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在introduction to pencil drawing這個產品中，有3篇Facebook貼文，粉絲數超過4萬的網紅Bcny's ART，也在其Facebook貼文中提到， 千紫萬紅 神便鬼毒－建議搭配酒吞童子使用寶具的聲音！ 特別為了作海報而畫，也是由鉛筆稿開始畫起，效果意外不錯♥ 鉛筆稿收錄在新刊封底和最尾頁。 這張海報也會在FF31/CWT48販售 : 3 這張畫的Pixiv頁面，包含鉛筆線稿： https://www.pixiv.net/member...

introduction to pencil drawing 在 Bcny's ART Facebook 的最佳解答

Bcny's ART By Bcny's ART

2018-02-07 22:51:42 有 1,396 人按讚
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千紫萬紅 神便鬼毒－建議搭配酒吞童子使用寶具的聲音！
特別為了作海報而畫，也是由鉛筆稿開始畫起，效果意外不錯♥ 鉛筆稿收錄在新刊封底和最尾頁。 這張海報也會在FF31/CWT48販售 : 3

這張畫的Pixiv頁面，包含鉛筆線稿：
https://www.pixiv.net/member_illust.php…
網誌上的新刊、套組與壓克力立牌介紹
Introduction of the upcoming artbook and its related merchandises.
https://goo.gl/dS8n2a
個人商品介紹與訂購 Ordering goods from my website
http://www.bcnyart.com/2183021697-shop.html

Multitude of Colors - Providential Oni Poison ——"Ahh... to the marrow of your bones, it's all mine...” It's the best to listen to its sounds from the game while watching this illustration. This work was also started from a pencil drawing on the back cover of my upcoming artbook. I drew it exclusively for the poster which will be available on FF31/CWT48!

#酒吞童子 #寶具 #FGO #FF31 #CWT48

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Hi, this is B.c.N.y., a freelance illustrator. Welcome to contact me via message or email. 嗨，我是B.c.N.y.，自由插畫家。歡迎經由訊息或E-mail連絡我。 https://bcnyart.deviantart.com/
自由插畫家 Freelance Illustrator ✦接受繪畫委託，主要為插畫與人物設計。 相關合作請寄至[email protected]
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introduction to pencil drawing 在 มติพล ตั้งมติธรรม Facebook 的精選貼文

มติพล ตั้งมติธรรม By มติพล ตั้งมติธรรม

2014-09-10 14:26:08 有 9 人按讚
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ภาพสเก็ตช์ของหอดูดาว Palomar ได้เห็นภาพเก่าๆ ลายเส้นแรเงาแบบนี้ มันก็ดูขลังไปอีกแบบนะครับ

กล้อง Hale Telescope ของ Palomar Observatory เคยเป็นกล้องโทรทรรศน์ที่ใหญ่ที่สุดในโลกระหว่างปี ค.ศ. 1948-1976 และเป็นกล้องที่ใหญ่อันดับสองในเวลาต่อมาจนถึงปี ค.ศ. 1993

Russell Williams Porter (1871 – 1949) was an American artist, engineer, amateur astronomer and explorer. He was a pioneer in the field of “cutaway illustration" and is sometimes referred to as the "founder" or one of the "founders" of amateur telescope making."

In 1927 George Ellery Hale recruited Porter to work on the design of what was then to be the largest telescope on earth, the 200-inch (5,100 mm) Mt. Palomar telescope. Porter moved to Pasadena in December 1928 to work as an associate in optics and instrument design. During the conceptual development of the telescope Porter produced extremely detailed cutaway drawings that were noted for their precision and beauty. Porter's designs were vital to success of the large telescope, which was completed in 1948.

The following was written by James S. Fassero, a colleague of Russell W. Porter's at Caltech, and is from the introduction to Fassero's 1947 book of Porter's cutaway drawings Photographic Giants of Palomar:

Dr. Russell W. Porter, well known to amateur telescope makers the world over, made this fine collection of drawings possible by his ability to faithfully portray mechanical objects in perspective. With pencil and paper he was able to "cut away" sections of the telescope to show the inside details; something which cannot be done with a camera. His artistic and mechanical abilities have combined to produce a set of drawings which have proved of indispensable value not only to the laymen but to all those who already are familiar with the instrument. Dr. Porter is shown here working on one of the drawings in this book.

Maxfield Parrish, celebrated fellow artist had this to say of the Porter drawings: "If these drawings had been made from the telescope and its machinery after it had been erected they would have been of exceptional excellence, giving an uncanny sense of reality, with shadows accurately cast and well nigh perfect perspective; but to think that any artist had his pictorial imagination in such working order as to construct these pictures with no other mechanical data than blue prints of plans and elevation of the various intricate forms -- is simply beyond belief."

"These drawings should be in a government museum of standards, in a glass case, along with the platinum pound weight, yard stick, etc., to show the world and what comes after just what a mechanical drawing should be. Not only that, but the rendering is a work of art, exact and life like, and done with delightful freedom of technique."

"I doubt if there are drawings anywhere which can in any way compare with these for perfection in showing what a stupendous piece of machinery is going to look like when finished. Their creation should be world news."

Some of R. W. Porter's drawings:

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introduction to pencil drawing 在 YOSHITOMO NARA Facebook 的最佳貼文

YOSHITOMO NARA By YOSHITOMO NARA

2013-03-29 20:34:22 有 134 人按讚
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Nobody’s Fool　　( January 2011 )

Yoshitomo Nara

Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.

It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.

But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.

While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.

As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.

In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.

Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.

Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!

I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.

Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.

By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.

After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.

And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.

Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.

But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.

The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.

Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.

After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.

Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.

After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.

I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….

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#45. Introduction to Drawing - Book One : Pencil - Still Life (Simple ...

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#46. Video Tips: Drawing with Pencil - BOTANICAL ART & ARTISTS

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#47. What exactly is a pencil? - Reidinger.de

It is a writing and drawing utensil, mostly lacquered in the same colour as the lead. Coloured pencils are used as colouring pencils for children, artists' ...

#48. Introduction to Colored Pencil - Lewis Ginter Botanical Garden

Introduction to Colored Pencil. Learn the skills and techniques of colored pencil drawing: layering, blending, burnishing, embossing, under-painting, ...

#49. The Complete Pencil Drawing and Shading Course for ...

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#50. Introduction to Pencil Drawing - Deem-It Directory

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#51. INTRODUCTION TO BOTANICAL DRAWING: COLORED ...

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#52. 1 Introduction to Pencil Drawing - Paint Basket

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#53. Drawing in Focus: Learn to Draw in Pencil

A portable skill you can do anywhere. A step by step beginners drawing class teaching you the basics of observational pencil drawing. Includes seeing and ...

#54. Introduction to Classical Colored Pencil Painting

MODULE 01. How To Plan & Compose A Line Drawing. Creating highly realistic art begins with a strong foundation of accurate proportions. In this module you ...

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#56. Introduction to Drawing - Google Arts & Culture

Introducing the art of drawing. ... This could be an ink pen, a pencil, a finger in wet clay, a piece of charcoal, an oxidising silver stylus or digital ...

#57. Colored Pencil Instruction - Art is Fun

Colored pencil techniques · stippling - Stippling involves placing lots of tiny dots on your paper. · hatching - Hatching involves drawing a series of parallel ...

#58. BEGINNERS BOTANICAL COLOURED PENCIL DRAWING

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#59. The art of drawing in lead pencil

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#60. Introduction to Graphite Pencil and Charcoal

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#62. A beginners guide to Graphite pencils - STEP BY STEP ART

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#64. Pencil Drawing Techniques - PDF Drive

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#65. Best pencils for sketching - Artists & Illustrators

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#66. Introduction To Pencil Art.. - ppt download

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#67. The Art of Colour Pencil: An Introduction

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#68. Pencil Drawing Made Easy Full Review - Martel Fashion

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#69. Very Easy Pencil Sketch Drawing in books | chapters.indigo.ca

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#71. Introduction To Portrait Drawing with Coloured Pencil ONLINE

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#72. Drawing Pencils to Use for Realistic Drawing

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#73. Graphite pencils for pencil drawing - india-art blog

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#74. Introducing Graphite and Blind Drawing - AccessArt

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#75. Introduction to Drawing - SlideShare

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#76. Introduction to Colored Pencil Drawing by Masaru, Torino - eBay

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#77. Colored Pencil Drawing designs, themes, templates ... - Dribbble

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#78. Combining sketch and tone for pencil drawing production

Keywords: pencil drawing, non-photorealistic rendering, tonal drawing. 1 Introduction. Pencil drawing is one of the most fundamental pictorial languages.

#79. Color Pencil Drawing Tutorial - Lazada Philippines

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#80. The Common Graphite Pencil in Art | Art News by Kooness

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#81. Importance of Pencil Shading

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#82. Best pencils for drawing and sketching | Creative Art Courses

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#83. Are Pencil Sketches a Thing of Art History? - Widewalls

The ability to draw was seen as the first and an essential skill of any artist. The pencil sketches and the elaborate drawings that develop from ...

#84. Introduction to Pencil Drawing Supplies and Techniques

Eraser Pencil – These are wonderful for getting into small areas of your drawings. They can also be sharpened like ordinary pencils. Fixatives – ...

#85. Pencil drawing: Learn to sketch with pencil - Adobe

Why start with pencil sketches? The idea of preparatory sketches is a tale as old as art. While graphite pencils weren't available for artists until the ...

#86. Pencil Drawing - A Beginner's Guide - Freebies 4 U.net

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Figure Drawing for Beginners ... Introduction to Digital Drawing ... Whether you are a absolute beginner at drawing or have many years of art experience, ...

#90. Apple Pencil

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#92. Dessiner Des Portraits Pdf - Social Finance

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#93. Rendering In Pen And Ink The Classic On Techniques For ...

introduction for people interested in making their own comics. Original. ... by-step illustrations that progress from pencil sketch to ink outline.

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