dentist logos don’t need to show teeth, furniture store logos don’t need to show furniture. Just because it’s relevant, doesn’t mean you can’t do better.
The Mercedes logo isn’t a car. The Virgin Atlantic logo isn’t an aeroplane. The Apple logo isn’t a computer. Etc. Etc.
2. Not every logo needs a mark
Sometimes a client just needs a professional logotype to identify their business. Don’t be afraid to ask what they think.
3. Two-way process
Remember, things might not always pan out as you hope. Your client might request something you disagree with. If that happens, try giving them what they want, then show them what you believe is an improvement, and why. They’re less likely to be so resistant if they already see how their thoughts pan out.
4. Picasso started somewhere
You don’t need to be an artist to realise the benefits of logo sketching. Ideas can flow much faster between a pen and paper than they can a mouse and monitor.
5. Under-promise, over-deliver
If you’re unsure how long a task will take to complete, estimate longer. Design projects are like construction work — you piece lots of little elements together to form a greater whole, and setbacks can crop up at any time.
6. Leave trends to the fashion industry
Trends come and go, and when you’re talking about changing a pair of jeans, or buying a new dress, that’s fine, but where your brand identity is concerned, longevity is key.
Don’t follow the pack.
Stand out.
7. Work in black first
By leaving colour to the end of the process, you focus on the idea. No amount of gradient or colour will rescue a poorly designed mark.
8. Keep it appropriate
Designing for a lawyer? Ditch the fun approach. Designing for a kid’s TV show? Nothing too serious. I could go on, but you get the picture.
9. A simple logo aids recognition
Keeping the design simple allows for flexibility in size. Ideally, your design should work at a minimum of around one inch without loss of detail. Look at the logos of large corporations like Mitsubishi, Samsung, FedEx, BBC etc. Their logos look simple and are easier to recognise because of it.
10. One thing to remember
That’s it. Leave your client with just one thing to remember about the design. All strong logos have one single feature to help them stand out.
Not two, three, or four.
Developing proficiency in classic hand sketching, however, is foundational to a deeper understanding of key visual elements like depth, proportion and scale. This is why many, if not most, professional interior design programs involve classic drawing course work.
My online interior design school experience proved to be no exception. The good thing is that even if you’re not naturally adept at drawing (like me), you will become proficient as you work at it. Practice really does make perfect when it comes to interior sketching.
The combination of line, light and shadow are used to build up an interior design sketch. A mastery of these elements used in correct scale and perspective will help you achieve results that you can present to a client as a professional designer, providing insight on what your interior proposal will look like. Many people find it hard to imagine a room scenario without the aid of drawings. Visuals are a very important aspect of the interior design field.
A key to good sketching is to observe something as it really is and to get beyond preconceived notions about how the object should be represented. As a child you probably learned to draw things in symbol-like ways. As a result, when attempting to realistically draw a table or a chair for example, you might find it tough to overcome the cliché images long established in your brain and draw what you really see. Retraining the brain can be a hurdle, but I’ve found it’s a hurdle that can be overcome if you study and practice diligently.
Sketch Tip:
• To help train your brain to see a composition as it really is, try this sketch tip. Take a basic line drawing of a person or object, turn it upside down, and then attempt to draw it on sketch paper. Turning the subject image upside down helps to remove the preset format in which your brain is used to seeing the object. You should find that it’s easier to focus on the lines of the drawing as they really exist and not get side tracked with a mental caricature. By the way, if you're looking for good quality drawing supplies I recommend these sketch sets at Dick Blick. (Note: Link opens in a new window)
In addition to line, a drawing composition can be defined through the interaction of shadow and light by means of positive and negative space.
Imagine you are drawing a table against a blank background, for example. Think of the table as inhabiting positive space while the empty area around it is negative space. You could sketch the image of the table by focusing on the outlines of its physical form (positive space), or you could build up the image by shading the blank area (negative space) around the table instead. The light area will then be in the shape of the table by default.
There are many facets to becoming good at interior design sketching. What I’ve mentioned only scratches the surface of the broader subject.
In any fine drawing course you will surely cover topics like scale and proportion as well. Can you see how good understanding and application of these elements is critical to a realistic rendering of an interior? Imagine the converging lines of a long hallway, or the variation in furniture size across a living room space from near to far. The concepts of perspective and scale are critical to getting the image right. This interior hallway is a sample of my work with perspective after learning some basics.
When working to develop the skills needed for good interior design sketching, it’s good to have an instructor or fellow classmate critique your work. This will help you correct aspects of your technique that need refinement. Eventually, your hard work will pay off in your design career as you bring beautiful interior scenes to life for your clients.How to sketch trees?Let's check this out.
Sketching trees is not difficult at all, but you need to learn a few basic techniques to do it right.
Because trees form one of the most important elements in landscape painting, you should spend some time stuyding them.
While it is not necessary for you to be able to identify every tree by name, you should become thoroughly familiar with their characteristics before you can sketch trees effectively.
Their anatomy can be more thoroughly studied in the late autumn or winter when they are bare of leaves.
A typical example is the difference in the trunks of trees.
Generally a fast-growing tree is much straighter than a slow-growing one.
Notice how the branches leave the trunk, so that you will have some knowledge of what is taking place when you paint the tree in full leaf at a later date.
Part of the "how to sketch trees" process involves taking notes when the trees are bare. That will help you understand how the masses or clusters of green leaves are formed by the under-structure.
Try to see the entire tree as broadly as possible.
After indicating the largest masses, look for the secondary forms within these masses.
Disregard the leaves. Squint your eyes so that you see only the general masses.
Keep the mass effect in mind at all times when you are painting in color.
Choose a time of day when the light and shade areas are clearly visible, to help you to define the big shapes.
When sketching trees, avoid the obvious green used by inexperienced painters.
Study the clusters of trees before you, noticing how some are more bluish than others.
Observe that what at first seemed to be a definite green in a neighboring tree really has a yellowish cast, while another may run to more brown.
Exaggerate these colors when you apply them to the canvas, and it is surprising how readily your eye will accept them as an interesting group of trees.
Your first efforts may contain some raw color but you will soon learn to modify it.
By using this approach in sketching trees you will avoid the deadly monotony of obvious green.
Study a branch in your studio. Take special note of the angles of how the smaller branches leave the larger one.
Note the gradual tapering toward the ends of the twigs.
To sketch a tree, add a decorative note to the subject by composing a painting so that the trees form a frame.
The spots of sky that are seen breaking through a tree are often painted too light.
When we look at these spots and see them enveloped by dark green leaves the contrastoften exaggerates the light that penetrates.
In order to keep these spots from "jumping out" of the tree, paint them in a slightly lower key than the rest of the sky.
The smaller the spot, the lower the key.
When sketching a group of trees, look for a light tree against a darker tree to add variety to the scene.
You will find it helpful to draw a tree as it grows, from the base upward, from trunk to branch to twig.
The area that it is to occupy can be lightly indicated, but when doing the actual drawing start at the base working upward and outward to the tips.
Try to convey the feeling that the base of your tree is really growing out of the ground, with its roots gripping the earth.
Many beginners paint their trees as if they were upright logs, cut sharply and flush with the ground.
Avoid painting a clear, definite line where the tree meets the grass; soften the edge instead.
Notice how the grass is reflected upon the tree trunk and paint some of this greeninto the trunk.
An excellent "how to sketch trees" exercise is to make as many compositions as possible using the same tree as a motif.
You will learn how a tree can be a complete composition in itself, how the tree can influence the foreground, how it can become asubordinate element in a vista, how it can guide the eye to the middle ground or the distance. All of these points are essential when learning how to sketch trees.
Mistakes are frequently made in drawing the branches emerging from the main limbs.
Remember that the branches grow in different directions from the limbs.
Simplify the modeling of the trees as they recede by limiting the tonal range.
Watch the edges of your foliage; a sharply defined edge comes forward and a soft edge recedes.What is sketch?
A sketch (from Ancient Greek σχέδιος - schedios, “‘made suddenly, off-hand’”, from σχεδιάζω - schediazo, “‘to do a thing off-hand’”[1]) is a rapidly executed freehand drawing that is not intended as a finished work. If in oil paint it is called an oil sketch. In general, a sketch is a quick way to record an idea for later use. Artist's sketches primarily serve as a way to try out different ideas and establish a composition before undertaking a more finished work, especially when the finished work is expensive and time consuming (as in the case of a large painting or fresco). Sketching sharpens an artist's ability to focus on the most important elements of a subject and is a prescribed part of artistic development for students.
Dry media such as pencil or pastel are often preferred due to time constraints, but a quickly done watercolor study or even quickly modeled clay or soft wax can also be considered a 'sketch' in the broader sense of the term. Graphite pencils being a relatively new invention, the artists of the Renaissance could make sketches using the expensive method of a silver stylus on specially prepared paper (known as silverpoint), with results similar to a modern pencil sketch, or, more cheaply, using charcoal, chalk, or pen-and-ink.
Contrary to popular belief, artists often use erasers when drawing; the eraser may be used to remove rough construction lines, or to soften lines for visual effect. The most commonly used eraser for pencil drawing is the kneaded eraser, which has a soft, sticky surface that enables the artist to lift the graphite or charcoal from the drawing surface without smudging. White plastic erasers can cleanly erase line work, but tend to smudge heavy shading.
The sketchbooks of Leonardo da Vinci and Edgar Degas are two examples of many done by famous artists which have become art objects in their own right, although many pages show more thoughtful studies rather than true sketches.
The ability to quickly record impressions through sketching has found varied purposes in today's culture. Courtroom artists are usually sketchers. Sketches drawn to help authorities find or identify wanted people are called composite sketches. Street performers in popular tourist areas often include artists who sketch portraits within minutes.
A sketch method of reproducing photographs is done with a photographic enlarger in a dark room. The negative image is projected on the paper where the sketch is to be done. All the light shades are penciled until the paper is all the same shade.
Above are 5 tips to be a better artist.
Becoming a good artist takes years of dedication, passion, energy and time. There are no short cuts but here are some tips to send you in the right direction.
Tip 1: Learn the Importance of the Sketch
Sketching is one of those things that every artist MUST do and do often. Sketches don’t have to be perfect, nor do you have to show them to anyone. They can be as rough or as scratchy as you like but the thing to keep in mind is it’s readability. The purpose of a sketch is to quickly illustrate or develop an idea you have, to capture or study some form of reference so that it can be worked on at a latter date. Because of this, the sketch only needs to convey the right information to you and you alone (unless you are drawing an idea out for a client then the message needs to be crystal clear).
Tip 2: Draw, Draw and Draw Some More!
This is a similar tip to the first but what I mean by this is draw anything that comes to mind or visually interests you. Sketch on the bus, train, in bed and even on the toilet. Seriously! The more you draw from your mind and from reference, the better you will become and the quicker your skills will develop. Take the time to doodle lots of different subjects and in lots of different environments as this will all help build up a mental cataloge of images to draw upon latter when you may become stuck for ideas or inspiration.
Tip 3: Build a Reference Library
This is a great tip that I learnt from years back. As you begin to fill sketch books with illustrations of ideas and reference material, you should build up that stack of books with more books. By this I mean buying art books, books on clothing, guns, tanks, other cultures, animals etc. The list of what you should look into is endless and should extend beyond your general interests. But it mustn’t stop there. You should also collect images off of the internet and save them to your computer and organize them correctly. Take photos of things you see if you don’t have time to sketch them. The purpose is to have a nice big collection of images that inspire you, inflame your imagination and, more specifically, if you need to draw something right, having the material there to draw from will add realism and clarity to your work.
Tip 4: Explore Different Mediums
This is when you take an idea from sketch to final painting. Exploring other methods of creating that end piece can really yield some unexpected results and challenge you to push yourself further into new situations. Playing with different types of paints such as oil, acrylic, water colour or gouache are the options most people would suggest trying, but there is more than experimenting with these. You could try air brushing, pastels, using charcoal or taking the leap into the digital realm. All these different mediums have their strengths that you can harness but you will never know them unless you try them out.
Tip 5: Learn Some Colour Theory (At Least)
This is a big one. Colour theory is a massive, massive subject and I can’t do it justice here. What I would strongly suggest is investing time and money in a good colour theory book and learn from that. Even learning only a little bit, will help your work massivley. The more you push yourself to learn, the better and better you will become.
This are the tips about outdoor sketching.
Painting en plein air (on site outdoors) didn't really catch on until the 19th century. Today it is very popular, even in areas where the weather doesn't always cooperate. First-hand observation of the subject is one of the benefits of on-location painting, which may lend a more convincing feeling to your painting or drawing. Here are some tips to help you pack up and go on your outdoor painting excursions. Planning ahead will make your trip a lot more fun and more productive, as well.
The Big Draw, Covent Garden 2007
I try and select somebody who looks interesting and as if they might stay still long enough for me to get the bare essentials down - size, shapes, relationship with the background and, in particular, the horizontals and verticals. I then construct the scene around that person as people come and go. They don't all have to be there at the same time!
Diners at the Club Gascon
#10. This is not an exercise in portraiture. It's worth reiterating that you need to remember that you are sketching and not drawing a portrait or trying to be wholly accurate.Sketchinng water is not difficult if we know the tips.
Ever wondered how to sketch water?. It's not difficult at all, you know? These are some tips that will hopefully help you out when sketching outdoors.
Generally the dark areas of an object reflected in water appear slightly grayed and the light areas a bit darker, because water has a neutralizing effect on all reflected color.
The amount of neutralization varies according lo the intensity of the source of light. It will be more for a dull gray sky than for a bright blue one.
On an absolutely still day the reflection will be mirror-like.
Any breeze that blows, however slight, will cause wavelets that break and distort the shape of the reflection.
If this slight breeze turns into a strong wind the surface of the water is so broken that the ripples become surging waves, completely destroying the reflection.
In the above examples, the top drawing shows how to sketch water on a still day.
The bottom drawing shows how to sketch water on a day affected by wind.
Other things to watch out for when sketching water are:
How to sketch human form? Lets check this out.
What artist hasn't had the urge to draw the human form? But wanting to draw it and actually accomplishing a realistic version are two separate things, unfortunately.
But there is help! This article is here to cover all the basics, from the proportions of the human body to how to find subjects.
The human body comes with easy to follow standards to use as a guide when drawing. The human head can be used as measurements for the body. For example, the average male body is 7 1/2 head lengths long. So, you can take the length of the head and multiply it by 7 1/2 and you will come up with the length for the entire body.
The basic rule of thumb is:
Average Male:
Average Female:
On both female and male, the hand is generally as long as the length from the hairline to the bottom of the chin and from the point of the chin to the back of the neck.
This can be hard, most people don't like to be stared at. You really don't have to ask to draw someone, but don't make a show of it. The more covert you are the better. Try getting a back booth at an all-night waffle house and drawing the characters you see there. Or sit on the back pew of a church service. My favorite sketching time is to sit in the parking lot of a shopping center and drawing the people passing. They can't tell you're watch, or drawing for that matter.
When sketching a person you really just want to catch the things that make that person unique. Whether is their quirky smile, loose legged stance, or their unusual attire, you want to cement that part on the page before adding anything else. Humans are flighty, they may not stand still long enough for you to get all of it.
I've known some artist to specifically only draw ballerinas or football stars. As you can see from my sketches above they aren't the same subject over and over. They are of different types of people. This is how you get good. You try everything, not just a the "pretty stuff." Why? Because not everyone is pretty. Most people have lines, wrinkles, bulges, scars, etc. If you want to get good at drawing people, draw real people.
One of the first areas we can look at is the paper you are using. For the sketch above, a smooth 150g/m acid free cartridge paper was used. Nice paper, but it doesn’t add anything to your sketch. I would first recommend using some textured paper. This will help with the lines we draw so they are not so smooth and uniformed resulting in a lot more mood in our sketch.
Line drawing practice
Beginners tend to draw their images with only one or maybe two types of line.. straight and thick & straight. We need to remember that there are so many textures we will need to depict that we will need more than this one type of stroke in our repertoire to really get some sort of feeling in our sketch.
Before you start on your pen/ink sketch try doing some pencil exercises to get you familiar with using different strokes and ways of showing the various parts of say, an old cottage like in our sketch.
Drawing windows can sometimes be tricky. Trying to portray glass can be a challenge. Try the exercise and rather than just drawing the window frames, color the panes darker to give the window depth.
Also, make sure you draw in the window frames, not just a cross.. colored in or not.. this will make your windows much more realistic.
Grass doesn’t have to be just flicks of pencil randomly over an area. Use a series of short upward strokes for “short & trimmed” grass or lots of strokes on mass, with your strokes going up, to the sides and sometimes down to depict nice big clumps of “out of control” grass.
