put me in the universe where Columbo ran through the 1980s and had a crossover episode with Knight Rider. I think they deserved it, and I am not just saying that because they're my two favorite Old Shows. @telebeast wrote a little fanfic blurb about it and I HAD to visualize it into a comic (which is also the longest comic I have finished thus far at five pages...), so writing credit goes to them.
I think 90% of my gripes with how modern anime looks comes down to flat color design/palettes.
Non-cohesive, washed-out color palettes can destroy lineart quality. I see this all the time when comparing an anime's lineart/layout to its colored/post-processed final product and it's heartbreaking. Compare this pre-color vs. final frame from Dungeon Meshi's OP.
So much sharpness and detail and weight gets washed out and flattened by 'meh' color design. I LOVE the flow and thickness and shadows in the fabrics on the left. The white against pastel really brings it out. Check out all the detail in their hair, the highlights in Rin's, the different hues to denote hair color, the blue tint in the clothes' shadows, and how all of that just gets... lost. It works, but it's not particularly good and does a disservice to the line-artist.
I'm using Dungeon Meshi as an example not because it's bad, I'm just especially disappointed because this is Studio Trigger we're talking about. The character animation is fantastic, but the color design is usually much more exciting. We're not seeing Trigger at their full potential, so I'm focusing on them.
Here's a very quick and messy color correct. Not meant to be taken seriously, just to provide comparison to see why colors can feel "washed out." Top is edit, bottom is original.
You can really see how desaturated and "white fluorescent lighting" the original color palettes are.
[Remember: the easiest way to make your colors more lively is to choose a warm or cool tint. From there, you can play around with bringing out complementary colors for a cohesive palette (I warmed Marcille's skintone and hair but made sure to bring out her deep blue clothes). Avoid using too many blend mode layers; hand-picking colors will really help you build your innate color sense and find a color style. Try using saturated colors in unexpected places! If you're coloring a night scene, try using deep blues or greens or magentas. You see these deep colors used all the time in older anime because they couldn't rely on a lightness scale to make colors darker, they had to use darker paints with specific hues. Don't overthink it, simpler is better!]
I meant to draw this way sooner, but admittedly I only had motivation to start properly drawing this 2 days ago. I've had this idea for what to do for this picture for around a week now so I'm glad I finally sat down and drew it!!
Rory, you are such a creative person and very sweet the few times we've talked! I can't wait to see what you do in the future! Just do not feel obligated to post about Puppeteer if you have no motivation even if it did gain you some popularity. :]
straight trans guys & aro trans guys solidarity. weird that my whole life I've been expected to be into dudes and now that I'm a guy the lgbts also want me to be into dudes or else they don't really think of me as one of them
and while I'm not attracted to anybody and straight trans dudes are attracted to women, i feel like we're in the same boat here. too queer for the straights and too straight for the queers
i think a big reason why i enjoy the zukka fanbase significantly more than any other atla shipping-specific fanbase is because nobody in there is wasting time trying to convince anyone why it was secretly canon. like, this is a ship that is pretty much exclusively limited to unpacking these two characters, exploring how their personalities complement one another, and talking about what the post-war universe would look like. nobody is sitting here trying to tell you why, like, suki was secretly toxic and sokka was in love with zuko the whole time. idk. y'all are vibing and chilling and that's why it works
Made another animation this one starring Olivier! I’ve been wanting to illustrate Olivier’s weather abilities for a while now since they’ve always looked so darn cool in my head whenever he used them.
Anyway this was a lot of fun to do and provided the opportunity for me to experiment with different rendering techniques for animation. Gradients and blended stuff overall takes some practice to learn how to move without looking choppy.
The effects also took a long time, I did a lot of experimenting with those to figure out what looked the best. The version up above is certainly the most dramatic looking but I also ended up with some calmer ones.