#But I can neither animate nor do I have the editing software that would be needed to put together an animatic anyway

[therantingsage]

Made some fruity animals out of my siblings to go with Grapey. In case I ever wanna draw family stuff with my sona. Still working on critters for my parents and in-laws but once those are done I'll post them too!!

[dungeonqueering]

LET’S DRAW SOME MFING MAPS pt 2: ANYONE CAN MAP

I have no natural artistic talent, nor skill that I’ve built. Hell, my handwriting is only legible if I make sure to write slow. But I want to have nice maps for the many, many, MANY tabletop games I GM for, so what’s a girl to do? This! In the last post I gave you some examples of where I came from, here I’m giving actual advice, from a person who doesn’t know shit about shit. I literally bought nice pens a few weeks ago specifically for maps, and the last time I touched Photoshop was 13 years ago.

So, if you also want maps and don’t know what you’re doing, or if you DO have artistic talent but want to have a general idea of the mapmaking process, here is MY general process.

First things first: Supplies. At minimum, you will need a pencil and graph paper. I highly advise a pen as well. I have a .5mm pencil, and 4 pens: .7mm, .5mm, .3mm, and .2mm. Personally, I’m a big fan of the Pilot Precise V7 and V5 for the larger pens, but for the smaller ones I’m using some Pigma Microns I picked up at Michaels.

STEP 1: WHAT IS THE DUNGEON

This step is somewhat optional, or can be done later, but may inform your design. Figure out what the dungeon currently is, and if its a ruin, what it used to be. This may be informed by entries in the Monster Manual, but its ultimately up to you. For this example map, I’ve decided it’s an old Dwarven temple space dedicated to Gond. It was abandoned for any number of reasons. I want it to be a low level dungeon, so I’ve decided it’s now inhabited by Goblins and animated objects that the goblins fear. I also want it to have a secret treasure room that neither the goblins, nor any other previous inhabitants since the dwarves, have found.

STEP 2: BASIC OUTLINE

This works for any game system, but I’m assuming we’re using 5th Edition DnD because that’s what’s hot at the moment, and thats the main game I GM these days. So go ahead and do the basic outline in pencil, in whatever way you want. For this, I used the DMG’s random dungeon generation tables because I hadn’t before and I wanted to see how that would do. It’s less compact than, say, a castle or something would be, but it certainly makes sense given that every foot of stone wall is going to have religious carvings on them.

STEP 3: OUTLINE, BUT INK THIS TIME

You will want to ink your outline, and erase any errant pencil lines. If you have multiple pens, ink the lines with the thickest one. Spill a little water on it afterwards because you’re a dummy. Wait, no, that’s just me.

And now CRUCIALLY for one of the later steps that is really going to elevate this dungeon, Double up your dungeon lines in thickness (and go ahead and number your rooms while you’re at it)

STEP 4: HATCHING

This is the step that’s going to give your dungeon that important POP that, regardless of your skill level, is going to make your dungeon look and feel far more professional. There are different types of hatching, but I will be using the kind found here, from Dyson’s Dodecahedron , but there are other ways people do this that look just as good. I just personally like the way Dysonization looks, but there are tons of good ways to do this, and you can definitely come up with your own style, or use them situationaly depending on what genre or location the map occupies.

Anyway, for the Hatching, I personally suggest using your second thickest pen. For me, that’s the .5mm, however I’m going to be using the .3mm because my Pilot Precise .5mm ran out of ink, and I happen to think it looks nicer. Do lots of test lines in the margins, or on scratch paper or whatever suits you. This process will take a while (I will time myself for you) so put on your favorite podcast or music. 

If you look closely, you can see the exact moment I realized I could be in my bed asleep. Lazy hatching aside, this took about 25 minutes.

STEP 5: FILLING YOUR DUNGEON

This is the step where you decide what monsters and loot go where! The room numbering is going to make that far easier. Unfortunately, you won’t be able to see my notes because I usually name the rooms on the original document, like so:

This is also where I would make a document saying what monsters live where.

STEP 6: DETAILING

So I’m not actually going to detail this map, mostly because I am not at all confident enough to put that out there. And you don’t have to! This step is more for the artistic folks. I’m done, this is good, I’m happy. Now you know how to make maps! For advice detailing, I recommend moving beyond Dysonizing your dungeon, and move further into Vulpinizing Your Dungeon. These guides have tips on EVERYTHING including how to do isometric maps, hex maps, and so on and so forth. It is a VERY good guide, and I cannot recommend it enough. But you can do all sorts of things at this stage. You can color it, you can add very fine details, you can do SO MUCH. There are even ways to remove the grid, if you’re savvy with editing software (I am not).

Anyway, that’s the fast and easy way to make maps that look Pretty OK if you aren’t skilled at artistic endeavors. Enjoy!

[juliebalfourhnd2cphoto]

Personal Project

The Lewis Dresser (working title)

The purpose of this project is to produce 10, A3 Fine Art images on a common theme, “The Lewis Dresser”. (15 types of photography genres to pursue as a professional photographer, 2020)

Creative idea: last year during my NQ I took images for my painting with light project of an old typewriter and an uncooked Plaice on a platter. The latter turned out fairly well, but more importantly it sparked within me an enthusiasm and desire to progress in this medium.

The platter was part of a collection that we had “rescued” from my late father-in-Law’s Croft on the Isle of Lewis before its sale, they have no real value apart from sentimental.

The croft is located near the cliff edge, overlooking the sea and is a beautiful windswept location just a few minutes’ walk from the lighthouse at the end of the Island.

As I have wanted to develop the idea further (I jot down potential ideas for projects in a wee notebook that I carry around with me) I have been considering ways I could do this.

Using the large collection of crockery we brought from the island I propose a series of still-life using a painting with light technique. I want to give it a flavour of the isles and as Lewis is known predominantly for its, fishing, weaving and crofting (The Isle Of Lewis, 2020).

My Initial thought was of limiting it to seafood which I would source through a  fishmongers who sell seafood caught from the Loch Fyne area , but in the current climate with shops closing every day, I may have to widen my food sources but keep within the theme of ingredients for traditional Scottish fare. (Redirecting..., 2020)

Technique: during this project I want to develop and improve my painting with light   technique.

As I said previously It is a medium that I have been interested in since it was first introduced to me in my NQ class and it has always been my intention to develop it, but the briefs this year have been fast and furious and opportunities to explore our own projects have been few .

I have been looking forward to this brief and the chance it offers to pursue my own interests.

Research: As part of this project I will expand my knowledge of photographers and artist who have inspired and influenced my work. (How to Plan a Photo Project * Anthony Epes, 2020)

Harold Ross

(PhotoBiography: Harold Ross | International Photography Magazine, 2020)

(MacDonald, 2020)

When painting with light my first thought is Harold Ross, I really admire his work. The way he uses light to accentuate the details of his subject creates stunning, surreal photos. Ross uses a variety sizes and softness of light tools to sculpt the images and builds up his photographic images incrementally building layer upon layer in Photoshop. He describes the process as more intuitive than technical and there is a great deal of artistry evident in his work.

This method requires the subject to be shot in a darkened room, the camera should be on timer and tripod mounted (as you are layering the camera needs to remain in a fixed position and at a fixed focal length.) I find it best to focus your subject in auto and once it is fixed, change to manual. If you try to shoot in auto the lens will move in and out of to focus when you paint the light onto your object.

The room needs to be darkened for this to be effective and I intend to shoot in late afternoon or early evening to avoid the “borrowed light” that comes in through the opening near the ceiling of my studio (if I am unable to access my studio I will set aside an area in the flat to work in).

Ross advises that he shoots tethered and this is something I have never done but I would like to add this to my skills set and will research the method further. I have begun accessing online tutorials and been having discussions about this with other Olympus users on the Facebook group I am part of. (Step by Step Tutorial for How to Shoot Tethered, 2020)

Laura Letinsky  

(Laura Letinsky → THE DOG AND THE WOLF, 2020)

Letinsky is another photographer that I have come to admire since I began studying photography, I love the way she uses light, and the narrative quality of her work. Her compositions, which at first glance seem haphazard shots of the remnants of hurried meals, abandoned dishes, vestiges of parties, are in fact very carefully arranged.

She uses light to pick out every crease, crumb and fragment within the frame, telling us not only what we see in front of us, but what happened before and what will come after. My earlier shots were very tightly focussed on the subject but perhaps there is scope to pull back and tell a bigger picture.

Mat Collinshaw

(Last Meals on Death Row, Texas - Photo Essays, 2020)

Collinshaw is categorised along with Letinsky, and many notable others, such as Paulette Tavormina and Margriet Smulders, as a photographer who can be defined, at least in his still life, as “Vanitas”. (Still Life Photographers Who Give a Fresh Meaning to Vanitas, 2020). That is that the work either through lighting, content or context leans towards works of the old masters of the Dutch and Flemish painters of the 17th century. Messages such as the transience of life and the beauty of nature were intrinsic in these paintings and strong symbolism was seen in the inclusion of skulls, dead animals or dramatic chiaroscuro lighting.

These traits can be seen in the contemporary work of both Collinshaw, and Letinsky, she with her depictions of dead creatures and decaying food and flowers, he with his slightly voyeuristic look into the thoughts of the condemned man and his deeply dark lit photographs.  

There is something slightly morbid about working with a dead creature, particularly in the dark, exploring piece by piece, that I find chilling and it is important to ensure that the beauty of the subject exceeds this, a difficult balance I have found in the past.

Alicide d’Orbigny

(Dance of the Aymara People | Old Book Illustrations, 2020)

D’ Orbigny was neither a photographer nor an artist, he was a French Micro Palaeontologist in the early 19th century. (Alcide Dessalines d' Orbigny | French paleontologist, 2020)

His anatomical illustrations, particularly those of sea creatures are stunning. He not only created biologically accurate depictions but used colours which captured the vibrance and other worldliness that many of these creatures possessed and that caused so many myths to grow up around them.

I came upon one of his images as an illustration in a cookbook that I was gifted and was so struck by the beauty of it that I researched him and found a wealth of beautiful illustrations (sadly my knowledge of palaeontology has made no progress). I cite D’Orbigny as an inspiration for this project as I think painting with light reveals much hidden beauty in subjects such as sea-life and yet retains a realism.

My “ambitious outcome” for this project is that I produce something that is well crafted, beautiful and could be considered fine art. I hope that the images will be finely detailed and that the process through which they are shot adds a dimension to them which cannot be captured in a single shot alone. This is hugely ambitious for one photograph but to produce 10 such images seems unimaginable. It is a very time-consuming process and time is limited but it will be a photography adventure and without doubt a learning experience.

Exhibition

The question “how would I like it to be viewed” is a complex one as ,first and foremost ,this is a personal journey and in a way a homage to the father-in-law I never met but have heard so much of, to his homeland and the place that is held dear in the heart of my husband and his family.

It is also a way of placing a new value on these old and fragile objects imbuing them with fresh life; sentimental and personal.

Alongside this is a need to show progression in my photography skills and my creative ability, both to friends and peers, and finally if the work holds any merit as fine art then I would like to organise a small exhibition.

The campus where my studio is based has an exhibition area which would be ideal for this type of informal exhibition preferably in conjunction with some of my fellow classmates. I have contacted the building’s owner* to check on the viability, the space is freely available to tenants for non-commercial ventures and has dates open for this year. At this stage I haven’t spoken to any of my classmates about it, but I am confident that there would be enough interest to set up a class launch.

*see attached email.

I have given some thought on how I think I would display my work; prints sized A3 and mounted will be printed on Hahnemuble German etching, Hahnemuble photo rag ,or Hahnemuble smooth as I want the images to have a fine art textural quality to them and reduce any shine. I like the textures of each of these products but will obviously make a final decision once the images are edited and optimised.

Technically a good knowledge of the camera, use of lens, depth of field and focal point  and lighting techniques is essential, as is an understanding of the aesthetics of the technique, my skills in this area are adequate but I hope by the end of this project they will be considerably improved.

The main pieces of gear I will be using for this will be:

My Olympus EM1X DSLR mirrorless camera

An Olympus micro 4/3 lens 12- 40 mm Lens

A tripod

Light tools modelled on those demonstrated on Harold Ross’ websites

Black card flags

A reflector

A MacBook air with photoshop software.

Approximate settings: (based on previous shoots)

2.0 secs @ F8.00, ISO 100, focal length 18 mm

This type of shoot is really a solitary activity and, because of current restrictions due to the Corona virus precautions, is one of the main reasons I have chosen this rather than my other plan, I will be able to do it without assistance.

Materials needed;

Workroom which can be darkened.

Small backdrop and base

Seafood – I have already purchased and frozen a selection of this which can be thawed as required.

A selection of Lewis crockery

Consumable items as required, see costs:

Costs –

Backdrops/base materials - 4 backdrops from Black velvet - £36.00

Food products - Fish, meats vegetables                    Approx. £30.00

Printing costs - 10 prints @ £8.00                                             £80.00

Travel                N/a working from home

Misc                   Buffer for incidentals                                       £20.00

Total                                                                                           £166.00

1815 Words.

RISK ASSESSMENT

Project: The Lewis Dresser

Location Name: Home address

Tel:XXXXXXXXXXX

Tick any identified hazard.

o Access (blocked or restricted)            o Dangerous surfaces (slippery, wet)

o Vehicle parking at location                  X Trip Hazards Found

o Dangerous Services (elec/y, water).    o Derelict Buildings (unsafe floors)

X Working in confined spaces              oHazardous Substances (chemicals)

o Flammable Materials                            o Water (proximity to water)    

o Rubbish/Vermin                                     o Machinery (working, turning parts)

o Working at Height                                             o Working on/near roads            

o Driving in traffic                                     o Noise (high sound levels)

o Weapons                                                  o Stunts

o Extreme Heat/Cold                                o Physical Exertion            

o Using animals                                          o Hostile Environment (violence)          

o Special Needs (inexperienced, child, elderly)  o Public/ Crowds

o Other Hazards.

   Please specify

HAZARD SEVERITY - H / M / L  Confined space - Low,  Trip hazards - Low

People at Risk - Who photographer, how many? -1

Likelihood. H / M / L

Risk Control Adequate - Yes / No

Are the precautions proportionate to the overall risk?

Please expand this document as required to properly assess your risk

Details of Activity

Photography, low light photography using darkened room, tripod ,handheld lights.

Set up will be confined to blocked of area of 1 room, wire to be secured using heavy duty tracking.

Confined space in darkened room.

Trip Hazards

Ensure floor is clear of obstacles before switching off lights.

Use of headlamp for safe visibility.

Make sure no items are near edges or trailing. Secure cables with heavy duty cable.

Source of safety advice at location

Name : Julie Balfour

Signed:

Julie Balfour

Date:

25.03.2020

College Contact

Name:

Faculty Admin Assistance

Tel:

0141 375 5226

Signed:

(Donna Wilkins)

Date:

Session 2019/ 20

Risk Assessment undertaken by:

This must be signed before the Shoot can go ahead.

I have read the above risk assessment and am satisfied that:

·      Constitutes a proper and adequate risk assessment in respect of the programme activity.

·      The precautions identified above are sufficient to control the risks.

·      Adequate arrangements are in place to communicate risk assessment findings and to co-ordinate the safety arrangements of all those affected.

Plan your first 8steps – whilst this is likely to change, it can provide a loose framework Remember to account for additional opportunities

As I have a small studio space it is my intention to work from there, if however the studio has to close for any reason I will relocate to a space in my flat.

I have ordered some online backdrops which may compliment my compositions

I will be visiting the local fishmongers and buying in the foods I plan to shoot, these can be frozen until needed.

I will set up my backdrops and experiment with lighting etc until I am happy with the set up.

From my research it seems that it would be beneficial if I could shoot tethered so I will be researching how to do this while I await feedback on my proposal.

I have a number of Light tools already but I will research this further and add to these.

I will continue to work on my photoshopping skills so that I can get the best possible results from layered images.

As I want the final images to be in the Fine Art genre I will be printing on a Hahnemuble paper, type to be decided.

References

Anthony Epes. 2020. How To Plan A Photo Project * Anthony Epes. [online] Available at: <https://www.citiesatdawn.com/how-to-plan-a-photo-project/> [Accessed 25 March 2020].

Digital Photography School. 2020. Step By Step Tutorial For How To Shoot Tethered. [online] Available at: <https://digital-photography-school.com/tutorial-shoot-tethered/> [Accessed 25 March 2020].

Encyclopedia Britannica. 2020. Alcide Dessalines D' Orbigny | French Paleontologist. [online] Available at: <https://www.britannica.com/biography/Alcide-Dessalines-d-Orbigny> [Accessed 25 March 2020].

Facebook.com. 2020. Redirecting.... [online] Available at: <https://www.facebook.com/pg/kennycaedonia/about/?ref=page_internal> [Accessed 25 March 2020].

Internationalphotomag.com. 2020. Photobiography: Harold Ross | International Photography Magazine. [online] Available at: <http://internationalphotomag.com/harold-ross-photo-biography/> [Accessed 25 March 2020].

Isleoflewischessset.co.uk. 2020. The Isle Of Lewis. [online] Available at: <https://www.isleoflewischessset.co.uk/isle-lewis.html> [Accessed 25 March 2020].

Lauraletinsky.com. 2020. Laura Letinsky → THE DOG AND THE WOLF. [online] Available at: <https://lauraletinsky.com/photographs/the-dog-and-the-wolf/> [Accessed 25 March 2020].

MacDonald, F., 2020. Sculpting A Photograph With Light. [online] Lens Blog. Available at: <https://lens.blogs.nytimes.com/2012/01/05/with-light-sculpting-a-photograph/> [Accessed 25 March 2020].

Old Book Illustrations. 2020. Dance Of The Aymara People | Old Book Illustrations. [online] Available at: <https://www.oldbookillustrations.com/writers/orbigny-alcide/> [Accessed 25 March 2020].

Pixpa. 2020. 15 Types Of Photography Genres To Pursue As A Professional Photographer. [online] Available at: <https://www.pixpa.com/blog/types-of-photography> [Accessed 25 March 2020].

TIME.com. 2020. Last Meals On Death Row, Texas - Photo Essays. [online] Available at: <http://content.time.com/time/photogallery/0,29307,2095889_2316169,00.html> [Accessed 25 March 2020].

Widewalls. 2020. Still Life Photographers Who Give A Fresh Meaning To Vanitas. [online] Available at: <https://www.widewalls.ch/still-life-photographers/> [Accessed 25 March 2020].

[loadacademy575]

Beyond A Steel Sky Soundtrack

Way FourArtistBernard KirschenbaumYear1976Typestainless steelDimensions250 cm × 220 cm × 240 cm (100 in × 86 in × 96 in)LocationLynden Sculpture Garden, Milwaukee, WisconsinCoordinates: 43°10′34.6″N87°56′10.4″W / 43.176278°N 87.936222°W

Beyond the Supernatural, a 1980s role-playing game; Stormfront Studios, a U.S. Video game developer originally named Beyond Software 1988–1991; Literature. Beyond, a 2015 non-fiction book by Chris Impey; Beyond (comics) (set-index article), things in comics called Beyond, including: Beyond (Virgin Comics), a 2008 series from Virgin Comics. His last major song was a reach back in time when things weren’t so complicated. Grover Washington Jr.’s sax and a steel pan play you to a beach, blanket for two, a musical safe haven where he.

Way Four is a public art work by artist Bernard Kirschenbaum at the Lynden Sculpture Garden near Milwaukee, Wisconsin. The stainless steel sculpture is an open circle that creates an orbit for two triangles; it is installed on the lawn.(1)

The Metropolis scenery is heavily inspired by the architecture of Hugh Ferriss, while the film's music is taken from the 1948 Superman serial composed by Mischa Bakaleinikoff. For the animation work, the storyboards were done digitally, but the character animation itself was hand-drawn on paper before each frame was scanned and digitally. Apple’s new Apple Arcade subscription-based gaming service is basically Apple’s way of helping customers sort through the chaff in the App Store, as the highly curated service features premium.

See also(edit)

References(edit)

^Buck, Diane (1995). Outdoor Sculpture in Milwaukee: A Cultural and Historical Guidebook. Madison: The State Historical Society of Wisconsin. pp. 182–183. ISBN0-87020-276-6.

Retrieved from 'https://en.wikipedia.org/w/index.php?title=Way_Four&oldid=935129731'

Five years after she debuted with An Ember in the Ashes, Sabaa Tahir is finally bringing her beloved story to a close. A Sky Beyond the Storm finishes the story Tahir began in her 2015 bestseller, but the journey has been much longer for author herself. 'I began writing Ember 13 years ago,' she tells Bustle. 'I have spent more than a decade of my life writing, breathing, laughing, mourning and celebrating with my characters. They are a part of me, as familiar to me as my hands or my face. So when I wrote the final words on the final page of the final book, I felt as though I was saying farewell to my best friends, to a piece of me.'

An Ember in the Ashes launched at a time when multi-doorstopper YA fantasy series — think Victoria Aveyard's Red Queen and Sarah J. Maas' A Court of Thorns and Roses — were at their height. But as an #OwnVoices novel, written by a Pakistani American woman and starring multiple characters of color, Ember was unlike most of its peers. It was the first in a long line of YA fantasy novels from South Asian and Muslim authors, hitting store shelves ahead of Roshani Chokshi's The Star-Touched Queen, Swati Teerdhala's The Tiger at Midnight, and Hafsah Faizal's We Hunt the Flame.

But according to Tahir, there's still much work to be done to diversify YA publishing. 'Over and over, authors from marginalized groups are told, 'We already have a book like this,' or 'We already have an author like you.' But books by marginalized authors shouldn’t be a quota you fill,' she says. 'How many vampire books written by white authors? Dozens. I’ve nothing against that, but authors from marginalized groups deserve the same respect. Just because authors have similar experiences or ethnic backgrounds doesn’t mean their stories will be identical. We contain multitudes and our work is meaningful and distinctive.'

While Tahir doesn't have any immediate plans to return the Ember series after A Sky Beyond the Storm, she'll continue writing and pushing representation in publishing forward. 'All I can say for sure is that I want to do something different with my writing,' she says of her next project. 'Maybe explore some darker terrain.'

But before you start longing for Tahir's next work, read on for an excerpt from the hotly anticipated A Sky Beyond the Storm.

Excerpt from A Sky Beyond the Storm, exclusive to Bustle

I: The Nightbringer

I awoke in the glow of a young world, when man knew of hunting but not tilling, of stone but not steel. It smelled of rain and earth and life. It smelled of hope.

Arise, beloved.

The voice that spoke was laden with millennia beyond my ken. The voice of a father, a mother. A creator and a destroyer. The voice of Mauth, who is Death himself.

Arise, child of flame. Arise, for thy home awaits thee.

Would that I had not learned to cherish it, my home. Would that I had unearthed no magic, loved no wife, sparked no children, gentled no ghosts. Would that Mauth had never named me.

“Meherya.”

My name drags me out of the past to a rain-swept hilltop in the Mariner countryside. My old home is the Waiting Place — known to humans as the Forest of Dusk. I will make my new home upon the bones of my foes.

“Meherya.” Umber’s sun-bright eyes are the vermillion of ancient anger. “We await your orders.” She grips a glaive in her left hand, its blade white with heat.

“Have the ghuls reported in yet?”

Umber’s lip curls. “They scoured Delphinium. Antium. Even the Waiting Place,” she says. “They could not find the girl. Neither she nor the Blood Shrike has been seen for weeks.”

“Have the ghuls seek out Darin of Serra in Marinn,” I say. “He forges weapons in the port city of Adisa. Eventually, they will reunite.”

Umber inclines her head and we regard the village below us, a hodgepodge of stone homes that can withstand fire, adorned with wooden shingles that cannot. Though it is mostly identical to other hamlets we’ve destroyed, it has one distinction. It is the last settlement in our campaign. Our parting volley in Marinn before I send the Martials south to join the rest of Keris Veturia’s army.

“The humans are ready to attack, Meherya.” Umber’s glow reddens, her disgust of our Martial allies palpable.

“Give the order,” I tell her. Behind me, one by one, my kin transform from shadow to flame, lighting the cold sky.

Beneath A Steel Sky Soundtrack

A warning bell tolls in the village. The watchman has seen us, and bellows in panic. The front gates — hastily erected after attacks on neighboring communities — swing closed as lamps flare and shouts tinge the night air with terror.

“Seal the exits,” I tell Umber. “Leave the children to carry the tale. Maro.” I turn to a wisp of a jinn, his narrow shoulders belying the power within. “Are you strong enough for what you must do?”

Maro nods. He and the others pour past me, five rivers of fire, like those that spew from young mountains in the south. The jinn blast through the gates, leaving them smoking.

A half legion of Martials follow, and when the village is well aflame and my kin withdraw, the soldiers begin their butchery. The screams of the living fade quickly. Those of the dead echo for longer.

After the village is naught but ashes, Umber finds me. Like the other jinn, she now glows with only the barest flicker.

“The winds are fair,” I tell her. “You will reach home swiftly.”

“We wish to remain with you, Meherya,” she says. “We are strong.”

For a millennium, I believed that vengeance and wrath were my lot. Never would I witness the beauty of my kind moving through the world. Never would I feel the warmth of their flame.

But time and tenacity allowed me to reconstitute the Star — the weapon the Augurs used to imprison my people. The same weapon I used to set them free. Now the strongest of my kin gather near. And though it has been months since I destroyed the trees imprisoning them, my skin still trills at their presence.

“Go,” I order them gently. “For I will need you in the coming days.”

Beyond A Steel Sky Soundtrack Cast

After they leave, I walk the cobbled streets of the village, sniffing for signs of life. Umber lost her children, her parents, and her lover in our long-ago war with the humans. Her rage has made her thorough.

Beyond A Steel Sky Soundtrack Trailer

A gust of wind carries me to the south wall of the village. The air tells of the violence wrought here. But there is another scent too.

A hiss escapes me. The smell is human, but layered with a fey sheen. The girl’s face rises in my mind. Laia of Serra. Her essence feels like this.

But why would she lurk in a Mariner village?

I consider donning my human skin, but decide against it. It is an arduous task, not undertaken without good reason. Instead I draw my cloak close against the rain and trace the scent to a hut tucked beside a tottering wall.

The ghuls trailing my ankles yip in excitement. They feed off pain, and the village is rife with it. I nudge them away and enter the hut alone.

The inside is lit by a tribal lamp and a merry fire, over which a pan of charred skillet bread smokes. Pink winter roses sit atop the dresser and a cup of well water sweats on the table.

Whoever was here left only moments ago.

Or rather, she wants it to look that way.

I steel myself, for a jinn’s love is no fickle thing. Laia of Serra has hooks in my heart yet. The pile of blankets at the foot of the bed disintegrates to ashes at my touch. Hidden beneath and shaking with terror is a child who is very obviously not Laia of Serra.

And yet he feels like her.

Not in his mien, for where Laia of Serra has sorrow coiled about her heart, this boy is gripped by fear. Where Laia’s soul is hardened by suffering, this boy is soft, his joy untrammeled until now. He’s a Mariner child, no more than twelve.

But it is what’s deep within that harkens to Laia. An unknowable dark­ness in his mind. His black eyes meet mine, and he holds up his hands.

Beyond A Steel Sky Soundtrack Download

“B-begone!” Perhaps he meant for it to be a shout. But his voice rasps, nails digging into wood. When I go to snap his neck, he holds his hands out again, and an unseen force nudges me back a few inches.

His power is wild and unsettlingly familiar. I wonder if it is jinn magic, but while jinn-human pairings occurred, no children can come of them.

“Begone, foul creature!” Emboldened by my retreat, the boy throws something at me. It has all the sting of rose petals. Salt.

My curiosity fades. Whatever lives within the child feels fey, so I reach for the scythe slung across my back. Before he understands what is happening, I draw the weapon across his throat and turn away, my mind already moving on.

The boy speaks, stopping me dead. His voice booms with the finality of a jinn spewing prophecy. But the words are garbled, a story told through water and rock.

“The seed that slumbered wakes, the fruit of its flowering consecrated within the body of man. And thus is thy doom begotten, Beloved, and with it the breaking — the — breaking —”

A jinn would have completed the prophecy, but the boy is only human, his body a frail vessel. Blood pours from the wound in his neck and he collapses, dead.

“What in the skies are you?” I speak to the darkness within the child, but it has fled, and taken the answer to my question with it.

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Madden NFL 25 Related Franchise Tips And Technique Guide

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Beyond the Screen: The Future of Virtual & Augmented Reality in Design

The rise of developments in virtual and augmented reality presents vast new possibilities for designers and creatives across a broad array of businesses and disciplines.

I’m old enough to remember a time when the closest thing to virtual reality was flipping through 3D images on circular reels, and augmented reality meant covering your bedroom window with vinyl superheroes.

As a child during the 1970s, if I wanted to enter an imaginative science fiction universe, I pulled out my View-Master. I inserted one of my many reels, put the toy up to my eyes and saw layered imagery: Foreground and background came to life right before my eyes. After the View-Master reels, I’d pull out my Shogun Warriors and Amazing Spider-Man Colorforms. The sets each included their own vinyl character designs that would cling—and uncling and recling—to smooth surfaces like the included cityscape backdrop or my bedroom window.

Today’s virtual reality (VR) and augmented reality (AR) is a far cry from the analog toys I tinkered with decades ago, but in many ways, and for me at least, they were a precursor. Using Oculus Rift, you can put on a headset to see what others have seen, be where others have been. You can build robots, monsters and worlds in 3D. The creative potential is as extensive as the breadth of your imagination.

[Related: Close Encounters of the 3D Kind: The Rise & Future of 3D Printed Design | 3D Printing: BOLTgroup Product Innovation and Brand Experience]

When it comes to AR, most of us think of Pokémon GO, where characters appear layered on top of the real environment seen through your smartphone and displayed on screen. VR and AR experiences are intimate, putting us into fully immersive worlds where we can look, learn, play and create. If the prior eight years were all about smartphones and mobile optimization, the next eight years in the design world—and any creative discipline, for that matter—may revolve around virtual and augmented reality.

PIXEL PERFECT

It can’t compare to Colorforms, but today we plaster small and large, static and animated graphics everywhere we can using our smartphones. Facebook, Twitter, Snapchat, Instagram, iMessage—you name it: If it’s on our phones, we’re interacting with it. And if it’s not, we’ll download an app to do so ASAP. It’s not only social media and messaging, but also creative apps, games, news and educational tools. It seems like everybody has a smartphone, young or old. The ubiquity of the smartphone may be why Apple’s Tim Cook sees AR as the next big realm of development for design and technology. Compared to VR, Cook called AR “the larger of the two” in an interview with ABC News in September 2016. Cook suggested that AR allows us to be more “present” because users are more connected to the real world in AR.

VR does have its disadvantages. In some cases, VR has steep hardware requirements with headsets or gloves required for a truly immersive experience. But VR gives you the feeling of being right there and in the moment. You can go anywhere you want in VR, to faraway National Parks, distant lands or even outer space. You move and feel as if you’re moving within that space. If you’re wearing gloves with VR integration, you can see your hands and any tools the software enables you to hold, poke, prod, sculpt, scrape and engage with. Sounds, and even vibrations in the form of haptic feedback, are all part of the experience. For example, Oculus Touch uses rumble for feedback in the controllers, and spatial audio gives the user a truly enhanced, “in the real” experience that adds to one’s awareness of what’s happening in the VR moment.

The Oculus Touch allows you to work with your hands in a virtual environment.

But for the most part, VR is synthetic compared to AR, and VR is somewhat closed. AR lets us live in the moment with the world surrounding us, and as we look through a smartphone screen we see the real world and the people in it. Perhaps this is one of the reasons Cook sees it as a “larger” technology. Then again, maybe it’s because Apple already has millions of iPhone devices in users’ hands, and all those devices need is an AR-enabled app to let you experience that next-level interaction.

In terms of socialization, AR is more socially engaged since you can see those around you as you experience what you see on screen. You couldn’t play Pokémon GO outdoors, walking through the streets of New York City with a VR headset completely covering your eyes. VR requires a headset that masks your entire field of view, closing you off from the real world by putting you squarely within the digital world.

In this way, VR has a lot in common with the View- Master, which is on the verge of a comeback. In 2015 View-Master partnered with Google to bring VR to the masses through Google’s Cardboard VR platform. Mattel’s View-Master VR Starter Pack retails for $29.99 and is intended for educational uses where an inserted smartphone lets you run “apps, games, videos and View-Master Experience Packs to create stunning virtual reality worlds for kids to explore.” Google’s Cardboard, VR on YouTube, and Cardboard Camera are all part of its equation.

THE CHILDREN, AR & VR’S FUTURE

Games, advertising, field work, research, medical applications, education. If you can imagine it, there’s a way you can use VR and AR. But children are the future, which is why educators are leaping at the opportunity to introduce AR to their students. Today’s digital natives grew up with smartphones, tablets and iPods. They’re neither intimidated nor reluctant to use technology. In fact, if it’s on a screen, they want to use it and they will likely adapt to it much quicker than an older user.

At the Valhalla Union Free School District, Cayne Letizia, reading teacher for grades 6 through 8, used VR in the classroom to explore “the role VR has in storytelling and empathy.” Letizia used the New York Times VR experience to connect students to content in a fresh new way. His upper elementary and middle school students used NYT VR with the Google Cardboard VR goggles to give them access to content that they would not ordinarily be able to engage with. How do you see a National Park that’s thousands of miles away? Use VR.

Students at the Valhalla Union Free School District used NYT VR to go beyond the classroom in an immersive learning experience with cardboard VR headsets.

“As we celebrated 100 years of National Parks it was impossible to visit many of the parks, but Google 360 allowed us to travel all over the U.S. and experience them firsthand,” Letizia says.

Letizia stresses how important it is for students to connect—really connect—to content during a day and age when it’s all digitized ephemera, for better and worse (but mostly for worse). “So much of the technology my students use daily removes any sort of empathy—Snapchats that exist temporarily, the ease with how a student’s life can be changed for the worse with a tweet or Instagram comment. VR can place the students in the moment and break down that anonymity and teach them that empathy is an important trait to have as a human.”

The course material available for exploration is as wide and deep as the internet itself, and Letizia has plenty of his own ideas for taking advantage of the technology for classroom use. “Art teachers could visit European museums, history classes can take 360-degree tours of famous battle sights or other historically significant landmarks, P.E. teachers could have students experience a VR fi lm about an Ironman! The applications to enhance what we do are endless.”

Educational applications are one of the many ways that AR and VR will get into the hands of a new audience, especially as more schools adopt the technologies.

The other inroad? Games. Lots of games. If you thought Pokémon GO excitement was contagious, that was just the beginning. Wait until Minecraft comes to AR and VR—specifically HoloLens, Microsoft’s holographic computer—because when it does, children all over the world are going to want one. HoloLens has only been released as its Development Edition so far, and my kids have been asking for one since Microsoft teased the platform in 2015.

But is HoloLens AR or VR? Maybe it’s neither. A Microsoft spokesperson replied to an email where I asked about how to classify it: “Microsoft HoloLens is the world’s first fully untethered holographic computer, running Windows 10. And it’s a great example of mixed reality—the ability to blend holograms into your real world. With AR, the user sees a layer or screen of data that overlays the real world. While this data can be contextual to the user’s location, or where the device’s camera is pointed, it is not the same as being able to see holographic objects pinned, or anchored, to specifi c physical locations or objects in the real world.”

HoloLens will enter the mainstream soon, making for another platform in an already busy ecosystem, and it promises to change everything. The Microsoft representative touted how it will improve on not only “business processes” but also a wide range of “mixed-reality applications.” Want to develop for it? Sorry Mac users. You’ll need Windows 10 and HoloLens. Then again, if you dual boot your Mac, you should be good to go.

SEE THE PIXELS, BE WITH THE PIXELS

Some designers are going to create apps, games and entertainment for these platforms. Others want to create with these platforms. If you’re eager to create using VR, rather than developing for it, then you want to get your hands on the right tools, and Oculus is the current front-runner in that respect.

In early September, I had the pleasure of watching a Facebook livestream with artist Goro Fujita discussing his VR creative process—while he sculpted in virtual reality using Oculus Medium.

The livestream intercut what Fujita saw through his Rift headset with images of him in his gear, moving around an office, and moving his hands to create a 3D robot. Considering that he had only been using the tools for two months, he handled it all masterfully. Fujita built up one layer after another, and livestream viewers watched him pick, choose and use tools for sculpting. Joints, armature, color, lighting, textures, cables—you name it, he built it into his robot, or carved elements away to make space or insert objects. Fujita often referred to Oculus’ virtual reality creation platform Medium as a “sculpting tool,” which is appropriate given what I saw him do.

In 50 minutes, the sculpt was “pretty much done,” according to Fujita. He added realistic effects such as scratches, weathering, oil stains, wear and tear, and added a nice final touch: hotspots in the eyes. With Oculus Medium you can “Sculpt, model, paint and play in virtual reality,” according their website. If the technology and software catch on, it’s going to give Photoshop a run for its money. After all, who wouldn’t want to get up from their chair and walk around their designs day in and day out?

In the not-too-distant future, perhaps Adobe software will come to such a platform. Even Steven Spielberg’s Minority Report showed us one possibility for moving and managing data, images, information and windows. And even that was based on something in the works as far back as the 1990s at the MIT Media Lab, courtesy of John Underkoffler’s scientific and interactive research that became the foundation for Oblong Industries Inc. It’s neither AR nor VR, but “g-speak,” the technology behind Oblong’s Mezzanine, is a spatial operating environment.

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TRAVELING WITHOUT MOVING

If there’s one place where AR and VR will make a breakthrough in the near future, it’s with advertising, promotion and marketing for travel and hospitality. Looking back to the early 2000s, the internet changed the way that everybody shopped for a home or apartment. You could do it all in the comfort of your own home, provided you had a high-speed internet connection, a computer and a web browser. Today, most of us have that, and the entire experience can take place on our smartphone.

In late 2016, Oasis, the innovative hospitality company that pioneered the Home Meets Hotel concept, debuted a series of “immersive 360 video city guides” intended to give travelers a closer look at destinations. Oasis’ founder and CEO, Parker Stanberry, replied to an email questionnaire about the project’s creative process and why a 360-degree virtual reality experience was the way to go. “The 360 video platform allows us to tell the brand’s story in a creative and immersive way,” Stanberry said. “The videos present an exciting opportunity for consumers as they have the opportunity to be in the driver’s seat and explore these fascinating cities without having to hop on a plane.”

Oasis worked with SPECTACLE VR and director Peter Martin to produce the 360-degree tour. “We chose to work with Peter and his team as his extensive portfolio of videos and expertise in storytelling aligned with the ultimate goal of our campaign,” Stanberry said. You can watch the tour on YouTube, provided you have the proper browser. Or, you can watch it in a VR headset or Google Cardboard VR. Visually it’s a stunning experience, and the only things missing are the sensual, delicate aromas that the real places can offer you.

SEEING, MAKING, DOING

Plenty of tools are available for developing in AR and VR spaces, and open-source platforms may be the way to go. In many cases, they’re free, easy to learn and updated routinely to offer the latest advancements, encouraging users to go deeper, explore the tools and solve problems. One such platform for AR is ARToolKit, developed by professors Mark Billinghurst and Hiro Kato with Ph.D. students at the University of Washington’s Human Interface Technology Laboratory.

As chief open source evangelist at DAQRI, a tech company that focuses on developments in augmented reality, Ben Vaughan is “responsible for encouraging the adoption of ARToolKit” and building their opensource community. Since ARToolKit joined DAQRI, Vaughan says there have been “more than 100,000 downloads of the software.”

Vaughan cites the open-source platform as one of the reasons ARToolKit has advanced the way it has. “By releasing the software open source, the founders of the company wanted to encourage innovation in the space.” When it comes to giving credit where it’s due, Vaughan suggests that “Mark Billinghurst and Hiro Kato should be remembered as two of the earliest pioneers—and also Jun Rekimoto, who developed virtually the same technology at the same time while working at Sony Computer Science Labs.”

Open-source tools are just one of the many ways you can begin creating for yourself. You could also grab a book, such as Learning Virtual Reality: Developing Immersive Experiences and Applications for Desktop, Web and Mobile by Tony Parisi. It covers “the three go-to platforms—OculusVR, Gear VR and Cardboard VR—as well as several VR development environments, programming tools and techniques.”

Programmers and creatives who have a knack for picking things up, running with them and innovating will have relative ease when it comes to working within the platforms featured in Learning Virtual Reality.

On the other hand, if you’re somebody who’s driven more by image and less by code, then consider something as simple as Google’s Jump camera rig, an array of 16 cameras assembled in a circle used for capturing 3D space. GoPro VR also lets you “Capture, Stitch, Share” with relative ease, as promised on its website.

AR AND VR, BEYOND PLAYTIME

At the moment, today’s youth appear to be the ones consuming the most AR and VR, and everything in between that can be found on personal electronic devices, gaming platforms and—if/when they watch it—television.

But will today’s youth be the ones taking AR and VR tools and making something new? Vaughan sees the promise in sharing development platforms such as ARToolKit with anyone and everyone, including students, but he sees something beyond what students can do. “While I fully support the idea of students becoming more familiar with programming and software development tools, I believe that it is creatives and visionaries that are needed to identify the ways in which the technology can be used.”

According to Vaughan, they will be the ones who will identify problems that can be solved using AR technology.

Then again, why can’t students—or children, for that matter—be creative and visionary, as well as problem-solvers? AR and VR tools should enable students of all ages, especially children, to not only experience the world they live in, but also to play around and create new experiences. After all, play is serious business. And if there’s one thing children know how to do, it’s play.

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