#I have a lot of drawings/process videos like this would you want to see more??

[myokk]

To Kill A Mockingbird illustration & process💓🙏

Tbh I absolutely LOVE doing full illustrations like this…it’s been a while but they’re my FAVORITE THING TO DRAW😇🙏😇🙏 I need to do more…

[snapscube]

Would you be alright to ask how you found out that you had executive function disorder?

Basically my entire life I have been known as a serial procrastinator without any real explanation. When I was a kid I had a lot of trouble taking care of basic things, and I would constantly shirk chores and school assignments and really anything in between, but if you actually asked me why that happened it was never because I didn't want to do them. It even extended beyond obligations. I still remember not quite understanding why I couldn't ever finish drawing a comic, or start a long-term project and see it through to the end. I would start fanfiction and then just leave it within the first few paragraphs. I literally had no reason, and in fact it always sincerely frustrated me that I just couldn't bring myself to do things that should be really easy. I genuinely believed for my entire childhood that I was just kinda lazy and I held on to a lot of guilt for that. Of course, the problem really started to settle in a new way once I realized that I was in my early 20s, living on my own, with every reason to have grown out of it by now, but it still never got any better. I still struggled with doing things that I knew would only take a couple of minutes, I still ached over projects that I had no reason to not just start making but couldn't quite pull myself over the barrier towards actually doing it. And I still had no explanation that wasn't just "I am fundamentally broken and unexceptional". So, once I was living on my own and the problems really started to compound (since, yknow, not getting anything done holds A LOT MORE WEIGHT when you're an independent adult), I decided to look for other people who were going through these things and see how they managed it. I eventually ended up on a YouTube channel called How To ADHD where the host made a plethora of videos that all just instantly clicked with me and seemed to explain so much behavior stretching back all the way to my childhood that I NEVER had an explanation for. Everything she talked about was like, one-to-one my experiences. So then I basically immediately started the process of actually getting an official ADHD diagnosis, which I have now since gotten Twice.

[girl-mercury]

I use a trick in my art that I don’t see people talk about often: erasable pens!

Most people seem to use pencil to make their guide lines, and then go over what they want to keep in ink or paint. I’m a watercolor painter, though, and if you go over pencil with watercolor paint, it seals it in.

If your pencil drawing is good, that works out fine, but my drawings are not. I don’t draw freehand, so I’m usually tracing a reference image. In addition to my lines, I mark out where my shading and highlights are going to be, which is all very helpful when painting, but I don't intend on keeping it in the final image.

This is where my Pilot FriXion pens come in.

They're "erasable" pens. They've got a rubbery bit on the end of them, you rub that on your pen lines, and they erase. But how it actually works is using the heat from the friction to somehow turn the ink invisible... which means you can skip rubbing the eraser on it, and just use heat directly, such as from a heat gun that a lot of crafters have (or just a hair dryer will do the trick too.)

As you can see in the video, I drew out some shapes, and then painted them with watercolor paint, using the lines to put my paint where I wanted it. Then I point the heat gun at my paper, and you can watch the lines vanish, leaving just the paint behind.

What this looks like in my process is this. As you can see, I've outlined all the lines of my subject's face, but I've also got areas that I filled in to indicate where I would need to shade more heavily, like along her jaw, on her neck, and in the inner corner of her eye; I also created directional lines for a crisscrossing pattern on her bonnet.

In the final version, once I was satisfied with all my painting, and I had gone over the lines I specifically wanted to keep in a permanent pen, I pointed the heat gun at it and watched the lines disappear. Now only the shade remains, and the pattern on the bonnet isn't as harsh; I've also used the pen to let me paint a plaid pattern on her cape.

If you look closely, you will see the shadow of lines within the shaded parts. Sometimes, the indentation of the pen tip on the paper will cause a slight relief drawing situation even after the ink disappears. You just have to remember to draw lightly.

I found the pens at Target for not too much money in the 0.5 size, and I just got some 0.38 finer line pens since I need to do more detailed work on my current piece.

Anyway these are SO easy to use, and I really enjoy being able to do art at the skill level I'm at, and doing it like this allows me to. Have fun with art!

[art]

Creator Spotlight: GDBee Art (@prinnay)

Geneva Bowers is inspired by the wonders of the natural world around us, and enjoys manipulating colors to create art full of mood and feelings.

Check out our interview with Geneva below!

How did you get started with art? Did you originally have a background in art?

I’m going to say yes because that’s all I’ve known how to do. It started because I wanted to draw better horses than my sister, and it just spiraled from there. People started asking me to draw things because they saw me drawing horses. I was like, well, I can draw things that aren’t horses, and then it was just kind of all I did. 

Have you ever had an art block? If so, how did you overcome it?

I have one right now! Honestly, with time, and I also collect art books; I think I have a couple hundred. If I really want to draw something, then I just flip through those and try to steal some ideas.

Which three famous artists (dead or alive) would you invite to your dinner party?

I mean, of course Van Gogh…I’m really inspired by Impressionism and Post-Impressionism, so I would invite Van Gogh, Monet, and Julie Dillon to a dinner party.

Have you ever wanted to dive into another medium before?

Yeah, actually, I currently am! I’m trying to do more traditional painting. I used to do a lot of acrylics, but I haven’t done it in years, and now I’m kind of bad at it. I’m trying to get into actual impressionistic art with oils and oil pastels. I’m like failing, but you know, you get there. Just fail until it looks presentable. 

If there is one thing you want your audience to remember about your work, what would it be?

I guess it’s more of a feeling. I create art because I’m inspired by things around me, like certain video games. For example, I have been inspired by a Japanese RPG called Chrono Cross on PlayStation 1. They make me feel a certain type of inspiration to create something, so that’s kind of like what I’m hoping to leave behind. 

Have any of your projects surprised you with their outcome?

Yeah! I did this Weapon Faerie series where I took three prompts: a weapon, a winged insect, and an herb, which I combined to make different characters. So, a faerie with a spiked club or a butterfly faerie with a katana. I made 13 of those, and they kind of took off! I wasn’t expecting that at all.

What is the hardest part of your process?

My whole art style is coloring, like the way it’s colored… but I hate the coloring process, haha. I like doing the color combos, but I don’t like the blending and shading. That takes like one-trillion years. It’s the part where I’m most likely to give up. You know how art kind of looks ugly before it looks good? I’m trying to trust that process. 

What do you wish you knew when you started creating art that you know now?

I guess one big thing would be knowing how to use lights and darks. When I do color, it is definitely colorful, but when you switch it to black and white, you see that everything’s the same tone of gray. I’ve learned that if you just use some brighter colors and some darker shades, you create a bigger impact in the end. So, now, when I paint something digital, I make it black and white for a moment to see where all the hues are, and if something is weirdly dark or not dark enough, I can change it.

Who on Tumblr inspires you and why?

Oh, @feefal definitely inspires me. She does a lot of spooky art.

[meanbossart]

Oh boy, VaM is kind of a trial and error experience LOL I couldn't really show you how to use the interface and stuff without a whole video or something, but it's not THAT difficult to get a hang of if you just give yourself a day or two to play around, not to mention the number of tutorials you find out there. Luckily, if you only want to use it as a reference software that makes the process far easier (to this day I have no idea how to animate on that thing, since that's not what I use it for)

As for how I use it, it's pretty self explanatory - if there's a complicated pose I want to draw but I'm either having trouble with it, or just want to double-check angles/anatomy, I will use it as a resource! I use for most of my "proper" pieces (y'know, the nicer looking ones) and every once in a while for my silly comics if I'm having trouble with a pose.

Lets use this drawing for example (the character on top of DU drow belongs to @namespara )

I don't draw a lot of mud-wrestling (shocking, I know) but I had an idea of the kind of pose I wanted them to be in. So the very first thing I did was make a rough sketch of what I was envisioning:

I often do a rough sketch first, even If I know I'm going to be pulling the program up because A) It's less tedious than adjusting the models over and over again until I pick a pose and B) because sometimes I'll decide I don't need the reference, after all, and so that's 30 minutes I'll have spared myself of playing around on the software.

Now, this is a pretty complicated pose! It's in a weird angle and the bodies are making contact in ways I'm not used to depicting, so I did choose to whip out VaM for this one. I went into the program and after some messing around, I flopped my little dolls together like this:

Now something really cool about VaM is that you can completely customize your models, and if you have the patience, I would definitely encourage you to do so! Obviously, you don't have to make picture perfect replicas of every single character you have, but as you can see here I have made a DU drow "decoy" to help me better understand some of his features when I draw him: he has a strong brow, a short nose, a square jawline - these are all going to look a very specific way from certain angles, and I might not always be sure of how to draw it right! So it's useful to have models that bear SOME semblance to the character so you can better understand how different viewpoints will affect their bone structure and mass.

Also thank fucking god for the elf-ear slider. Figuring out how to draw those shits from certain angles was a huge pain in the ass when I started drawing DnD races.

So, with the reference in hand, I go over the sketch again:

Now you may notice that I don't stick to the reference 100%. There's three reasons for this:

posing on VaM is tedious as hell. You can get something incredibly natural looking and picture-perfect to reference from if you wish, but it's going to take you hours to do. So, for the most part I just slap guys together until the results are "close enough" and use that.

In my opinion, you should always aim to ENHANCE your reference material, not replicate it exactly!

While VaM is a PRETTY DANG GOOD source of anatomical reference, it isn't perfect, I often supplement it with further reference from real life resources or make tweaks based on my own knowledge where I catch it falling short (and, antithetical to what I just said, I sometimes fuck the anatomy up further on purpose if I think it looks better that way LOL it's all jazz baby).

Then lines, color, yada yada. I don't have a tutorial on that and I don't think I could make one, because my process is chaotic as hell, but I do at times use Virt-a-mate as loose reference for lighting too when coloring - waaaaayyyy less so however, because that process is even more tedious and I feel like I often get better results by just winging it. It is a feature of the program though, and I'm sure it would be helpful for someone who has a difficult time visualizing lights and shadows. I only started using this program a few months ago, so I happened to already have a pretty good understanding of that kind of thing and just don't personally feel like I get much out of that particular mechanic.

Here's a few other examples of pieces that I made reference for (WARNING: Suggestive)

Now, for the question many of you may want to ask:

"Can I trace this junk?"

And to that, I say: Buddy, you can do whatever the hell you want with the reference material you created.

However,

If your goal is to learn and improve your art, and to recreate realistic proportions and anatomy from memory, tracing won't help you.

Developing your own style, your muscle memory, and personal technique will all be hindered by choosing to trace instead of drawing from observation, so I would encourage against it. Hell - even when tracing is employed as a technique, it's usually by high-skill realism & concept artists who are looking to either cut some corners, save time, or just double-check their own proportions in order to improve further - if you try tracing as a beginner, you will most definitely find the result to still look stiff and "off".

So trust me, there is so much more to be gained from drawing from observation. Make note of tangents, compare proportions, use all the elements of the picture to dictate where and how things should go - it will be a far more rewarding experience.

Hopefully this has been helpful! VaM is a really cheap program (you get it on the guys' patreon for I think 8 dollars, just google it!) and it's definitely been worth my money as an artist since I found it. Learning to use it can be a little intimidating at first glance, but as I said above you only really need a day plus one or two tutorials to get a hang of the interface.

A fair warning though, IT IS A SOFTWARE MADE FOR VIRTUAL SEX/ADULT ANIMATION So when looking it up expect to see a some spicy content.

[mithrandirl]

i always get questions when i do a split gifset, and it's a deceptively simple process so i thought i'd try to show how i do it! i don't know if these types of gifsets have a more universally recognized name, but that's what i call them so that's what i'm going with.

i'm going to write this assuming you have a solid familiarity with photoshop and making gifs, but please feel free to send me an ask if anything is unclear. i use video timeline/smart objects so will be showing that (here's a great general tutorial on giffing with timeline). i will also be talking A LOT about gif dimensions, so first let's briefly go over the limits and theory a little bit.

a 1 column gifset can accommodate gifs 540 pixels wide

2 columns = 268 pixels each with a 4 pixel gutter between

3 columns = 177, 178, 177 pixels with 4 pixel gutters

i'm mostly going to talk about 2 column split gifs here (what i will refer to as 2x1 from now on - 2 across and 1 high), but the process is the same for 3 column (3x1) and so on (1x2, 2x2, etc).

so, why would you even want to make a gifset like this? i mean, let’s face it, generally, bigger is better for gifs on tumblr, and there are obvious incentives to 540 width gifs over 268 or 177/8 width, especially since the upload limit went to 10MB. but even 10MB isn’t much when you’re talking about high quality footage. gif making is a constant balance between quality (whatever that means to you: frame dimensions, sharpening, coloring, etc) and file size. split gifs are a cheat to that limitation >:)

i personally believe an untapped frontier of tumblr gifmaking is playing with dimensions and time. that sentence makes me sound like an old-timey sci-fi villain, but you get the idea: gifmaking is an art and there are many fun and interesting ways of exploring the medium. you can do a lot with 268 pixels! longer frame loops to gif longer scenes unbroken, bolder coloring on a wide shot you don’t want to pare down. and, a shorter x axis means the y axis’s bang goes a lot further on a buck. also just if you have a 2 column set but only 5 gifs so you need to make one take up 2 slots. there's a lot of reasons but the most important one is it's fun :) here are some examples of other split gifs i've made: x, x, x

this isn't so much a limitation, more of a shift in how you think about gifs, but it's important to remember that each gif should ideally be doing something still. when making split gifs, it’s easy to pick a wide scene without thinking about how it’ll be split down the middle, and then you’re left with a lot of something on one side and a lot of incongruous nothing on the other - or you're left with a person cut in half awkwardly in the middle. so while a split gif can still be a whole scene, you shouldn’t ignore the break and what it means to the bigger picture. now this is personal preference, but i like to play with the break and make it a part of the gifset. mirrored movement, subjects trapped on either side but still talking to each other, a bird flying from one side to the other. fun with frames! it can be another way of drawing attention to specific images/moments/feelings happening within the same shot.

SIMPLE SPLIT GIFS

to more narrowly define what i’m calling “simple split gifs,” it’s one set of frames split down the middle into two separate gifs that are meant to play concurrently, side by side.

first thing's first, crop your gif and uncheck delete cropped pixels if it is not already (very important). i'm cropping it to the 1x1 size, in this case 268x350. if you need to see how the full size will look, you can try it out with 536 first. but this one is pretty easy, this is the exact center of the frame (the left boundary of this crop is the center line) and both their heads fit within their respective 1x1 crop.

then color as you normally would. if your scene is very different one side to the other, it might be easier for you to color on a wider crop and then either crop again or copy paste your coloring to the smaller crop version. i do that with the 2x6s, but it's usually not that big a deal to color the 2x1s with just the small crop on your canvas at the time. this scene is very symmetrical, both in movement and colors, so i'm good.

now the fun part! once you've got one side how you want it, save/export as you normally would. at this point i also like to make a mental note of how many frames there are.

so i have 49 frames and it's still only ~3MB! this is just an example that i picked from my rotk fancy set, otherwise i probably would have made this gif longer.

then onto the other side, so i ctrl + z my way back to my smart object video timeline. to get to theoden i just drag and drop the smart object 268 pixels over. since this one is in the exact center of the image, it even helpfully guides me (this can get annoying if you are NOT giffing the center of the image fyi, but you can always manually go pixel by pixel too if you need to with your <- -> keyboard buttons. just always remember where you started and count accurately). i can never move around my smart object without hiding the adjustment layers on top of it, so you'll see me do that in this screen recording.

see how it corrected me when i dragged it a few pixels down by accident, and with all those pink guidelines? sometimes photoshop is good 😌

then make sure you still like the coloring, adjust whatever needs to be adjusted, but watch out! don't make any major changes because it still has to match the other side. and export again.

what we perceive as 1 series of frames chopped down the middle is just 2 separate gifs with the same frame rate. when tumblr loads the images, it will run concurrently in the post (even though it never does in the draft post 🙄). and that's it!

COMPLEX SPLIT GIFS

again i'm making up terms, but i call anything with more than 2 components a complex split gifset. i've tweaked some things in the process as i went along, but this is generally how i did the lotr series. these sets are basically just many split gifs with transitions. and here's where endurance becomes a factor :) there's a lot of prep done blind. but if set up well, it will be fairly easy to pull together by the end.

first i decide on my dimensions, using my upper bounds to determine how big i'm going to go. since lotr has very nice large file sizes, i can go pretty big without sacrificing much in quality. i decided on 3 rows of 350 pixel height gifs and it's worked well for me. that means my biggest gif will have a total height of 1050 pixels - fun! you could also do 8 rows, with two 2x2s or just a series of 2x1s that transition to 1x1s. there really is no limit to this except your imagination and source material.

i cap everything i'm going to use before i even open photoshop, then do all of them at once. uncheck delete cropped pixels, then i make my gifs! this is where i spend 90% of the time on this set. every gif should be the size of the smallest 1x1 gif (268x350 for me). i make all 10 into a fully colored, separate psd. (and then i usually go back through all of them a few times to get the colors to match better 😅) for the bigger ones (2x1: 536x350 and 2x6: 536x1050), i just crop them as if they were 1x1 but always thinking about how they will look when big. this gets tricky when i do the big one :) my lazy workaround for that is to basically make it twice: one cropped as it will be and one full size for me to color. then i copy and paste all the coloring layers onto the small one and voila, i know that the coloring in the upper right slice will also look good on the bottom left slice 1050 pixels away because i saw it on the full size version.

coloring is probably the biggest thing i'm thinking about with this kind of set. the whole idea is that these gifs are using the same colors, more or less, throughout each phase. even with the 1x1s, they're still part of a larger color concept, and they should (🤞) work with each other.

in a pinch, i like to eyedrop a color from one gif and add it as an accent to another. one of my 1x1s had a much more muted color palette originally, but i wanted it to have deeper blues and yellows to complement the 1x1 that would go next to it, so i added some gradients on lower opacity over it, color picked from other gifs i already colored.

i keep my coloring and the smart object in separate folders to help me in the final step of combining everything, and then i trim everything down to my lowest common denominator of frames. you might think you need to keep frames pretty minimal if you're doing 3 phases with transitions like this, but there's more room to work with on a small gif, in terms of file size. i usually do 30-50 frames for each phase, with the assumption that i'll be adding a transition on each side of each gif that will eat up some frames (i usually do 4-6 frame fade transitions). for the rotk set my final frame count was 129 and i never went over 8MB on a gif, so there's plenty of space play around with things :)

and then, combine! whatever order you start with, you are stuck with (unless you're getting even more complicated, but we won't go into that lol). for these sets i go small 1x1 -> medium 2x1 -> big 2x6. i like to think of it in phases from this point on. small is the first phase, then medium, then big. then i put in the fade transitions, chopping up the first phase gif so the last one will fade into it, restarting the whole cycle seamlessly. i'm just doing a quick and dirty fade here, but here's a tutorial if you want more explanation on transitions.

at this point i save this psd as its position, "top left" or whatever (usually it's a psb by this point too 🥲), just in case i need to go back to it. then i export this first gif and move on to the rest.

it's the same concept as a simple split gif: drag and drop the smart object to the new position, but now there are multiple phases to keep track of. folder organization has been key for me to keep everything straight. i move through the gifs in a backwards S, starting with the top left. but you could go any direction, just gotta stick with it and remember your counts. in my case, i'm always thinking of 268 pixels over and, for the 2x6, 350 up/down. it's a tedious process, but it goes quick (apart from waiting for photoshop to load each time you export).

i did this series as a color concept aesthetic kind of thing, so my theory was by using the same-ish colors throughout, that would save me in the end when it came time to export. there's only 256 colors max to work with on a gif, and that's usually what gets me over the 10MB limit. but as i said, i have never even gotten close to the size limit on this series. it's pretty hard to reach the limit on 268 pixels, but not impossible. (i did run into that on the emma set i did, and that was hell. but also not an impossible fix in the end.)

and that's it! if you try any of this and have trouble, i'm happy to help if i can but mostly this is a "click around and see what works for you" kind of process. and feel free to tag me on your split gifsets :) i love seeing them <3

[hoodedjelly]

Nicktoons unite main 4 in their respected styles ( minus jimmy neutron i'll explain more below)

i feel very mixed about these but it was still fun either way studying all of these cartoons respected styles. the final does make me happy, seeing all of them together ^__^ 💞

below i will explain my thought process working with each style so get ready for a wall of text:

first before anything you may be asking: why no jimmy neutron style!? it's because i tried and gave up! i was starting the rendering process for timmy and i hated it so i just didn't continue! no point of making myself miserable for something thats harmless fun style studies. but have these as a little treat:

Fairly Oddparents style: the easiest style to work on and research for, fop style is not that complex. i should also add i didn't draw each style in one sitting i drew each character together and then edited them all, so that might be the reason why some look better then others, i just got good. but i'm saying that because the character i started with was spongebob! specifically because i was tired of ppl thinking dp style and fop style are the same and how spongebob would look the same in both styles, just a flat square. which is wrong! fop style is very different! i would prob describe it as a flat paper style. has sharp and rounded thick lines. the main source of research i used for it was the designer for fop was Ernie Gilbert. he has designed a lot of iconic characters for the show and i highly would check out his work, this is his website

Danny phantom style: now this one was tricky, prob the hardest one to figure out and i honestly don't think i really DID figure it out. the possible reason is i am still trying to go through the show atm myself, but i'd doubt it. they all just look off to me, just a little. which no need for me to work myself in a circle trying to make it "perfect". im no professional character designer! especially not Stephen Silver.

Spongebob Squarepants style: this one was tricky but in the opposite way to dp style, where i didn't know what to reference! to start off the show is mainly nonhuman characters, so finding character refs were hard. the refs i did use were the mermaids and the superheros, so i used that for timmy. but in the middle of working on jimmys i was watching a video of someone ranking every single spongebob ep and TURNS OUT in the later seasons, i think season 13, there were human designs! (technically elfs but whatever).

and weirder thing is how they draw patchy but im not going to get into that. i am assuming that style is for characters that are supposed to be real life humans up on land in that universe (but why not just use real life humans? idk, maybe tom kenny is getting to old for the role). BUT ANYWAY, i used the elfs for a main source for jimmy and danny, they turned out a lot better then the timmy in my eyes. i wanted at least one of them to have the black eyes but they all have bright blue eyes and the show usually always colors blue eyes. i get ahead of myself cause there was a lot more factors i still had to figure out. like the line art. the show doesn't have a clear line style like dp or fop, its just relatively consistent medium lines. so i just went with more recent show stuff then older stuff since it's HD.

ok but thats basically it, i can prob go on more but i'd feel no one gaf. i made these for fun and it was fun making them! i love all of these shows a ton so it was nice looking up the designers and artist for these shows. support the artists!!! fuck bitch fartman!!!!!

[leidensygdom]

hello!! i love your art so much, your colors are beautiful and your characters are just so 👁️👁️ and i adore seeing them on my dash :)

i had a question about how you do the details on your fabrics: how do you keep the patterns on clothes on a body looking so,,, clean and readable while also making it make sense on the form under it?

like the cape/sleeve(? idk what it is but it looks cool as hell) on the magnolia commission pattern looks so cool and it's still readable on the fabric (like, if i wanted i could probably do a silly sketch of it) BUT ALSO it seems to make sense with the folds so it doesn't just look unnatural and stiff?

i'm so sorry this is kind of a long ask but like. would you be down to talk about your process for patterns on clothing? it's cool if you're not, that's totally fair, just figured i'd ask

have a wonderful day!!

OOOH Thank you so much for the ask!! I wanna do a more in depth tutorial, but I tend to make patterns in two different ways, with one being fully hand-drawn and the other playing with mesh transforms or the... Uh, liquify CSP tool? Let me find examples

This is an example of a fully hand-drawn pattern. No trickery here- Only trying to eyeball everything. It's kinda a lot of work to draw it manually, but it's the more convenient option if the character I'm drawing doesn't have files for the patterns, or if the files are a bit too different from my usual style, as they could potentially not look great with my linearted or painted style

And then- For cases such as Nolia's cloak, I did the entire pattern as a separate file, then placed it using Photoshop's mesh transform!

Here's a WIP file from when I placed all the patterns after finishing the lineart, where you can see them in full contrast. I tend to keep my patterns in different files- The black parts here are not joined with the base color of the cloth, so I can bring nice highlights and texturing when they're meant to be golden inlays, for example. Now, the Photoshop mesh transform is a bit finnicky to use, and I don't have any proper step by step of it- I could potentially record how I do it someday. But let's take the humble cylinder and demonstrate it quickly:

So, the mesh warp tool is the one on the right- You can see these sort of blue lines creating a mesh. I'm sure CSP has it in it's pro level or something? Correct me if I'm wrong. You play around with the different sections, move it to the right place, and put it on the cylinder. This is a very simplified form. You can make many subsections to your meshes (that's 3x3- you can have stuff such as 20x20) for when you have multiple folds.

And then you can just shade your pattern accordingly so it fits the volume of the drawing, and- ta-daa!

This is by no means an easy method. Sometimes you can get away with the Liquify tool (which CSP has and it's very decent), which I've used when the pattern in question was over a simpler surface with few folds. It takes some practise to use that well, and it isn't gonna be the best for complex ones, but it's also an option. Let me do a lil compilation of some patterns I've done and which tools I used for each!

The tool I use highly depends on the time I have, the level of finish for the drawing, and so on. CSP's liquify is probably the fastest but gives simpler results, drawing them manually works better with some styles and more organic/less geometrical patterns, the mesh tool takes a bunch of time but it's great for small repeating patterns that are meant to be very precise or geometrical.

If people would be interested in it, I may someday do a video tutorial of me doing a pattern and then putting it over a folded cloth. I do hope this can help a bit tho!!

[choccy-milky]

A few months back, I asked if it was okay to write using Clora and Seb. Finished the work - thought I'd lost it on my hard drive and a virus scan located it.

Not sure if it's sad or happy, but the basic premise of it is Clora getting frustrated/upset at Sebastian and Sebastian comforting her, Sebastian getting upset at a predicament Clora's in and Clora comforting him, and them both getting frustrated/upset and having to comfort each other.

If you'd rather I didn't post it, that's fine too, but just wanted to test the waters and double check that you'd be okay with it if I gifted it to you via AO3, or see if you wanted a sneak peak of it before posting it.

OMG im so happy you were able to find it and recover the work you did!!😭🙏 AND YES OF COURSE YOU CAN POST IT AAA I CANT WAIT TO READ IT!! you can DM it to me first if you want, but i also dont mind if you post it straight away on ao3!! IM LOOKING FORWARD TO IT SM AAARGHHHA💖💖💖IT SOUNDS ANGSTY WE LOVE THE HURT/COMFORT I HOPE MY HEART CAN HANDLE IT🥺💖💖TY AGAIN FOR USING CLORA AND SEB AND TAKING THE TIME TO WRITE SOMETHING ABOUT THEM😭

@sunshine-goblin AAA THANK YOU!!! im honoured its your fav fanfic AND ALSO THE LONGEST YOUVE READ BAHAHAA fr, when you say its as long as four books in lotr it rly makes me realize how insane i am😃👍 aw IM GLAD I COULD INSPIRE YOU TO DRAW MORE AND WRITE AS WELL😭 I was curious so i creeped you and everyone go look at their HL blog @sunshines-legacy your MC is so cute and so is your art🥹💖 as for tips on writing a longfic and brainstorming and motivation and stuff, my motivation was my brainrot and unhappiness with the canon story/ending LMAOO, and looking at the story of the game and playing around with what i was unhappy with/what i WISHED could have happened instead, was a lot easier than just coming up with plotlines from scratch. but something i highly recommend is just OUTLINING and making a timeline, one of my fav parts of writing was just putting on some cafe ambience in the background and doing stream of conscious type word documents where id just barf ideas and then worry about making it pretty later....like look at how many versions of the same chapter i have BAHAHA or like different renditions bc i couldnt decide if id wanna keep a scene/what order, so id make a timeline and keep smoothing things out until i was happy with it and whatnot

brainstorming is defs my fav part of the process and the most helpful part to me. just getting a blank document and writing stuff you want to happen without worrying about how it connects to the story, and then a lot of the times as i was doing that id just keep going and it would kinda tie itself together/id come up with a solution as i was writing / once the ideas kept flowing. so basically : TIMELINES AND OUTLINES I VERY MUCH RECOMMEND, but very low pressure and barebones ones. for example, this is what my outlines/brainstorming look like

its honestly just me talking to myself LMAO, and a lot of the time ill interject and be like "OH YEAH AND THEN THIS CAN HAPPEN" as the ideas come while im writing BAHAHA. its a super fun process and honestly nothing feels better than just getting hit with that flash of inspo, and since its all very low effort theres no pressure to actually write well and its just a chill fun time AND GOOD LUCK WITH YOUR OWN PROCESS / WRITING💖💖💖it can be difficult but HOPE U HAVE FUN TOO💖💖

@a-little-lysdexic WAIT REALLY?? LMFAOO OMG THATS CRAZY....SAME BRAIN...🤝🤝...that would trip me up so much if i were you omg BAHHAHA but aside from having similar tastes in names, IM GLAD YOU LIKE MY ART AS WELL, TYY💖💖💖

THANK YOUUU im glad you're liking it!!! and that its taking over your life BAHAHA💖💖 the video you're thinking of was by @silverxstardust for chapter 13 of my fic, and you can watch the video here! (AND TY AGAIN TO SILVERXSTARDUST FOR DOING THIS!)

[lynaferns]

So, someone asked for a tutorial of this animation so, why not?

I need to say first that I'm not a profesional animator, I'm a selftaught artist and I'm terrible at teaching/making tutorials so maybe this isn't the best example of how to animate.

Having said that, this was my process:

I first drew the important key frames, in other words, where I wanted point A and point B to be. No details, only body and head (I have no save of the original frames but basically no bells or ribons nor ruffles)

Then I needed a frame in betwen to conect them

I added a bounce effect duplicating the images, squeezing and stretching it a little (I have no save of this part but I have a video on my phone from january of last year, sorry it looks a little bad, I had to crop it)

I slowed it down so you can see the bounce

It's just like 3 frames each bounce

Now, to animate all the frames I started from A to inbetween 1,

then later to point B and closed the loop with inbetween 2.

To make this easier I drew a "rute" on the background

It looked something like this

and with the animation

It's a process of trial and error. While you are drawing the frame you don't actually know if it's the correct pose (unless you are some kind of god), so you have to draw the inbetweens, check how it looks in movement, spot where it lack/exceeds frames or where it needs more space between frames... untile it's finished and you get something like this.

As you can see only 8/46 frames aren't drawn. These 8 frames are little "stops" for the images so the character is still.

Some of these frames has the character still but something else is moving, like Moons hat.

Finally, I got to animate the details: sunrays, hat, bells, etc. Each of these objets has its own physics and this part enters more in how I belive the physics would behave like having in mind the mass of the objet and the inertia.

Example:

The hat has a lot of inertia because fast movement so: it moves faster and it takes time to stop.

The ribons and ruffles has less inertia because even though it is still fast is a slower movement so: it moves fast BUT stops fast.

Note to add: the faster and objet moves the less frames it needs to be drawn, sometimes it may need to draw the character/object deformed to look right. The slower it moves the more frames you'll have to draw and the more precision you'll need to make it look right.

Some cursed frames:

Some "still" frames:

Another note to add: this is animated at 24fps, this means every 1 second has 24 images. Most cartoons and movies are animated at 24-25 fps, this not only aplies to 2d animation but also 3d and stopmotion.

Fun fact: the human eye perceives between 30-60 fps, however animating at 30 fps or more can give an unnatural feeling to the animation.

At last, here is the animation clean up that I never finished

I added a couple of frames to make it a lil' more smooth.

Hope this crapy tutoria helped somehow.

Now I'm going to bed and hope when I see this in the morning it looks decent.

[gilverrwrites]

i’ve sent this request to river-rat69, but wanted to see how you would potentially interpret it >_>

exploring interests with jack and finding a common one? like art? perhaps?

just a cute idea idk

Finding common interests with Jack

Author note: That is super cute! I'm note sure if this is what you had in mind, but I hope you enjoy it nonetheless.

I will also note, I know a common opinion is that Jack is like a child in an adult body, but I always read him more as like an adult with minimal world or social skills.

Can be read as romantic or platonic.

Rating: General

Genre: Pure fluff

Please be kind to your mind ❤︎

I feel like if Jack wants to make a connection with someone, he will try anything at least once.

He's a 20-year-old who has never had to make friends before. Cas and the Winchesters are family, thats different. Friends he has to make an effort for. (At least in his head.)

If he thinks you really enjoy something that he doesn't, he won’t want to hurt your feelings. He wants you to like him.

So even if he doesn’t enjoy something that much, he’ll try to pretend.

It’s up to you to figure that out and stop him from torturing himself.

He’s too nice, loyal to a fault.

Although, the many sceptical questions and the suspicious looks are a dead giveaway.

“Is it supposed to smell this strong?” Yep “And I can’t eat it?” No, Jack, it’s soap! “And we’re wearing gloves because? It’s dangerous, yep, got it.” “Is this what a headache feels like? NO! It’s fun! If you like it, I like it.” “It takes HOW LONG to cure?”

Probably stay away from things like candle and soap making.

He likes stability, so I think having a set day each week, or a couple of hours each night to do stuff together, would be ideal for him.

He’d love bonding over shared interests in films and TV.

He doesn’t have to eat, but I think he would enjoy trying new foods.

So: having a weekly film night would be awesome. Where you can both veg out on the couch together, eat whatever new or different foods you find at the supermarket, and watch horror (primarily zombie) and/or sci-fi films together. 

Or spend the weekend binge-watching The Walking Dead or The Cornetto Trilogy (+ Paul, non negotiable).

Video games too: Left 4 Dead, Fallout etc

Then fall asleep where you're lounging, talking about your faves and your fan theories. 

I don’t know that he would be into making art, per se, but I think he would like crafts.

I feel like Jack would really like those diamond painting thingies. Or just like, bedazzling things in general.

Like, I can see him contracting some weird cosmic-being version of the flu, being quarantined with an Angel!Reader and it being like that one episode of Malcolm in the Middle. 

Also legos. Just things that take a lot of attention to detail, something that can take his mind off of the constant pressure he is under, that you can really focus on, but that has a cool pay off at the end.

Animation as well, both watching (more 2D stuff like Batman, Invincible, Nimona)

And doing– probably more like stop motion, with again, legos, or claymodels. 

(I’m totally not projecting because I am an animation nerd)

He would, however, enjoy art galleries and museums.

Being able to admire and learn about things created by humans throughout history would be so astounding.

Would like to have you with him so you can observe, learn, and discuss together.

If you’re interested but unable to go with him, he’ll memorise everything so he can relay it all to you later, or pick up a bunch of leaflets for you to read. Or he’ll make a note of all his favourite parts so he can take you there another time.

He would have a similar sentiment if you are an artistic person. 

He doesn’t want to draw or paint stuff with you, but he would like watching you and your creative process (if you don’t mind being watched)

Like absolutely fascinated by your ability to create something from nothing. Something that evokes emotion or tells a story – wow!!

Your number one supporter. Gift him your art, and he’ll put it on his bedroom wall.

Those galleries I mentioned earlier, he’s buying you both tickets to go see your inspirations shows or displays.

Wants to look through all your old works, he doesn’t care if that horse you drew when you were 12 is the wrong shape and has wonky eyes, he thinks its so cool that you tried, and practiced, and learned. That’s human ingenuity.

You’re so cool.

[fagboyfriend]

i rlly like ur composition, i wanna know about your process :D

thank uuu !! yeah so like. composing a scene for me generally begins with a vague idea that i want to get down as quickly as possible- and for me that usually starts with finding a setting. I knew that i wanted to draw a) a group of roomates gossiping in a crowded kitchen and i wanted there to be b) one figure in the extreme foreground and c) lots of plants. i do use some tools to figure out perspective, mainly the csp perspective ruler. Usually i start by finding a picture i like similar to the vibe im going for- but instead of referencing anything else- im purely interested in perspective. sorry to anyone who is shocked i dont generate all of my perspective purely by myself- i can draw in perspective fairly well but i struggle to make straight lines and this is easier to make grids with than the line tool lol ^_^ i try to use it kinda more like spellcheck on typos than like something to fully rely on. this is the video i learned this trick from:

i saw the left photo and realllly loved how the cabinets alligned with the wall- so i used my ruler tool to draw out my inital plotted points from the image- basically the linear movements i was most interested in and then i turned off the image layer and worked with those lines and the ruler tool to move on. eventually i had this:

which was enough for me to put my characters in for the inital round. if you notice- i made a looot of further adjustments as i go on. this sketch is not a final layout, its so my characters have somewhere to be! i cannot draw someone standing on a floor if theres no floor, nor leaning on a table that doesnt exist. i can’t draw my characters without a background, but i also cant finish my background without accounting for how my characters can comfortably exist in it!!

this was the like.. very basic start. i knew the positions of two characters- but i needed to change a lot not only to fit them better but to allow for the other two figures i had planned.

okay.. a little better. i widened the kitchen, closed the fridge door.. added a chair and fit in all the figures.. but this is waaay too dramatic. only two figures are actually interacting- and they are at wildly different energy levels!

this is where things started to make a little more sense characterwiss, so i was ready to refine backgrounds and figures and unite the two.

inital base sketch. much better layout.

okay- this is where im getting my footing but things seem.. really really off. You can see me working on my framing here- theres some good linear movement from left to right here- but not vertically. It’s hard to notice the figure in the far back, so i need to redirect the viewers eye to move upwards as well!

this is where i decided to zoom out, add an interesting vertical element to the left of the image and make it clearer whats happening in the foreground. i had to account for some stuff by adjusting the cropping, but i paid attention to that as well.

annnd- thats what a clean sketch looks for me! i have all the elements of my scene accounted for, and things are clean enough to read.

the next step for me would be transfer! essentially- I print the image of my sketch out, resizing and taping pages together so my sketch matches the size of the paper i want to paint on, and then i use a lightboard to transfer my sketch with pencil onto my paper. Then i refine the sketch a few times on paper before stretching my watercolor paper (essentially just prepping for painting) and inking with a brush and colored ink before going in with watercolor, gouache and ink, then usually finishing with marker, colored pencil, pastel and ink. it’s a lengthy process but a lot of fun lol. but sketches for me can be like.. 15 layers of different roughs until im happy with just the sketch. there were more images but im on mobile and theres a 10 image limit 😭😭 im a bit masochistic but i believe that if i dont have a good sketch i dont have a good painting!!

[whiteraven90]

hello, I hope you're having a good day <33 I saw your recent post on my dash and I was STUNNED at the animated scene! It's insane to me I get to see your characters animated. Feeling blessed to be alive to see it, I am not exaggerating. You know, one of these times where you wake up and things are a little bumpy in your life but there's one thing that shines brightly you didn't know it could give you so much excitement? Yeah, that kind of thing ((:

I took my time for the past hour to reminisce over your blog again. It is one of the places I really love scrolling through and reading your writing. I had a question, if you don't mind me. The way you have improved is truly admirable. I know this might not be an easy ask to say "hey, how did you learn how to paint", so I'll ask this instead: I don't know how long you've been working full-time in art, but when do you make time for studies / drawing for fun? If it's not too much to respond to, how do *you* study? I remembered your posts with your redlines and wanted to ask how do you go about those, or if you switch your routines based on your needs (sketches vs speed painting backgrounds etc). The notes there were very interesting, seeing the mental exercise.

Pretty sure you have a fKTON of stuff on your plate, so please don't feel obligated to respond quickly or even at all. Thank you in advance for taking the time to read my message and for all the time you take to respond in general. Love reading your responses <3

Take care, ok? <3

I'm glad the animation made you feel better! I'll put the answer under the Keep Reading thingy.

I'm not entirely sure... I think I don't study as much as I should/could. I mostly learn as I go. Standalone studies are helpful, I'm just drawn to doing things that are more fun/satisfying to me or things that actively progress my creative goals. Imperfect illustrations for my stories, and incomplete research for worldbuilding! Many people learn faster than I, and those people do a lot more studies than I, but I have no info on whether they have more fun than I. Dopamine is rocket fuel, so it's important. :)

I'm always on the lookout for reference pictures, but I study almost only when I have a practical goal in mind, I guess. Studying is part of my job too, I think? As an indie concept artist I'm supposed to build a hoard of references and pull several new/sensible things out of them, and I think part of this process is understanding the material, and revisiting even what I already know. Illustration is similar. If I'm commissioned to draw an anthro alligator, it's time to study gators. It's not separate from work.

I mean, straightforward version: I wake up at 03:30, make coffee, and start working for myself until the paying work starts, lol. Brain is fresh before noon, and tired late in the evening just like everyone else's. It also helps that the city more or less shuts up at 4am.

The studies with the redlines... I do them when I fancy drawing characters or creatures but feel out of shape. I can get discouraged, feel like I forgot how to draw. I sketch if I plan to sketch, and paint if I plan to paint or want to study colors Drawing live models helps. Studying videos of people and things in motion. Hopping down rabbit holes about how/why things work (e.g. flintlock, Davy lamp, mansard roof). Drawing from refs. Hoarding refs. Trying different mediums (e.g. charcoal, 3D, etching). Small screenshot of one of my ref boards for the animation; I'd say I studied it a lot. How clothes move, what are good clothes, how do good clothes move, lion/tiger + human + eagle anatomy (from specific angles during specific motions if/when possible), how to dive roll, proper sprinting form, how to survive falling from a great height, spearfighting, pole vaulting, poledancing, lighting, colors, environment, kicked-up sand in motion, spear types, emu/cassowary/griffon vulture feet, etc. I didn't draw studies, unless you count the animation itself (I would).

[yey56]

Villainous x reader who's a sleepwalker (someone who moves, speaks and walks in their sleep)

DR FLUG🧪:

First time he found you walking around the manor at night he though you were suicidal. He was scolding you when he realised that your eyes were closed and that you were asleep.

He's the one you can trust to actually protect you from yourself when you are wandering in your sleep.

Every time Flug catches you out of your bed at night, he carefully guides you back trying not to wake you up.

I won't deny he hasn't experimented a bit with you in that state.

After the first night of the discovery, having already processed your strange behaviour, he started following you without interacting, observing what would you do or where would you go.

The experiments had determined that sometimes you formulate complete sentences, though really incoherent or direct nonsense 🤌👀

Some examples of what he has heard coming out of your mouth are: "omellet, picke omellet please." "Help wanted, this ship is empty" "yes sir the cow is asleep".

Those are some examples of the bullshit you are saying while asleep.

Flug is the typical dude that is taking care that you don't end up in some kind of mortal danger. 🫂

Will actively try to make you go to your room again and if he doesn't manage to do that, he will try to tie you up in the sofa or smth.

Overall, he is the one who worries about you the most and the only one who will not reprimand you in the mornings.

Talking about mornings. When you manage to wake up the next day, having a little bit of headcahe (you've been hitting your head with door frames all night) he will try to encourage you to lock your bedroom at night.

He's really curious about what the hell are you dreaming about. I mean, the shit you pull at night are really some piece of work, he's curious 🤨.

You have asked him to give you a chest camera so you can record what you do at night. You guys watch it together once a week.

All in all, he is the only one who actively care for your well being.

DEMENCIA 🦎:

A menace.

The moment she realises you're sleep walking, the moment she starts messing with you in your sleep (but lovingly ☺️)

If she sees you get to close of falling through a set of stairs, she will stop you so you don't accidentally break your neck.

Demencia draws stuff in you face like a fake moustache or something written like: Dem is the best. (When you wake up and realise that the marker is permanent you are going to seek vengeance)

Has a lot of videos and photos about you, and of the constant nonsense you spill.

At night, whenever your talking in your dreams and saying the most outrageous and out of pocket stuff, shes there listening to you.

And the worst? She will answer and keep a conversation with your sleeping self.

Smth like this:

Reader: *mumbling* ketchup pajamas are in the cabinet on the Pacific. The Italians have been slaved.

Demencia: yeah girl you go!! Fuck that Mario plumber 🪠

Will not shut up about the shameful shit you do while sleeping. She's laughing at you and mocking you but will still vigilantes you in case you get to risky at night.

She will lend you her straitjacket some nights so you can be safe at one place without the risk of waking up in a forest. 👌👏

In conclusion:Demencia will have WAY more fun than Flug with your condition but still acknowledges that you can get hurt and tries to avoid it. (Almost always)

BLACK HAT 🎩:

He didn't really know how to react the first time he catched you wandering his manor at night. 🧐

Just as Flug, he though you had a death wish but also quickly realised, by your apparent drunken walk, that you were asleep.

Doesn't really interfere at first, just follows you and quietly watches. BH is genuinely entertained by your strange behaviours.

Has tried several times to interpret your mumbling and murmuring but at some point he realised it was complete gibberish.

You somehow managed to enter his office at night from time to time. (Apparently you know how to pick locks while sleeping 🫣🤗)

One night you were on the floor against the wall of his office saying something stupid he could barely understand when you suddenly started changing languages.

Reader: Yeah, stop it mom this is not guacamole. Sabes que no me sienta bien para el páncreas und ich habe Magenschmerzen. Bitte Krabbe. 🦀

BH: what the fuck-

That when black hat wanders why did he even let you in (he didnt, you picked the lock again)

After understanding your apparent almost suicidal way through his home he started to block some doors from your acces so you couldn't reach a tortuous death.

Once he catched you trying to enter a iron maiden he had laying around 💀🙈

This doesn't mean you're completely safe though.

I see him as the typical who magically transports you to a remote place so he can observe how you manage. Have fun trying to get back when you wake up ;)

The worst he has done was waking you up in the middle of your nightly walks scaring the shit out of you. He casually did it just a few steps near a set of stair which made you fall off.

After making sure you were in fact still alive he just laughed like a freaking maniac, dragged you to flugs rooms and after waking him up with a scream he left you there to be attended by him.

Whenever he sees you coming out of a room you didn't know about the night before or just entering the main gate after the night he just assumed you were in your own dreamy world. 🌚💤

Has transported you to your room every time he hear your near his office. Sometimes he even bother to open the door to see what the helm you're doing. 👀👀

Basically doesn't really intervene unless he's to bored or deems it absolutely necessary.

505 🐻:

He didn't really noticed your habits because he tends to sleep really well

But one night, he woke up to get a glass of water and he saw you walking in front of the bosses office trying to Transpass the door. 👻👻

He didn't quite understand what you were doing until he got close to you and saw your closed eyes .

He still didn't knew you were asleep so he started interacting with you trying to deduct why we're you acting so strange..🥸

Once you finally woke up, startled and confused, you explained to him that you were sleeping and to not worry to much.

Spoiler alert: he will worry to much.

Doesn't really understand why you do it but since you are so confident he will trust your judgement.

If 505 catches you out of your bed, you can be sure he's hugging you and carrying you back to you room, sometimes he has even dragged you to flugs room and lays you on the floor.

Flug almost tripped with your unconscious body in the morning. What a great way to get up 😃🖕

Doesn't care that you talk while sleeping. Since you don't have outbursts, you just tend to mumble, he can sleep peacefully even if your having a full blown rant about different types of hydric sources.

[alxxbee]

Hiii Alex I hope you are having a wonderful day!!😊 I have a question to ask you and you don't need to answer if you don't want to of course!!

I was wondering if you would mind sharing how you became an artist, if that makes sense? Or perhaps how you draw, I think that's more like it! I've been struggling a little bit and since you are extremely talented I thought perhaps you could explain your process when drawing a character (did you learn some anatomy techniques or maybe you learned some tricks and tips from tutorial videos.)?

I guess what I am trying to say is how did you learned to draw characters, if that is a possibility for you to share of course. I don't want to pressure you or seem mean by making you reveal your process when it comes to art.

Thank you very much for reading this ask and I hope that you are doing okay.💗🤗

Thank you!!

I am a self taught artist and i only draw whatever i liked since i was a little kid, so i never really watched any drawing tutorials to “better my art” since i was doing it purely for fun. Whenever i find a cartoon i like i would try to replicate the style of it but also add my own uniqueness to it, how i draw HH characters now was not my art style a year ago! But i only just started replicating styles, I think for the longest time i would draw in a cutesy anime way. I use a bunch of referencing too, that helps a lot! I personally don’t use shapes or bases when i sketch, i kinda just go with the flow if you know what i mean? I make a lot of mistakes sketching so inverting the canvas and using the (liquify) tool to tweak it before i start doing line art helps a lot. (im also just a huge perfectionist 😔)

Of course it takes a while to get the hang of finding your own art style, when things got too hard i would go on pinterest and get inspiration from other artists there! when it comes to posing, rendering..+ I have separate pinterest boards for each thing. aaaand before this gets too long i just wanted to say thank you again! Every artist has their own unique way of their drawing process, my advice is to keep drawing, don’t focus on negatively comparing your work to anyone else’s, that can get really draining very fast. Do whatever helps you the most and one day you’ll look back to your old art and see how far youve come (i just personally think that’s the best part of it all) 💖

[felassan]

Image credits: David Gaider [source link below]

Article: 'Who is qualified to make a world? In search of the magic of maps'

"You're travelling with your imagination..."

An extensive feature article about maps, map creation and world-building. It refers to David Gaider and the team's early world-building and early-days process of creating the universe that would become Dragon Age. It includes this early series of original sketches of the map of Thedas through time that Gaider drew when the world was being created.

Excerpts under the cut (due to length):

"Dragon Age. That's the game Gaider was working on - or rather, it was the world he would dream up. Ideas had been swirling about what Dragon Age would be for a few months. The team knew it would be like D&D but would not be actual D&D, because BioWare was sick of licensed games at the time. They knew they were going for Tolkien rather than Conan or Diablo. "We definitely had at least some idea of the kind of RPG this was going to be," Gaider tells me when in a video call. But BioWare didn't have a world. One day, Gaider was handed a historical atlas of Europe and tasked with going away and coming up with a fantasy world for players to explore. And almost immediately, he sketched a map." - "What is it about a map that gives it magical powers to bind us and pull us in? I wanted to know more, and through talking to David Gaider and learning about his creation of the map for Dragon Age, I hoped I might find out." - "In fact, he corrects me, "I sketched a lot of maps." But they were the same map, replicated over and over, because in order for a world to make sense to Gaider, it needed history. "I drew this coastline and then made a bunch of photocopies of it," he says, "and did this series of sketches, like, 'Okay in this era, this is where people lived and where they migrated and created different cultures,' and those cultures changed over time as they got conquered. Much like the book of European maps I had, I was doing it in eras and forming an idea in my mind about how these groups all mingled together. David Gaider was kind enough to share his original sketches of the Dragon Age world with me, and in them, you can see an emerging flow of history. You can see the spread of the Tevinter Empire as the race of Men lands in the north and then begins to spread out. You can see, in the earliest images, there's still a kingdom of Elves in the forest of Arlathan, nearby. Then, they are forced out by the growing Tevinter Empire, south to the Dales, where we encounter them in the Dragon Age games, subjugated to being a kind of slave race. Tribes give way to kingdoms, and names we're familiar with begin to appear." - Caption on the sketches: "David Gaider's original sketches of the Dragon Age world. Wherever you see a name typed in, it's because it was changed by EA's in-house sensitivity team, which cross-checked place names with real-world names in case there was a clash. The area of Antiva, for example, used to be called Calabria, but Calabria is the name of a region in southern Italy. "Well, if you do something with the Calabrians that real Calabrians don't like, they might get upset," the sensitivity department at EA told Gaider. "So I was like, 'Oh fine, I'll change it,'" he says." - ""My feeling on history when it comes to worlds," Gaider says, "is that you need to have a lot of it." Without it, he says a world will feel like a facade. "Sometimes you'll see worlds where they've made only what is needed for their current story, and it's like an old Western set: it feels right, it looks right, but then you slowly get a sense of, 'Oh, there's nothing behind those doors.' Before he sat down to draw, Gaider already knew some of the geographical elements he wanted. He knew he wanted a topsy-turvy 'South was cold and North was hot' idea for the continent, to play with people's expectations, and he knew he wanted a large waterway - that he likens to the Mediterranean - carving its way far inland. Today, we know this as the Waking Sea, and it's an incredibly important feature in the Dragon Age games. Gaider also knew he wanted islands far up in the north, from which an unknown race could invade. "I knew that I wanted an 'other' race that would come along," he says, "which ended up being the Qunari." Gaider also knew he wanted untouched areas for adventure, like forests and mountains, just in case the game would need them. "I didn't want every place to be so civilised that when it came time for 'we need ruins' or 'we need massive wilderness', we've got nowhere to go because I've civilised the entire thing," he says."

"Because remember, the team didn't yet know where the game they were making would be set. That's why so much of the continent you see in the sketches is as yet unused in Dragon Age games - the series hasn't needed all of it by this point. Continents are vast, after all, and realising them in 3D for players to explore is a mighty task. "I guess in my head," Gaider says, "we would be probably either on the north of Ferelden, on what became the Free Marches, or maybe off in the west more towards the Tirashan Forest or the Hunterhorns. That was a very wild area and I was like, 'That's a good place for an adventure to be.' Atlas at hand, photocopies in front of him, Gaider set about his work of growing a game world from a bunch of maps, and with not a small amount of trepidation. There was a lot riding on the world after all; it was a far cry from the worlds he'd created and freely abandoned as a teenager. "This is going to form the foundation, ideally, for a lot of games," he says, "and a lot of people are going to do work [on it]. And the trepidation is like, 'I don't know what I'm doing.' I'm essentially the equivalent of a 13-year-old just going, 'La la la, I'm going to call this Ferelden!'" - "Some things bother David Gaider about the Dragon Age 1 map, still, and they occurred when artists prettied his sketches without his involvement. "Oh," he said awkwardly when they were presented to him. "I didn't want it to look like this, exactly." He says they added a lot more rivers and mountains, and flipping between his sketches and the Dragon Age: Origins map, you can see some have moved around, or gained prominence, and places like Redcliffe have shifted. Apparently people would take to the BioWare forums after the game came out to complain about the map's geography. "And I'm like, 'You know what? You got a point,'" Gaider says. This is mostly anger at himself, though, for not doing more about it. Similarly, he wishes he'd been able to sit down with artists and work out what the rest of the continent you don't see in his sketches looked like, so they didn't have to have "the continent just keeps going..."-like messages at the edge of it. "But to where?" Gaider says. But it speaks to something he's noticed in his decades working in games about artists and writers. "They really speak two different languages," he tells me. They process things differently and they tend to care about different things. There were reams of history and lore written in a "world bible" for the Dragon Age team, but getting artists to read it was another matter. They wanted clear visual cues, not piles of backstory. Dragon Age: Origins eventually found its setting in Ferelden, the kingdom in the bottom right bulge of the sketches, so it left a huge portion of the sketched world unused, which the team presumed no one would ever see. "We thought that was going to be the only one," he says of Dragon Age: Origins. "That's why when you get to the end of Origins, there's so many epilogues that cast off far into the future, which, if we'd known that we were going to keep going and keep going with history, we wouldn't have said, 'Oh, in fifty and one hundred years, this is going to happen.' I think we would have played our cards a little closer to our chest. EA apparently found the game very old-fashioned and thought no one wanted turn-based role-playing games like that any more, which of course now seems ridiculous given the success of Baldur's Gate 3. "Baldur's Gate just goes to show how wrong people are when it comes to industry wisdom," Gaider says."

-

"Nevertheless, when Dragon Age 2 eventually was green-lit, the scope of it, and the focus of it, would completely change. With it, BioWare and EA would push towards a console RPG experience that stopped and started less, and had more action-packed combat. And EA only gave BioWare 18 months to make it, so BioWare decided to make a much smaller, more tightly focused game. It seemed like a good idea at the time. "People at BioWare convinced themselves that the fans would be okay - it'll be fine if it's a smaller game," Gaider says. "And I don't know why we thought that was the case, but for a moment there in time, we were like, 'Yeah, sure, it'll be fine.'" As for the mapping, a tighter focus meant centering on one place rather than a whole region, so the city of Kirkwall on the Waking Sea became the heart of the game, and BioWare developed a time-jumping idea for the game so you could see it at various different points in your character's lifetime, which I still think is really neat. And because there wasn't a large region to explore, the game didn't need a sprawling map, so BioWare turned the map on its side to give Kirkwall some height and majesty instead. It wasn't particularly memorable, but it looked nice. The game didn't go down well. "Its highs were really high, and its lows were really low," Gaider says now. "It was very unpolished. If it even got six months more polish, I think the reception would have been a lot different." More importantly, it meant everything would need to change again for Dragon Age 3." - "In Dragon Age: Inquisition, the third game in the series, the map plays a starring role. It's built into the game world specifically so you and your Inquisition advisors can gather around it and push pieces about as you choose where to go next. Thematically, this fits neatly with the theme of running an organisation like the Inquisition, but the map was also required to cover a lot of ground. One thing BioWare knew the moment it started making the game was that it needed to be bigger than DA2. This time, the game would spread across areas of Ferelden we hadn't been to as well as some we had; up to Kirkwall and into surrounding Free Marches, and then west to the city of Orlais and onwards until it reached past the Waking Sea and arid desert land. But the sense of scale was an illusion. Dragon Age: Inquisition wasn't a continuous, open world, but a fragmented one, made up of a few open-world-like zones, some small parts of cities, and many 'you can't actually explore there, but you can read about it' text-window interactions. Again, this was Gaider's idea, to give the game "a feeling of breadth" without needing the art department to render it all in 3D. By the time Inquisition came out in 2014, the world of Thedas - the name an amalgamation of "the" and "Dragon Age Setting" by the way - had been reinterpreted for three games and touched by many pairs of hands. Gaider's writing team had plugged the holes he, as a single writer, couldn't fill, and the art team had shown us what the world looked like. There was even, fittingly, a Dragon Age encyclopaedia released, compiling the teetering piles of lore and backstory, and maps and imagery that BioWare created for it. People were now joining the team who were already fans of the series. This was no longer an imaginary world; Thedas felt real. And perhaps it no longer needed Gaider to steer it."

- "So Gaider left BioWare in 2016, having worked there for 17 years, most of it spent on Dragon Age. Really, he'd had enough of wizards and demons, and Anthem wasn't the tonic he sought. Eventually, he'd move all the way from Canada to Australia for a fresh start, where he'd start Summerfall Studios and make a role-playing musical called Stray Gods, which was released last year. That game, incidentally, only featured a small map for travelling between city locations. Today, he awaits the arrival of a new Dragon Age game - Dragon Age: Dreadwolf - like the rest of us, having had no direct input. It's an anxious wait, as you can imagine. "I was Mr Dragon Age for ten years," he says, "so there is a certain amount of attachment. I'm not sure how I will feel when Dragon Age 4 comes out. I have a hard time believing that if I play it, I won't spend a lot of the time second guessing any choices I see, like, 'Oh, hmm, I wouldn't have done that.' What if they bring back some characters that I wrote? They're going to Tevinter so what if Dorian's there? Gah! I don't know; I am of two minds as to whether or not I will even play it." "It makes me wonder about these people who create worlds, who draw them into existence - whether that's in a preliminary sketch or a lavish piece of artwork - and whether there's always a point where success comes with the consequence of ceding control. Had Gaider kept the world of Dragon Age to himself, a photocopied map, folded and stuffed in a back pocket, we'd never have played it. And had millions of people not played and enjoyed it, I wouldn't be writing about it now and have that feeling when I look at an image of one of Gaider's photocopies, that I'm in the presence of something special, something powerful. But it's no longer Gaider's map, and no longer Gaider's world. It's all of ours."" - "For Gaider, maps are snapshots of history, photocopied slideshows explaining how places came to be. And of course they are, because he was thinking about Dragon Age when he started in on maps, which meant that he was thinking about geography, sure, but also the passing of time, and the way the latter affects the former."

[source and full article]