#High-quality mockups

[designmytees]

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[si-graphics]

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[jaybirdsstuff13]

In honour of a new chapter here’s a drawing I did of Cardinal from @batfambrainrotbeloved ‘s fic The Drakes Spoiled Brat. (im sorry dad) which I am so in love with and everyone needs to go read it now. Reference under cut

[funshinebf]

also ive been working on this all day and im very happy with how its turning out so far. this is only the mockup to test the patterns and make alterations to it before using the actual fabric, so it isnt Perfect or as high quality as im hoping the finished one will be, but so far i am VERY happy with how the pattern is fitting the doll and looking together :•3

[bezbzns]

splatoon collectable figure/stop motion puppet/mockup/unrealistic concept thing?

(test renders with ingame hair meshes cause I was too lazy to model ones for these images)

I was looking at those super high quality hot toys superhero figures and also laika animation puppets and im also in a splatoon mood. So for fun i wanted see how I could mishmash those ideas together into a sorta mockup deluxe splatoon figure concept with changeable faces, hair, etc

I attempted to make the arms/hands/limbs look like molded silicone like how a lot of stop motion puppets handle skin and other flexible pieces, so its very unrealistic in terms of like a mass produced item. Wanted to give it a shot anyways!

The different face parts would be connected by pegs, and the ears would be connected by magnets, so you'd be able to swap them out with different expressions, and even swap between inkling and octoling. Kinda like how the inkling figmas sell 2 inkling sets, I'd imagine these would include a set of inkling gear and octoling gear for each wave

also idk how the eyebrows would work. magnets??

Easily the most entertaining part was modeling the inside of the face/head for when you swap out the face plates. Super inspired by how Coraline's puppet armature looks

was really hoping to be able to do some cool stop motiony stuff with these, but I think im gonna be putting them on the backburner for now since blender cloth sim isn't really built for stop motion stuff, and i don't really feel like going through and making clothing with drivers and tension maps for absolutely every scenario so uh yeah

[apreslulu]

A Guide to My Luminary Cosplay pt 1: The Wig

No it is NOT my own hair!!!

I get a lot of questions about this wig, and honestly there’s a lot more going on here then meets the eye so I thought I would walk through the process. I hope this helps at least one person.

Firstly, this is a high quality Wigisfashion synthetic lacefront wig. Would I recommend every Luminary cosplayer go grab themselves a stupid expensive fuckass bob wig? Absolutely not. I decided to invest in a lacefront as I knew I was going to get a lot of use of it, and I wanted to make Eleven’s other outfits. If this is more of a casual cosplay then honestly don’t do this, I’m just deeply unnormal about the guy. It cost me about £70 (about $90 in freedom units) without shipping. Who needs to eat anyway.

This is how the wig looked when it was shipped to me. Importantly, I had to check before I bought it that it had a movable parting. A lot of bob wigs don’t come with a centre front part cause its pretty unflattering so make sure you can move the parting!!

This is the wig after just being cut. It was missing a lot of that volume Eleven has in spades. I think my main issue with this wig was how stylized Toriyama art is. If I’d decided to recreate his hair 1-1 to the game, I might as well be wearing a helmet, but if I just used this limp ass bob, then really it doesn’t give Eleven either. So I had to find a way to add a realistic amount of volume.

My solution was to rip apart my old Eleven wig (Not my first rodeo at making his outfit, so I had an old badly cut bob from the last time lying around) and add all that hair to my new wig. I hand sewed them in and it took ages, but I didn’t want to glue them as I didn’t think it would be sturdy enough. I then crimped and teased these added hairs only. This texturised them and gave them volume, but by not doing that to all the hair, it kept the volume manageable and realistic. Also this style is like everything-proof- I fucking washed this wig and the volume remained. Unintentional but very helpful.

I did a trial run with this wig and a mockup of the coat at megacon 2024 and I spent a lot of time studying the pics of the wig afterwards as I wasn’t happy with how it looked but couldn’t work out why. It's because the ends are too thick! Eleven’s hair curls under a bit, and to achieve that you need to thin out the ends of the hair (I know this because in 2019 I too had a stupid curled under bob, no the pics will neve go online)

You can see in this side pic how the hair angles inwards. I wish I had a better picture but I used thinning shears on the bottom of the hair and just kinda went ham on them. Make sure you thin out a little above the tips too, to make the curve more subtle and realistic.

My most recent outing in the wig, at Square Enix’s DQ3 remake event at their London offices.

That’s about it really. Getting the wig hairline to look realistic is a tutorial for a different person I think I’ve been using lash glue for the past year anyway don’t do that. I also resized my wig on the inside with sewing as I have a small ass head but thats also something thats very individual and best covered by a different tutorial. Please lmk in the comments if this was helpful or if you have any other questions!

[bleachbleachbleach]

8/12 - 8/18/2024

I wrote a version of Renji 11 what is at this point several years ago (RIP me), and have since just been throwing random stuff/required additions into that Note with no rhyme nor reason, so it took over two hours this week just to sort it all out. But! It is sorted!

Modern-era Renji 11 consists of 3 new scenes and 3 already-existing scenes. I wrote 1.5 of the new scenes. As far as how well I think this Chapter is going, I dunno. As a narrator, Renji’s kind of like, oh hey, here’s a thought I had. And here’s another one! Which feels legit but I’m not sure if it allows the reader to understand which pieces of information are actually important for following the narrative.

You know those reblog memes that like, ask people to identify hallmarks of your writing? The concept is fun, but it wouldn't work in practice because 0.02% of anyone who might see that post would have any familiarity with my writing. SO. I WILL SIMPLY TELL YOU. My hallmarks are that I love an interstice—love having things that should be on the cutting room floor not on the cutting room floor—but am also a firm believer in stories not needing to have every scene the characters experience to exist on the page. This combination means there’s a good chance that actually relevant, defining scenes simply do not exist and only the interstitial nonsense does. I think in certain stories this can be a real thing that works. I think it can also have the effect of nothing hanging together, making any sense, or meaning anything, without certain bits of key information/certain scenes that I simply did not include because they exist in my head and therefore exist everywhere right. I think that’s where this chapter is.

Maybe the remaining 1.5 new scenes will help ameliorate that, but I feel like that’s asking a lot of them. And then, theoretically, you’d think fixing the existing scenes would go more quickly than writing from scratch, but I don’t know that they will. Because the story leading up to this point has changed enough that the characters are in very different headspaces and perceptions of each other than they were when I first wrote those scenes. Well, that’s not true—Kensei and Renji are in a very different place with each other. Renji and Hitsugaya need to have the exact same conversation but, you know… better. And FRANKLY, I do not know whether entirely overhauling Kensei and Renji will be harder or easier than merely line-editing Hitsugaya and Renji. =_=;;

I’d really like to finish Renji 11 by the end of next week, and then take some time to finish out the revisions on Rukias 7 and 10, which are the most related to Renji 11. Then I’d like to go back to do final line edits on Chapters 4, 5, and 8 before heading into the big mess of revision that is Hisagi 9, because those revisions will be most related to Hitsugaya 12.

I’m not anticipating getting much done in September, because I have a major work deadline September 30th, and the rest of autumn will probably be kind of garbage, too, and I probably won't exist. But I would love to finish Part II (so, Chapters 12 and 13) by December. Well, speaking honestly, my original hope was that I would finish Part II by May, but here it is, August, and I am still working on Chapter 11. So: I would LOVE to finish Part II by December.

—

I did a low-res mockup of the fic banner several months ago (okay, this might have been last November). I pulled out some high-res assets to work with on Friday and played around with a new design I thought was fun, but it turns out design-wise the old mockup looks much more polished. Or it would, if I were using higher-quality materials. XD So I’ll probably go back to the old design. The only reason to continue with the new one is that it reflects the clusterfuck spirit of everything that happens in this fic, but I kind of like the way the old banner puts a pretty bow on the clusterfuck lurking beneath the surface. Maybe I’ll solicit opinions once I’ve made a more serious mockup of the first version.

[forgetmenauts]

Hey all! Here's a quick lil' mockup I did of how to play Charlatan in Red. There's also a 10min tutorial video that's... just not high enough quality to go on our youtube page? Or at least I'll have to ask the band if they're ok with me doing that before I post it. I wanted to just throw it up on Tumblr but it was toooo big.

Please do reach out if it is confusing, I'm happy to provide clarity!

<3

-Walker

[mockupcloud]

Paper Cup Mockups

6 unique creative scenes of high-quality, beautifully designed mockups that make your work stand out. Download ⚡mockupcloud.com

[tsreviews]

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[artsgraphics]

I will make attractive cafe food grill BBQ pizza logo

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[cheryl-writes]

There is no actual game. This is just a game mock-up created for the Mock-up Game Jam by JaylusX

Two of Us is a fantasy visual novel game where you play a wizard on a quest to find herself after she meets who might be her lost twin.

— STORY —

You were just passing through the city when you bumped on someone you didn't know could exist. She looks like you, sounds like you and her life is like a carbon copy of your own. The only difference is that she uses a magic that is similar but opposite to yours.

Could it be that you aren't a single child like you thought?

— FEATURES —

— Choose between on you the two wizards and possible twins.

— Guide them to the mysterious wizard tower set deep in dark forest, hidden behind a thick curtain of fog. It has been calling you both and you must answer.

— Discover the truth behind the secret annual meetings that the highest wizards of the kingdoms hold inside the tower. It might not be what you expect.

— GAMEPLAY ���

This being a mockup means there is no actual gameplay, but you can download the screenshot with high resolution and see the images at a higher quality!

LINK

[si-graphics]

T-Shirt Mockup Template | Tshirt PSD Mockup Design

-

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[spacetimewithstuartgary]

NASA completes spacecraft to transport, support Roman Space Telescope

The spacecraft bus that will deliver NASA’s Nancy Grace Roman Space Telescope to its orbit and enable it to function once there is now complete after years of construction, installation, and testing.

Now that the spacecraft is assembled, engineers will begin working to integrate the observatory’s other major components, including the science instruments and the telescope itself.

“They call it a spacecraft bus for a reason — it gets the telescope to where it needs to be in space,” said Jackie Townsend, the Roman deputy project manager at NASA’s Goddard Space Flight Center in Greenbelt, Maryland. “But it’s really more like an RV because it has a whole assortment of functions that enable Roman to accomplish its scientific goals while out there too.”

Those goals include surveying wide swaths of the universe to study things like: dark energy, a mysterious cosmic pressure thought to accelerate the universe’s expansion; dark matter, invisible matter seen only via its gravitational influence; and exoplanets, worlds beyond our solar system.

The mission’s science wouldn’t be possible without a spacecraft to transport the telescope, point the observatory toward different cosmic targets, provide power, communicate with Earth, control and store instrument data, and regulate Roman’s temperature. Nearly 50 miles of electrical cabling are laced throughout the assembly to enable different parts of the observatory to communicate with each other.

The spacecraft will also deploy several major elements that will be stowed for launch, including the solar panels, deployable aperture cover, lower instrument Sun shade, and high-gain antenna. It’s also responsible for collecting and beaming down data, which is no small task for a space observatory that will survey the cosmos like Roman will.

“Roman will send back 1.4 terabytes of data per day, compared to about 50 to 60 gigabytes from the James Webb Space Telescope and three gigabytes from the Hubble Space Telescope,” said Jason Hylan, the Roman observatory manager at NASA Goddard. “Webb’s daily downlink is roughly comparable to 13 hours of YouTube video at the highest quality while Roman’s would amount to about 2 weeks.”

A Goddard Grand Slam

This milestone is the culmination of eight years of spacecraft design work, building, and testing by hundreds of people at Goddard.

“Goddard employees were the brains, designers, and executors. And they worked with vendors who supplied all the right parts,” Townsend said. “We leaned on generations of expertise in the spacecraft arena to work around cost and schedule challenges that arose from supply chain issues and the pandemic.”

One time- and money-saving technique the team came up with was building a spacecraft mockup, called the structural verification unit. That allowed them to do two things at once: complete strength testing on the mockup, designed specifically for that purpose, while also assembling the actual spacecraft.

The spacecraft’s clever layout also allowed the team to adapt to changing schedules. It’s designed to be modular, “more like Trivial Pursuit pie pieces than a nesting egg, where interior components are buried inside,” Townsend said. “That’s been a game-changer because you can’t always count on things arriving in the order you planned or working perfectly right away with no tweaks.” It also increased efficiency because people could work on different portions of the bus at the same time without interfering with each other.

The slightly asymmetrical and hexagonal spacecraft bus is about 13 feet (4 meters) wide by 6.5 feet (2 meters) tall and weighs in at 8,400 pounds (3,800 kilograms).

One reason it doesn’t weigh more is that some components have been partially hollowed out. If you could peel back some of the spacecraft’s panels, you’d find superthin metallic honeycomb sandwiched between two slim layers of metal. And many of the components, such as the antenna dish, are made of strong yet lightweight composite materials.

When the spacecraft bus was fully assembled, engineers conducted a comprehensive performance test. Prior to this, each component had been tested individually, but just like with a sports team, the whole unit has to perform well together.

“The spacecraft passed the test, and now we’re getting ready to install the payload –– Roman’s instruments and the telescope itself,” said Missie Vess, a spacecraft systems engineer for Roman at NASA Goddard. “Next year, we’ll test these systems together and begin integrating the final components of the observatory, including the deployable aperture cover, outer barrel assembly, and solar panels. Then we’ll finally have ourselves a complete observatory, on track for launch by May 2027.”

TOP IMAGE: This enormous piece of space hardware is NASA's Nancy Grace Roman Space Telescope's spacecraft bus, which will maneuver the observatory to its place in space and enable it to function while there. It is photographed here in the largest clean room at NASA’s Goddard Space Flight Center, where engineers are inspecting it upon delivery. The bus rests atop an aluminum ring that will temporarily protect its underside. The two copper-colored flaps are Roman's Lower Instrument Sun Shade –– deployable panels designed to help shield the observatory from sunlight. Credit NASA/Chris Gunn

CENTRE IMAGE: This top-down view shows NASA’s Nancy Grace Roman Space Telescope’s spacecraft bus from another angle. It rests atop an aluminum ring that will not be part of the observatory and is surrounded by an enclosure used in testing to ensure electromagnetic interference will not affect the bus's sensitive electronics. The bus is covered in gray bagging material to prevent contamination –– even tiny stray particles could affect its performance. Credit NASA/Chris Gunn

LOWER IMAGE: While it may look small in this photo, the spacecraft bus for NASA's Nancy Grace Roman Space Telescope is 8 feet (2.5 meters) wide by 6.5 feet (2 meters) tall and weighs in at 8,400 pounds (3,800 kilograms). In this photo, it rests atop an aluminum ring that will not be part of the observatory. The bundles of wires on top are part of more than 50 miles of cabling laced throughout the assembly to enable different parts of the observatory to communicate with each other. Credit NASA/Chris Gunn

[logodesignsposts]

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[pngimagecollector]

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