#and the visual storytelling with the colors in the clothes and the lighting

[color-beyond-lines]

Haoren scraped by the asphalt, holding his injured hand, saying it hurts over and over because he’s finally letting himself feel again. After years spent not allowed to feel pain, numbing himself repeatedly, something finally hurts.

And Chihiro doesn’t know the extent of Haoren’s suffering, but he knows that he still has the ability to feel and care, knows that crying means his heart is still beating.

So little by little, they patch each other up even as new wounds are made and old scars reopen. But as long as they have each other, they have a reason to live. A reason to hope that living is worth the effort.

[batbabydamian]

The Boy Wonder #3 by Juni Ba rambling about how cool this series would be to read in a single sitting...it's all so connected!!

rambles for issue #1 and issue #2!

i don't have as much personal interpretation for this cover besides it being a solid piece of art in shapes and silhouette! ALSO. bi bg lighting lol. Damian's "X" posing of his cape and swords parallels with Tim's "X" chest straps + the Robin emblem in the center. Tim's closed Red Robin wings frames Robin's own outstretched cape wings; and on top of that, the shadows cast inside the wings nicely frames Damian's demon mask.

Joe and Merle's dynamic has been so fun, especially with the mutual enthusiasm over the storytelling 🥺 Joe also opens up about his circumstances that led him to this moment, which perfectly sets up the setting of this issue! Even his very first introduction becomes a relevant detail when a fancy rich couple drops a champagne glass, uncaring of the people literally below them, saying “some poor sap down there’ll appreciate it” when it bonks Joe’s head.

it all comes around!! and tbh this issue proves how much this series would slap to read in a single sitting (GET THE COLLECTED EDITION)

Going beyond first impressions seems to apply to the color palette in this series. From #1 in the first page of Gotham, we see the gold of upper society to the blue of the downtrodden → from issues #2 and #3, it’s the warm gold of inner Gotham to the cold blue of the rich. there’s a sense of community displayed among the poor - even part of Jason’s intro avenging Bill, a generous man mourned on panel by many. The rich gives off a sense of individualism, celebrating themselves and their excess.

With the change in scenery, this issue steps into the more civilian side of things through a spy theme - fancy suits and lil gadget intros! Going down the civilian route with Tim feels very fitting since it's what makes Tim's run as Robin so charming!

i love that Talia’s taught Damian to be conscious of the rich’s effects on society, especially in the following page of small panels zoning in on the details of wealth and overindulgence. but also LIL DAMIAN. HIS LIL ROUND EYES AND HANDS 🥺

Damian’s aware of the facts, and his disgust is clearer after having just been through lower Gotham and seeing firsthand the poverty directly caused by the wealthy (also not sure if that old lady is the same one from #1 with similar hair and clothes, but pls she can't a break…)

i mentioned Damian’s “inciting incident” for this journey to be the intro of a demon for Damian to prove his worth but i’m correcting the use of that term!! the intro of the demon is more the beginning of plot, whereas the actual inciting incident is beheading the thief!! it’s the main reason he’s in this situation where he felt the need to prove himself, and atone. Most notably is that the beheaded thief is a consistent character that quite literally haunts Damian every step of the way.

The statue of Batman’s head being popped off becomes a significant visual, because while Damian started this journey to prove something to Bruce, the only one that really seems to have (quite literal) eyes for Damian’s journey is the thief. Why does he make more of an appearance than the actual Bat? Even his statue’s head doesn’t make a figurative presence; whereas the only one looming over Damian is the thief. Guilt over killing him may be driving him just as much as his desire to be worthy. Alternatively, it could be that Damian needs to reexamine his motivations since the thief is really getting in Damian's face now.

Damian is proud to be a positive influence on Tim, but the moment is short-lived. It’s an ironic moment to me because Damian doesn't even know the impact he's had on Jason just in the previous issue!! 😭

Damian's so desperate to prove his worth, yet he's been making choices in every issue to help others!! Helping the old woman up in #1, being vulnerable with Jason in #2, and now sacrificing himself for Tim!

The Ra’s "Weakness" panel has been reoccurring since #1, but it's the first time Talia has been included. Being great figures in his life and mind, their silhouettes consume Damian's, similar to a few of Batman's appearances below. This latest disappointment was such a blow to Damian, that Talia (who he might have the most respect for) becomes an added voice in his head.

Final thoughts!!

Like Rok, does the thief actually have a connection to the al Ghuls or is this beard just in fashion at the moment.

Lex is clearly referencing one of the Underwell warehouses that Joe and Merle are presently, so wondering if whatever he and Tim discuss here will be affecting them later.

Ending with Talia’s cover for extra hype!! i’ll probably go back to this for the next ramble, but i’m already gearing myself up to wail about Talia just based on this cover. The Mary and Jesus imagery (more prominent with Damian’s lil crown as a “prince”) but most importantly Talia weathering the flames for Damian…her own shroud/shawl wrapped around Damian and burning… oh boy

[demelzathemer]

Rewatching Dead Boy Detectives for the 6th time and I STILL have so many thoughts, so let's do this

Episode 1

1. That's everything Crystal has on her for the rest of the season, right?

She must have had some money and her passport on that bag because she did change clothes and traveled half-way round the globe. But Jenny talks like Crystal doesn't have a credit card, so how much cash did she carry on her on a random day in the tube??

Well not enough to pay rent for the cheapest room in town when they arrived. (She wears a borrowed Tongue & Tail t-shirt from Jenny later, that's cute.)

I like how her original look is much darker and more mature, reflecting her mean girl personality. The long jacket later is still purple, but a light color with a colorful floral patterned turtleneck underneath.

(If she had her passport she has her full legal name and social security number to identify herself though-??)

2. I REALLY want to know what happened during those "two flights, one ferry ride" - where did the boys sit? Did Crystal buy a whole row of seats so they could sit together? (And was seen talking to herself alone the whole time lol)

Have the boys ever been on a plane (they haven't been on a ferry)? HOW DID EDWIN REACT... Please I want a fanfic

3. When they start investigating, Charles says to Crystal "I know you don't fancy this part, deep-diving into someone's brain. We can figure out another way if you'd like." Which is sweet, so Charles, but also, how did he know what she prefers? (They must have talked about it on the ferry ride.)

4. I thought it odd that Edwin would stumble out of the mirror, when he's always so careful and carries himself with such poise? But then I saw Kassius and Jayden, they both have the biggest grins on their faces just short of laughing. It's definitely a blooper, but George stayed in character so perfectly they left it in.

(George did confirm in an interview that due to Ghost Rules, the boys don't trip on treestumps etc, they would just phase through. So definitely not a scripted move.)

5. "Not exclusively my internet. (Charles laughs) I'll explain again later."

Crystal was the one that taught Edwin the concept of internet?? Did this happen on the ferry ride too??

6. THE VISUAL STORYTELLING. I'm obsessed how the costume department specifically adds visual cues to the boys' wardrobe depending on their emotional state.

We all know Charles' polo darkens when he goes through tough times, only returning to his original bright red after they're back from Hell. We understand that Edwin being in his Edwardian undergarments in the confession scene makes it so emotionally raw and vulnerable.

We don't see Edwin without his coat after they arrive in Port Townsend. There's the scene in the beginning when it's just him and Charles at home in their office, where we can see him without it. He can be his real self there, because he's safe and comfortable.

The heavy coat is Edwin's armor, a visual metaphora of the emotional walls he puts up against the world. He always wears it around Crystal.

Here, in the upstairs, where the topic of David upsets Edwin and he storms off.

Yet right after, we see him without it! I believe ghosts appearance may change to reflect their emotional state (or maybe Edwin just shucked it off, who knows)

It's a fantastic scene altogether but just by his clothes we can see that's he's being vulnerable with Crystal for the first time. I only noticed this detail now and I love it.

(In the next scene of making their plan together Edwin is still wearing this look. We can see they're not enemies anymore, but a team.)

7. When Crystal agrees and offers peace, Edwin actually *looks at Charles* for confirmation. He's out of his element here and needs his support. Charles is the one who knows how to hande people, so Edwin doesn't make any decisions before checking with him. Edwin only forgives Crystal when he sees Charles had approved of her.

(After he does, he glances back at Charles again, like he still needed that last bit of validation that he did the right thing.)

Their bond is so strong. There's always consideration for the other, whatever they do. The acting is also incredible.

Nonverbal communication has a huge role in this series, as much as the dialogue does. So many things are conveyed with just looks and sighs and the many close-up shots that make us emotionally connect with the characters.

8. Charles having beef with Monty right at the start will never not be funny. "Everyone likes me eventually." It's just a bird.

Even on top of the list of his day's heroic feats is "smack-talking a crow." I love him sm

+ As a bonus, look at this gorgeous shot of Charles with the neon light reflecting on his earring. Chef's kiss

[natlacentral]

Farnaz Khaki-Sadigh: The Costumes of Avatar: The Last Airbender Season One

Farnaz Khaki-Sadigh revealed the complexities of creating the costumes of Avatar: The Last Airbender Season One, visually translating the four nations and their iconic characters from animation into live-action.

Since 2005, Avatar: The Last Airbender has inspired us with compelling storytelling and its deep mid-19th century historical culture influences–including but not limited to Asia, Mesoamerica, Inuit, Eskimo, and indigenous cultures. The universally acclaimed animated series spanned for three seasons (or three books) and expanded into a sequel series and several different mediums, but after a live-action misstep in 2010, the epic franchise finally found its way to Netflix with a brand-new retelling of the world of Avatar. The live-action series of the same name premiered on February 22, 2024 and immediately captivated the audience through its outstanding cinematography, with a brilliant cast transformed into the beloved characters through the vibrant creations of the costume department. Farnaz Khaki-Sadigh, the costume designer responsible for translating the series from animation to live-action revealed the inspirations and manufacturing challenges and rewards behind the garments of Avatar: The Last Airbender: “A lot of it was research, looking into the cultural background of the nations and the characters that were originally inspired by the animation, learning and understanding their history and tradition. I studied garment history and how clothing was traditionally worn in those cultures, what influenced their color palettes and fabrics, then tried to meld them together in a way that paid homage to the animation but at the same time respectfully and authentically represented the real life cultures. That was really the first step into it.”

Visually creating a fantasy world is a momentous task, where in comparison to contemporary or even historical filmmaking each background character has to be fully developed to build the rich population within storytelling. Khaki-Sadigh and her team crafted over 400 costumes that visually defined the Air Nomads, Water Tribes, Fire Nation, and Earth Kingdom. She said, “For the Air Nomads, I decided to pick the color palettes you see in Fall season … the rusts, oranges, yellows, maroons, deeper browns, it’s just so warm and comforting. For the Water Tribes, I looked at icebergs. There are so many hues of blues and teals; it’s not just white. I also explored how the ocean reflects the light differently, creating various shades of blue. With the Fire Nation I was really inspired by volcanoes, looking at all the different shades you see when a volcano erupts, from the fiery lava to the ashes–the reds and oranges within the lava and the blacks and grays from the ash and from when the lava hardens. Then for Earth Kingdom, the inspiration came from forests and springs. So that’s sort of how I broke down the different color palettes and expanded on what was in the animation.”

Avatar: The Last Airbender showcases the art of “bending” elements, which requires a full range of motion to visually achieve the right level of grace and power on screen. Farnaz Khaki-Sadigh explained the importance of fitting room action tests to assure practicality while wearing these intricate costumes on set: “It’s really important to make sure that it becomes almost like a second skin to the actors, otherwise they would feel out of place, taking them out of character. For example, we changed Aang’s cape; we had it fuller at the beginning but we found that it kept hitting him and didn’t flow as nicely, so we had to taper it down, re-alter the shape of it. It took a lot of math trying to figure out the patterning to get it to a place where it’s still read like a full cape but at the same time it moved with him as opposed to hindering his movements.” Then she added, “We had the Fire Nation armor shoulders wider to match the animation, but after we did some tests we found out that they limited how far they were able to move at the shoulder point. So we made them narrower, which just made the design a little bit different from the animation, but the actors were able to move freer for their bending.”

The costume design challenges for the show continued outside the fitting room. Farnaz Khaki-Sadigh explained that in order to achieve color consistency between outdoor and Volume sets were daunting–the latter’s LED lights forcing fabric changes and prolonged dying processes for many costumes: “We dyed the Fire Nation armor leathers five or six times because in daylight they had a beautiful deep shade of burgundy but in front of the Volume the color turned hot pink! In order to find the right hues to actually read red, we had to go super dark in real life … almost like a blistery color.” She added, “With Aang’s cape, we loved the color, but when we tested it [in the Volume] it was also pink … we tried about ten different fabrics before we narrowed it down to three and chose the one without a pattern with a brownish rust color that read the right hue on camera.”

Being the main protagonist of the series, Aang’s costume had to be just right. The simplicity of the Air Nomads garments meant the costume designer had to focus on texture and layering to prevent a flat look on camera, also utilizing natural fibers to represent the Air Nomad’s peaceful lifestyle. Besides the cape practicalities and color complexities, Farnaz Khaki-Sadigh recalled a peculiar challenge that followed the team throughout the filming of Season One: “Gordon [Cormier] was a growing boy, so every few weeks we had to build him a new pair of pants because he would outgrow them. I think he’s got probably around twenty pairs of pants, which probably will not fit him anymore [laughs].”

There is a beautiful visual perspective in Avatar: The Last Airbender that separates foreground and background characters, the former showcasing more vibrant shades of color and details that define their journeys away from home and unique personalities. For Katara, Khaki-Sadigh incorporated flowy water wave patterns in her parka and the under tunic inspired by Inuit art, whereas for Sokka her team implemented a more geometric design for his costume–symbolizing the character’s engineering background. His armor in particular included some Viking elements, which the costume designer revealed came from her discussions with some of the indigenous advisors on the show, delving into their trading culture and how they would build clothing and tools based on what they had access to–from leathers to bones. She said, “We built all those little rings and hand sewn them into the armor’s leather, creating a sort of chainmail look. We then casted the shoulders to look like metal, taking that element from the fact that there were Fire Nation ships that have basically been abandoned, so he would have been able to use the metal from them to create a protective layer for himself because he’s the warrior of the tribe.”

The show had yet another gorgeous display of fantasy period costume design with Suki and the Kyoshi Warriors. From the golden headpieces to the intricacies of the armors, Farnaz Khaki-Sadigh delved into the process for making those samurai-inspired costumes: “In my research, I came across a group of female samurai warriors called Onna-Bugeisha, which was my inspiration for the Kyoshi warriors. I found this beautiful leather that had this basket weave print on it which became our base for the armor, very traditional for the style of Japanese samurai armors. The headpieces were 3D printed and they all had their own unique geometric fan pattern on them, then we painted them and wrapped the leather straps around with five different layers of hand braided braids, creating these tassels at the end of it.” She then revealed a fascinating fact about Suki’s costume: “The fan that crosses in front of her headdress is actually a vintage fan that we took apart and used to create the front … It had such a beautiful pattern and texture. Also, if you look closely at the corset portion on the bottom panels of the armor, you can spot small little geometrical fans that are laser etched onto the leather to create a little bit more texture and detail onto it.”

Among the Fire Nation, two characters really drove the villainy side of the tale in Season One–on one end Zhao, an ambitious general with a personal agenda, and Prince Zuko on the other, the heir to the throne who is navigating an uncertain path between his devotion to his people and the moral complexities of war. Farnaz Khaki-Sadigh’s team created several looks for the two villains, incorporating symbolic elements that defined their personas: “There’s something just so mysterious about Zhao. He sort of beats to the tone of his own drum so we incorporated his own personal crest, different from the rest of the Fire Nation. If you look at the details of his armor, on his gauntlets and on the skirt panels, even on his shoulder crest when he ends up wearing the [Admiral] cape, there is a different pattern that still has a flame weave to it, but it’s very unique. When he became Admiral, we made a more regal and powerful version of the costume inspired by the traditional Roman conquerors.” Then she delved into Zuko’s designs: “He goes through a lot of changes, personality and emotionally. He’s the man of many changes … he had more changes than any of our cast had, but I think the biggest thing for us was his armor. I wanted to make sure that it was regal prince-like, it stood out in comparison to the other Fire Nation armors, but at the same time, it was still part of the brigade. He’s holding onto so much tradition. He has this overwhelming struggle of what he personally believes and what is expected of him. His armor is not just like a physical thing, it’s also a metaphorical armor; he hides behind this armor to portray something that is expected of him, but yet he’s not sure if that’s who he is yet. We added a bit more layers to him with his armor, doubled the shoulders and three or four panels on his armor to add a little bit more rigidity to him.”

With Avatar: The Last Airbender renewed for two more seasons, the costume designer confessed she looks forward to designing Ba Sing Se and Ember Island and overall further developing the characters through more cultural history exploration. This interview barely scratches the surface of the team’s immense work, so if you crave more behind-the-scenes, make sure to follow Farnaz Khaki-Sadigh on Instagram.

[mysticdragon3md3]

Maybe this was in the online digital Nimona artbook before it went offline, but I didn't pay attention to the costume design rules for all the people in the Kingdom, until this video "Visual Storytelling: The Production Design of 'Nimona'" by Gnomon (from which I screencapped all these pics).

It's interesting to consider how these clothing design rules symbolized Ballister's and Ambrosius's positions in society, but also might have reflected bits of their personalities.

"So we first approached it by a very anthropological approach, where we sat down and said, "if this world was to actually evolve in a closed setting, behind these walls, from the medieval, in this kind of fear-based world, how would society evolve from the medieval rules? And how would that work?" So we researched the medieval rules and found that there was the distinction between, you know, nobility and citizenry, and then non-citizens. And so that was a good place to start for us, to say of "How do we organize this massive pool and system of crowd characters? but in a---in a getable way, that also relates to our story and expresses this world that we're doing?""

The Institute:

Nobility:

"So we broke we broke it down into contemporary, um, a contemporary ideology, where our main---our nobility was much more based on, um you know, haute couture rules, where we were---they were simple. They were bold. They were evolution of the kind of royal colors and sumptuary laws that the medieval had, but in a modern, in a modern take."

Citizens:

"Same with the citizens, where we leaned more into broader scope, where we needed to have the ability to have business wear, and athleisure, and, um you know, the color palettes that would be associated. …The range of body types that you would need, and…the range of races and ethnicities."

The Magicals:

Interesting thing about The Magicals, is this note "NO blue or neutral grey (due to the Institute's persecution, magicals have refused to wear Institute colors)."

Ballister's regular clothes seem to be the same color palette as The Magicals. Given the order of these slides, The Magicals seem to be the lowest rank in the Kingdom's society. Previous concept art showed that the Nimona 2023 movie originally would have portrayed a secret society of people with magical powers like Nimona. I assume these costume design rules were for them, though they got cut from the final movie. It seems appropriate that though Ballister has no magical powers, he is dressed in the colors of the Kingdom's lowest societal rank. But as anyone who has drawn him has noticed, the pendant on his shirt is blue. The one color which The Magicals do not wear, because it is the color of The Institute. Ballister is a commoner trying to become a Knight of the Institute, so it makes sense for him. And though Ballister's clothes could maybe be considered shades of gray (as per The Institute), they have the same dark values of The Magicals and are actually more of the "earthy" tones, noted in The Magicals' palettes. Ballister does not wear the light, almost silver, grays of The Institute. But he does wear a blue pendant. And though his pants have a thin golden stripe running down the sides, which is another color emblematic of The Institute, on second look, it is less gold, and more of a light tan, another earthy color. Almost makes me think that after the end of the movie, maybe he should change his blue pendant to purple, since these design instructions for The Magicals also note "One subtle purple item on each magical as a symbol of resistance and solidarity". (It explains the shade of purple in Nimona's skirt.)

Interesting to look at Ambrosius's outfit, while considering these design instructions. Ambrosius does not wear the "bold" colors or high amount of patterns prescribed for Nobility. Instead, he wears white and a dark shade of blue, with mostly solid, non-patterned clothes, as prescribed for The Institute. He is their symbol, through and through. Except for one point: his hoodie's secondary color of tan. Not only is tan an earthy tone, like The Magicals, the lowest societal rank in the Kingdom, but is takes up a noticeable amount of space in his outfit. It is almost like his one little piece of rebellion against his birth position and the expectations of society for him to represent The Institute and Nobility. It may be his one expression of who he is as a person, rather than the expectations placed onto him. It's kind of interesting that they let him get away with that. Maybe he had to fight for it. Maybe it makes him feel closer to Bal. Maybe he likes the distance it puts between him and the Institute. Maybe he didn't get brave enough to start wearing such colors until after he met Bal. (Now I'm getting into headcanon territory.)

Medievals:

This was explained as the costume design instructions for the flashback characters from 1,000 years ago.

[respectthepetty]

I've been wondering for a while- how did you start getting into all the colour stuff?? I would love an origin story <3 what got you into your passion for deciphering colors and how did you figure out what they mean??

sorry ik it's a lot but ever since I started following you I see colors everywhere and I'm curious of where you started noticing them ((: it's so fun and intriguing to me! I'm usually more of a "foaming at the mouth for the lighting" girlie but it's been a heap of fun figuring out colors with the lights ^^

thanks for everything you do to show us your eye for color btw ♡♡ your blog is so fascinating and I love reading all your theories and notes

@overrgrown, never apologize for asking questions, but I've actually been asked this before by bengiyo. You can find my write up HERE, but the short version of that post is I've always seen colors; therefore, I've always attached meaning to them, even if the meaning was not valid.

TLWR: Appreciate the artists who work on these shows, not me.

In bengiyo's ask, I stated that when I was younger, I thought the colors were showing me what was good and what was bad. That's it. In my defense, I was a kid, so everything really was good or bad in my book with no in-between.

Even though I've always seen colors, and it comes very naturally to me, the meaning I attached to them when I was younger was very much based on who I was rather than what was being shown to me. Five-year old me thought if someone was dressed all in red that they were the devil. Adult me now knows that isn't always the case. Adult me also knows that red in American (United States) culture means something different than other cultures.

Not a flex, just a fact, but I have several degrees in languages, linguistics, and rhetoric. What they are in is not super important, but, in general, a formal education has greatly helped me infer meaning from what I'm visually seeing in the media I consume. My degrees are not in film or communications, yet I've taken undergrad and grad-level courses like Visual Media, Multimedia and Visual Communication, Language of Film, Digital Narratives, Cinematography and Lighting, Film Theory & Criticism, Queer Cinema History, Spanish Film & Feminism, and many more all because under this great big academic umbrella of rhetoric and composition lies storytelling.

And that's what this is really about - How do we tell a story? Regardless if that story is a simple flyer for a school bake sale, a 30-second commercial advertising cleaning wipes, or a 12-episode BL series, how do we get the message across? We can't just rely on ONE thing! We have to use as many things as possible! So when I'm watching a BL series, I'm just not paying attention to the words being spoken or the acting alone. No, I'm paying to the background noise. What do the clothes tell me about the character? What does his apartment tell me about him? And what do the colors mean?! All of it is important!

I've mentioned this before but I serve on a screening committee for a queer film festival. I actually got involved with the film festival as an undergrad because of one of the film courses. This has allowed me the opportunity to speak to several filmmakers about their process, and all of them have confirmed that the colors were intentional. People who deal with props and costume design have spoken to me about trying to find very specific items that reinforce the story being told. Oh, and theater is a whole different level. Because of the nature of the stage versus film, if it is on the stage, it must have a reason for being there.

Basically, people who work in visual media work really fucking hard, which you probably know since you love lighting. Most times, 12-hour days are the average, if not longer. This video does a good job of briefly covering the work that goes into costume design, and I timestamped it to begin at the part that covers colors.

I love seeing colors. I love deciphering them. I love the story they tell.

But they wouldn't be there if the hardworking people behind them didn't do their job, and those are the people who I appreciate.

So, as always, I'm thankful that you let me know I'm helping you see the beauty is in the details, but I'm really just here to admire the beauty with you.

[ohnoitstbskyen]

The beauty of Gwen's base splash art (art by Jeremy "Jermu" Anninos)

Oh hello, is that a triangle composition again? I think it is! And once again it is working with the light to establish that Gwen is the central subject, and in power over her environment - and that aspect is more important here than at most times, because Gwen is in the middle of an ocean of Black Mist. This is her story, of course, that she is the vessel for the Hallowed Mist, the antithesis to the corrupting dark, and so there’s a contrast set up here. The Black Mist, which is tendrils of dark glowing with sickly green and teal, and the Hallowed Mist which is gentle, airy and light. Literally light, in fact! It hovers in the scene less as a tangible force and more as an aura, expressed in a gentle blue glow that matches Gwen’s hair and scissors, visually expressing her influence. 

Extending this, take note of the colors on Gwen relative to the rest of the scene. The tattered drapery is purple, the sewing box must be brown, with brass accents… but compare those colors to Gwen, how vibrant she is, how saturated and bright. She literally looks more alive than everything else around her.

But, and this may just be me, the most beautiful thing in this art, and genuinely one of the most gorgeous things in any League of Legends splash… is that damn dress. Layered ruffles in cloth are complex structures to draw. Getting the complicated interplay between their gravity and density, the way they bump up against and pull on each other, especially since Gwen is pulling on it and twirling it - I mean look at how the ruffles have to stretch and expand here, while colliding and crumbling together there… getting all of that right is hard, it’s a complex technical challenge. Doing all of that while also properly rendering the diffusive reflections and texture of velvet and then somehow finding time to draw a cute little embroidery pattern in the dress itself that has to follow its curvatures AND there are metal emblems sewn on to the whole thing which add their own complexity in terms of how their rigid structures interact with the fabric.

Gwen’s dress is absolutely gorgeous, and its vibrancy and life is a big part of what makes the character seem so vital. It’s also crucial storytelling for her - Isolde was a seamstress and dreamed of gorgeous dresses and beautiful gowns. Gwen is Isolde’s dream come to life, and the dress is a huge part of that.

---

If you liked this, I have a full video essay about beauty in League of Legends splash art HERE.

[yico0]

Response 1: West Side Story

In Robert Wise's West Side Story (1961), Lauren Davine's analysis in "Could We Not Dye It Red at Least? Color and Race in West Side Story" sheds light on the interplay of race and color within the film. One particularly striking scene that resonates with Davine's insights is the dance at the gym. Amidst the vibrant colors and energetic movements, the racial tension between the Jets and Sharks becomes palpable through formal cinematic elements.

The mise-en-scène, with its contrasting costumes and settings, visually reinforces the racial divide. The Sharks, clad in bold, colorful attire, stand out against the Jets' more subdued clothing. Cinematography also plays a crucial role, framing the dancers in ways that emphasize their racial affiliations. 

Davine's examination of color symbolism enriches the analysis of this sequence. The choice of colors in the costumes and set design transcends mere aesthetics, serving as a visual manifestation of the racial tensions embedded in the narrative. The dance at the gym thus becomes a microcosm of the broader societal conflicts portrayed in West Side Story.

Moreover, the film doesn't rush into storytelling but begins with a continuous aerial shot, presenting the towering skyscrapers of New York City as if they were primal jungles made of steel and concrete, seemingly accusing the audience. Contemporary humans seem to abide by the law of the jungle, akin to beasts in their adherence to survival of the fittest, implying the city's ruthlessness. This resonates with the subsequent turf wars and conflicts between the two major gangs, hinting at the unforgiving nature of the city. Furthermore, under the influence of mass industrial production, humanity is neglected, with the absence of previous humanistic concerns, rendering individuals as tiny and invisible as mere debris amid the overwhelming products of industrialization.

@theuncannyprofessoro

[nualaofthefaerie]

What would Nuala wear in general like what type of outfit or dresses? 🤍✨💕

Everyone, I am back!

And with that, it's time to start answering some Nuala focused questions to build up the anticipation for her casting reveal.

First of all, thank you dear Anon for asking such an important question.

I will start off by naming several brands that are highly connected to Nuala's aesthetic in my eyes and as I see her as a character and of course provide some examples for reference.

Now, I am in no way connected to the Sandman staff and I cannot by any means show or tell what we will get in the show, but as Nuala's fanclub president, I have taken a lot of time pondering on the question. I hope the answer is satisfactory.

Christian Dior (30s/40s):

For this period, I am more focused on the structured silhouette of the gowns and the overall feeling that Christian Dior presented as 'beautiful'. The sharp yet, smooth lines of the dresses make for a good metaphor for Nuala's character. She is soft and kind, however, she does not allow one to mistake her kindness for weakness. There is something incredibly beautiful in that. Of course, one could not simply ignore the fairylike qualities of "Venus" and "Junon".

John Galliano for Dior (1995/2011):

I am not going to sit here and unpack the impact and consequences of the Christian Dior John Galliano era. What is undeniable is the out-of-this-world concepts and craftsmanship that through colour weaves stories. Galliano's clothes talk and so I believe should Nuala's. The focus of her visual should be on telling a story of inner discovery through the outer shell. And her clothes should reflect that. Arguably there isn't a more ethereal way to do this than through a Galliano archive piece. However, I do not think that Galliano could be worn by Nuala. I believe there are concepts and inspirations to be taken from the fabrics, silhouettes and colours he uses.

Thierry Mugler:

What is well-known about the great Thierry Mugler that is well known is that he was the master of the fairy tale. He could tell stories out of this world using only the clothes he made. He also strongly associated himself with the intrinsic human womanhood that he believed we all possess in a dose of or at least we have the eye to appreciate. He was one of the first to draw inspiration, while simultenously involving queer people and women of color. Life was his muse and he ate it all up. Thierry Mugler was what a Fairy would be today. I do not believe there is a designer who would better understand what being a fairy means than him hence he is a perfect person to turn to when drawing inspiration for Nuala. His already fairylike designs hold history and touch on themes Nuala finds herself exploring as well.

Elie Saab (2000s era):

I sadly am not completely aware of the message of Elie Saab clothes. All I remember as a child is how beautiful they were and how nicely they flew in the wind. It reminded me a lot of the Winx fairies and their stunning dresses. Nuala is no Winx Fairy, however, she reminds me of a fairy I now recognize from the way nymphs, samodivas and vylas are presented in classical art. In a way, very reminiscent to what Elie Saab was doing during the 2000s. There is an inherent fairieness to his clothes that would translate beautifully on Nuala and would convey why she is the most desired woman in all of Faerie, even by Lord Auberon himself.

Christian Lacroix:

For the last of the big masters, I present a man who is incredibly complex in his storytelling but his clothes talk for him. He incorporates grandness and soft pallettes for a feeling that truly only upon first glance makes one sigh and think "Nuala will look lovely in that." Correct, she will. The lightness of the fabrics, combined with the youthfull feeling remind me of Nuala every time. And the flowers help too. She is after all, a Forest Fairy.

Selkie

Now, onto some fun modern Nuala. There is no one ELSE that screams Nuala of the Faerie like Selkie. Selkie's entire branding is focused on fairytales and fairies, hence why a fairy such as Nuala would shine brightly in the famous Selkie empire waist puff dresses and would perfectly match say Delirium on such occasions. The puffy romantic sleeves and the ginormous skirt would make for a very princess, fairy, animated feeling in the real world. Something that Nuala may not necesserily exhibit always due to her harships in the story however, we get glimpses of the person she could be when she is comfortable with her surroundings in "Brief Lives".

In conclusion, this post may serve as part one to a Nuala wardrobe masterpost, but for now is a good introduction to my thoughts into her wardrobe.

If you guys have any other designers you might want me to look into for Nuala inspiration, don't hesitate to reply here or send me a message. I would love to hear your thoughts.

Love and care,

Li 🪷

[paint-lady]

Exalted Secret Santa 2023 Journal Entry

Hello Exalted nerds! Its that time of year again!

Normally, I like to present options and I have ample references and my own artwork to showcase for these characters. This year I have a little bit of a challenge, since I have never done art of this character (until literally just now), but nothing you magnificent creatures can't handle <3

I would love to see someone's visual interpretation of this antagonist and help bring her to life (heehee).

The Marionette Dancing on Bloody Sinew Abyssal - Moonshadow Caste

Age: appears to be mid-twenties.

Gender: Female, she/her

Hair: Shiny, bouncy waves. Hair color is a smoky brown with purplish red undertones, and it is kept very long.

Eyes: blackened corneas with light brown irises. Light reflects unnaturally over her eyes, as if they are made of glass.

Distinguishing Features: The Marionette looks less like a human and more like a very detailed puppet. Red strings weave between her fingers and wrap over her wrists, and then dangle: loose, frayed, and severed. Whenever she walks, she actually sways, as if her feet are not touching the ground. Its like there is still a string holding her upright and moving her limbs. Her features are more southern: she has darker skin with warm red undertones. Her hair has these same red tones, but it is diminished and more smoky. Her makeup accentuates her doll-like features and symmetry.

Expressions: A perfectly symmetrical smile, she is pleased. A furrowed brow and tightened lips- she disapproves.

Body Build: She is built like a doll/puppet. Her limbs are extraordinarily skinny and elongated. She is alluring, but there's something just...off.

Clothes: The Marionette always wears a dress or long skirt that covers her legs and feet. Her torso could be bare, or can be covered as she sees fit. Typically, she is wearing a strapless garment, secured with an ornate pin, and another sheer fabric over her shoulders. For colder nights, she has a heavier cloak with a hood. All of these garments are very ornate and have detailed patterns and rich colors. Aside from the garment covering her legs, a lot of the fabric is sheer and shimmery.

Weapons and Gear: The Marionette typically uses words and spells as her weapons, but also carries an ornate pair of scissors.

History:

The Marionette is one of five Abyssals that my co-storyteller and I crafted for our Exalted chronicle. We have two simultaneous stories, one as players and the other as storytellers. As players, we enjoy the antics of Red and Scurry, Zatara, Leo, and Eve as the first perfect circle since the First Age. As storytellers, we liked to tie in existing NPCs and some player characters from our other chronicle where we are players, but didn't want there to be too many solars running around. So we asked "what if our player circle all became Abyssals rather than Solars?" and the stories of revenge, freedom, and extreme ideals all unfurled like a foul smelling corpse flower.

The Marionette was a woman forced into prostitution in Chiaroscuro by her own father. In her solar iteration, Zatara manages to bargain the freedom of other slaves and permanently sacrifices her own. In finalizing this selfless act, she is granted the power of the Unconquered.

The Abyssal version does still finalize this deal, but the Unconquered does not bestow any power to overwhelm her captors. No gods hear her pleas and cries for peace, for freedom, for her to not awake the next day. In some rumors, she fled and was killed by her captors. Others say she took her own life. All stories share the same ending: She rose, her captors were all slain, strung up by their connective tissues and sinews, and she danced freely beneath the carnage.

In Thorns, under the Mask of Winters, she is tasked with assisting four other Abyssals: all believing the world is poisoned and the only just thing is to have Oblivion consume its hatred and putrid existence. Well, they all have their ways of saying it. There was true freedom here, and the world would be unshackled, its strings of fate cut and frayed just like hers.

Refs:

Song used for scenes in the chronicle:

[total-drama-atlas]

A lot of the time when I’m doodling TD characters it’s Gwen, Courtney, or Heather. And I almost never give them their canon outfits, which is for a few reasons.

I think Courtney looks really good in purple so I usually give her a purple sweater and jeans or something, just because I think the colors really work together with the rest of her palette.

Heather wears a halter top which is irritating to draw, but also I like giving her different silhouettes, and different outfits that are more expressive.

And Gwen’s top is really confusing. I simply like drawing her different clothes that I think suit her aesthetic better. But also. The colors really irk me. Her hair has three colors; black, a medium teal color, and a darker teal. And I love that! So why are her sleeves light blue and dark green??? Why does her outfit not match the rest of her color palette?? Giving her different outfits allows me to make her design more cohesive.

And when I draw other characters, I tend to give them different clothes as well. I think an important part of character design is reflecting the personality in their clothes. It can be a good tool for characterization, especially when used with other elements, such as dialogue and interactions. And I wish the TD designs did that. They definitely got better at making more expressive designs in later seasons, probably related to the shorter seasons, since it can be used to help flesh out characters a little bit and show their personality. I know irl that’s not always the case but it’s a cartoon! Use your visual medium for storytelling!

[artisteclipsed]

"The Witch of Endor" 1853 ⎼Edward Henry Corbould (1815-1905)

Oil on canvas 66 x 78.7 cm or 25 3/4 x 30 3/4 in

Technique:

"The Witch of Endor" by Edward Henry Corbould is a captivating painting that depicts a scene from the biblical narrative of King Saul consulting the medium or witch of Endor to conjure the spirit of the deceased prophet Samuel. The artwork offers a rich interplay of artistic elements, symbolism, and narrative context. 

Paint Application and Color Palette:

Corbould's painting exhibits a meticulous paint application, characterized by smooth and detailed brushwork. The color palette predominantly consists of earthy and muted tones, reinforcing the solemn and mysterious nature of the scene. The dark background contrasts with the illuminated figure of the witch, drawing attention to the central focus of the composition.

Technique Type:

The painting showcases a blend of academic and narrative painting techniques. Corbould skillfully combines realistic rendering with narrative storytelling, emphasizing both the visual aesthetics and the emotional impact of the scene. This technique allows the viewer to engage with the story while appreciating the technical prowess of the artist.

Atmosphere:

The atmosphere of the painting is charged with a sense of tension and mysticism. The dark background and the intense gaze of the witch create an eerie and otherworldly ambiance, setting the stage for the supernatural encounter between the living and the deceased.

Perspective:

Corbould employs a dynamic composition with a central focal point. The witch and King Saul are positioned prominently in the foreground, while the ghostly figure of Samuel emerges from the mystical mist in the background. This compositional choice enhances the narrative impact and guides the viewer's gaze through the scene.

Color Theory:

The color palette is dominated by subdued and earthy tones, contributing to the somber mood of the painting. The contrast between the warm tones of the witch's attire and the cooler background hues adds visual interest and reinforces the separation between the living and the spiritual realms.

Proportions:

The proportions of the figures are well-balanced and anatomically accurate, reflecting the artist's proficiency in figure drawing. The careful attention to proportion lends a sense of realism to the supernatural encounter, making it more relatable to the viewer.

Texture:

Corbould's painting exhibits a smooth and refined texture, achieved through the artist's skillful brushwork. The fine details in the fabric of the witch's clothing and the textures of her surroundings contribute to the overall realism of the scene.

Transitions:

The transitions between light and shadow are skillfully executed, enhancing the three-dimensional quality of the figures. The play of light on the witch's face and garments creates a sense of depth and volume, contributing to the overall visual impact of the painting.

Focal Points:

The focal points of the painting are the central figures of the witch and King Saul. Their expressions and body language convey a range of emotions, from the witch's intense concentration to King Saul's mixture of desperation and apprehension. These focal points draw the viewer into the narrative and emotional core of the artwork.

Symbolism:

The painting's symbolism is deeply rooted in biblical narrative and spirituality. The witch serves as a conduit between the living and the spiritual realm, embodying the intersection of the mundane and the supernatural. The ghostly figure of Samuel represents the unknown and the spiritual world, evoking a sense of mystery and awe.

Layering:

Corbould employs layering techniques to create depth and dimension within the composition. The layers of mist and haze in the background contribute to the ethereal quality of the spiritual realm. This layering technique reinforces the separation between the physical and supernatural elements of the scene.

Above is the image I used for my analysis. Here, I have highlighted my eye's journey across the work in green. I used to pink lines to denote reinforcing lines and form and blue lines to show reinforcing areas of contrast.

Artist History:

Edward Henry Corbould, a prominent 19th-century British artist, left an indelible mark on the Victorian art scene with his captivating narrative paintings and meticulous attention to detail. Born on November 5, 1815, in London, Corbould's artistic journey was characterized by his ability to intertwine historical and literary narratives with artistic technique, contributing to the rich tapestry of Victorian visual culture.

Early Years and Artistic Beginnings:

Growing up in a family of artists, Edward Henry Corbould was surrounded by creativity from a young age. His father, Henry Corbould, was an accomplished engraver, while his siblings also pursued artistic endeavors. The family's artistic environment nurtured Edward's early inclinations towards drawing and painting. He studied at the Royal Academy Schools, a prestigious institution that played a crucial role in shaping his artistic skills and sensibilities.

Narrative Excellence and Victorian Culture:

Corbould's artistic talents blossomed within the Victorian context, a period characterized by a fascination with history, literature, and storytelling. His ability to create intricate narrative compositions made him a sought-after artist for illustrating books, magazines, and historical scenes. His works often featured scenes from mythology, literature, and history, capturing the imagination of Victorian audiences who were eager to engage with visual stories that reflected their cultural values.

Illustrating Literary Classics:

One of Corbould's significant contributions to Victorian art was his skillful illustration of literary classics. He collaborated with renowned authors such as Charles Dickens, providing illustrations for editions of "Oliver Twist," "The Old Curiosity Shop," and "Martin Chuzzlewit." His ability to visually capture the essence of characters and scenes complemented the narrative power of these literary works, creating a harmonious synergy between text and image.

Embodying Victorian Morality and Values:

Corbould's artistry often aligned with the moral and cultural values of the Victorian era. His works resonated with the Victorian emphasis on family, virtue, and social order. His ability to depict scenes that evoked empathy and sentimentality reflected the prevailing sentimentality of the time, as well as his own empathetic engagement with the subjects he portrayed.

Narratives and Technique:

Corbould's narrative paintings were characterized by meticulous attention to detail, a trait that elevated his compositions to a level of historical and artistic significance. His mastery of technique allowed him to create compositions that were not only aesthetically pleasing but also emotionally resonant. His figures were rendered with anatomical accuracy and a profound understanding of human expression, allowing viewers to connect with the characters and stories he portrayed.

Legacy and Lasting Influence:

Edward Henry Corbould's artistic legacy endures through his contributions to Victorian art and culture. His illustrations and paintings continue to be admired for their narrative depth, technical excellence, and historical significance. His work exemplifies the marriage of art and literature that defined the Victorian era, reminding us of the power of visual storytelling to transcend time and resonate across generations.

Later Years and Passing:

As the Victorian era transitioned into the 20th century, Corbould's artistic style encountered evolving artistic movements and sensibilities. Despite the changing artistic landscape, his contributions remained a testament to the narrative and technical achievements of his time. Edward Henry Corbould passed away on November 20, 1905, leaving behind a legacy that continues to inspire artists, historians, and enthusiasts interested in the intricate interplay of art and narrative.

In conclusion, Edward Henry Corbould's artistic journey exemplifies the marriage of artistic technique and narrative storytelling that defined Victorian artistry. His ability to capture the essence of historical and literary narratives through his meticulous paintings and illustrations left an enduring mark on the cultural landscape of his era. Corbould's work continues to illuminate the richness of Victorian visual culture, inviting us to explore the stories and sentiments that captivated the hearts and minds of a bygone era.

Time Period/Anthropology:

During the years spanning from 1850 to 1860, Britain underwent a period of profound societal, economic, religious, and cultural transformation. These decades were marked by significant shifts in various aspects of life, with events and developments shaping the daily lives of the population.

Sociopolitical Climate:

The sociopolitical landscape of Britain in the mid-19th century was characterized by a complex interplay of social classes and political ideologies. The Victorian era, named after Queen Victoria's reign (1837-1901), was known for its emphasis on morality, social order, and domestic values. The Whigs and Tories were the major political parties, and debates over suffrage, workers' rights, and education reforms were prominent. The Great Reform Act of 1832 had expanded voting rights to a portion of the middle class, but efforts for further reforms continued. The Chartist Movement sought political rights for working-class men and led to the presentation of the People's Charter in 1838.

Economic Climate:

The mid-19th century witnessed the height of the Industrial Revolution in Britain, with rapid urbanization and industrialization altering the economic landscape. Factories, mines, and railways proliferated, transforming agricultural societies into industrial ones. This period saw the expansion of the British Empire, which facilitated trade and access to resources. Economic disparities widened, and labor conditions were often harsh, leading to movements advocating for workers' rights. The repeal of the Corn Laws in 1846, which had imposed tariffs on imported grain, reflected a shift towards free trade and liberal economic policies.

Religious Climate:

Religious diversity and change were significant aspects of the era. The Church of England remained the established church, but there was a growing variety of religious expressions. The Oxford Movement, a high-church movement within Anglicanism, sought to revive traditional practices and rituals. Nonconformist groups, including Methodists and Baptists, gained prominence, emphasizing personal piety and social reform. Additionally, the period witnessed the rise of secularism and skepticism as scientific advancements and intellectual shifts challenged traditional religious beliefs.

Cultural Climate:

The cultural milieu of the mid-19th century was marked by a fascination with history, art, literature, and scientific discoveries. The Victorian era saw a flourishing of literature, with authors such as Charles Dickens, Charlotte Brontë, and George Eliot exploring societal issues in their works. Artistic movements like the Pre-Raphaelite Brotherhood sought to reconnect with medieval aesthetics and nature. Photography emerged as a new medium, capturing both the splendor and struggles of the time. Museums and exhibitions provided platforms for cultural exchange and education.

Impactful Events on Daily Lives:

Several events during this period had a direct impact on the daily lives of Britons. The Crimean War (1853-1856) brought attention to poor medical and sanitary conditions in military hospitals, prompting Florence Nightingale's pioneering efforts in nursing and healthcare reform. The 1851 Great Exhibition showcased technological innovations and products from around the world, offering glimpses of progress and advancements. The Public Health Act of 1848 and the Artisan Dwelling Act of 1875 aimed to address urban overcrowding, sanitation, and housing issues. The launch of the first public railways improved transportation and facilitated movement within and between cities.

Personal Note:

I initially came across a cropped version of this painting of just the cloaked figure. Once I found the full painting, I knew that I'd have to cover it. The sheer amount of detail is breathtaking. There is an aura about it that I found captivating.

[oasis-nadrama]

‘The Cerulean Motley Crew’, by Cerulean Snake - All aboard, mateys!

Review by Oasis Nadrama, 04/12/2023 (up to page 255)

[Drawing by CeruleanSnake] When they were a young troll, Chever always wanted to become a pirate... but ended up at the opposite end of life, as a prison guard, when the hard rules of the Alternian Empire took their toll on their dreams of liberty. One day, in the orbital penitentiary, they are tasked with welcoming a particularly dangerous prisoner, and this encounter will uncover the secrets to their past, future and present life. Can the call of the sea be heard amongst the stars?

[Drawing by CeruleanSnake] The large fictional universe engendered by Homestuck opens on many worlds, eras and sapient species, and opens even more doors for inventive storytellers. But rare are the fanworks to make full use of this potential, and in this area as in many others, the stunning fan aventure The Cerulean Motley Crew excels. It proposes a rarely explored political context, the period of the Summoner who challenged imperial tyranny, and an even rarer genre in this general setting: PIRATES! Chever, our nonbinary protagonist, improvized buccaneer and self-proclaimed pirate captain, organically assemble a colorful crew along their quest, and the cast is, again, one of this adventure's strengths. Flintlock, an uncontrollable anarchist, fights against slavery and general political power with reckless abandon (not to mention a certain thirst for gratuitous bloodbath). Rat escaped a futureless life in a nightmarish complex and is now along for the ride, despite her general consternation towards the chaotic, childish and sex-obsessed nature of her two comrades The efficient yet comical trio will cross the path of many more memorable figures, some of them friends, some of them neutral, some of them enemies, all of them enjoyable, up to and including the apparent main antagonist, as despicable as they go, all united in a dynamic, fluid, rhythmic dance, events intertwined for maximum impact, drama and suspense but never forgetting to remain entertaining. The structure and pacing are flawless, the tone perfectly mastered, the lore absorbing, the dialogues lively... What's not to love here?

[Drawing by CeruleanSnake] The drawings are on par with the writing: intense, refreshing color palettes are a feast for sore eyes. Character designs are extremely distinct with various morphologies and clothing styles; the different body types really shine in both action scenes and dynamic dialogues. There may be some errors in proportions or simplistic environments, but these little flaws pale in comparison to the overall visual quality. Perspectives are good and dynamic, action poses effective... But the really exceptional thing is the faces: they are all different, flexible, and incredibly expressive! The author makes good use of the media with gorgeous animated backgrounds which adapt to the various scenes: at dusk, the waves of the decor will meet darkened sand bathed in the red light of the alien sunset; by midnight, the foliage on the shore will be lightened only by the shining firmament. This work on the interface does wonder for the general immersion. Other uses of the form include short panel animations and ondulating, shaking, distorted lines in the conversation. CeruleanSnake's maestria culminates in the insult-off minigame. This stunning moment of interactivity, frontal homage to Monkey Island, is funny, balanced, brimming with details! It represents full days of work by the artist and it shows.

[Drawing by CeruleanSnake] The Cerulean Motley Crew is a work of love and a beautiful story, full of life and surprises. Looking forward to the next episodes of this big adventure!

[kurakuradonn]

Hi! (it's me from my main blog lol you don't have to post this ask)

I saw your reply in the notes and I wanted to respond but I hit the word limit :(

there's so much more I wanted to say but I felt like I was a little annoying in the tags + aforementioned word limit, but everything about those two pieces were so insanely striking in a way I can't even articulate!! The soft yellow lighting brushed through the clothing folds and colors, the way it frames adis' face and features is just,,, mesmerizing is the only way I can put it.

Also the care taken into their poses and body language (especially idia) and the use of background elements such as that painting to illustrate the relationship between them was masterfully done!! You manage to convey so much with these geniusly picked visual elements and you pull it off with such gorgeous

style and skill! It just makes me go insane, I for the life of me can't stop looking at it.

And the design for idia's father also looks so so good!! I especially love how you drew his teeth thinner in a way more reminiscent of hades, and the stronger jawline and broader figure seems very telling of his character and gives the viewer a great idia of what his personality's like! (I also just, absolutely adore how you draw shroud hair it's the best thing I've ever seen iajugtfikp I love it so much </3) also the skull tie...its really smart ngl

AND THE SECOND PEICE IS NO LESS STELLAR BTW, I could go on but I feel like I'm rambling too much I'm so sorry if it's too much!

No need to apologize, it’s no problem at all! You’ve got a really keen eye!

(Also, this is probably the most in-depth analysis I’ve gotten on a piece and I mean that in a genuinely positive way scdvcgvbv this was a very pleasant surprise 😭❤️)

Thank you so much!! I’m not the best at words, so pardon me if I’m a little incoherent— but I’m very happy about many of the points you brought up!

Both pictures were made (in an attempt) to be a character introduction using visual storytelling hints to bring forth the viewer’s curiosity and imagination though things you mentioned, like body language (Idia’s of melancholy/frustration, Adis’ of mechanical charisma and ignorance of his son’s discontent) and using mythology comparisons (such as the painting!) to add more nuance to their strained relationship!

And I’m glad you noticed the little details on Adis’ design, to his tie and his Hades homage! It makes me honored to see people like the old man…🥹 and on the lighting/hair, I’m very happy that you like how they were done! 🥺❤️

For the sake of not talking people’s ears off and to cool the flames of my ego, I’ll stop here haha. But I’m very happy to have received your ask! Have a nice day! 😭❤️

[rahul-juego]

What is Video Game Concept Art? The Use of Concept Art Services

Video game concept art is the visual foundation of any game, serving as the blueprint that guides the game’s overall aesthetic, atmosphere, and design. Created during the initial stages of game development, concept art communicates the creative vision of a game by defining its characters, environments, props, and key moments. This visual guide ensures that the entire development team has a unified understanding of what the game will look and feel like, helping to align the art, narrative, and gameplay elements cohesively.

Concept art services have become essential in the gaming industry, game development studios offering dedicated teams of artists skilled in visual storytelling. These services streamline the creative process, ensuring that ideas are effectively captured and translated into visuals that can inspire both developers and players alike. Here’s an in-depth look at the importance of concept art in video games and how concept art services help bring game ideas to life.

The Role of Concept Art in Game Development

Concept art plays a critical role in the pre-production phase of game development. Before any 3D modeling, animation, or coding takes place, concept artists sketch and design visual representations of the game’s elements, laying the groundwork for the visual direction.

1. Establishing Visual Style and Tone

A game’s visual style and tone greatly impact how players experience the game world. Concept art defines these aspects, setting the mood and determining the color schemes, lighting, and overall atmosphere. For instance, a post-apocalyptic game may feature dark, muted colors and desolate landscapes, while a fantasy adventure might have vibrant colors and lush, magical environments. Concept artists work to create pieces that evoke specific feelings and expectations in players, ensuring that the game’s aesthetics align with its intended narrative and gameplay.

2. Defining Characters and Environments

Characters and environments are central to any game. Character concept art visualizes everything from the protagonist's clothing, weapons, and accessories to facial expressions and physical characteristics. The goal is to establish unique, memorable characters that resonate with the game's theme. Environment concept art, on the other hand, involves creating the landscapes, architecture, and backdrops players will explore. This can include both realistic and fantastical worlds, depending on the game’s setting.

With concept art, the game development team can visualize the look and feel of every character and environment early on, reducing the chances of design misalignment later in production. Concept art studios often create multiple versions of characters and settings, allowing developers to choose the most fitting representations before moving forward.

3. Visualizing Key Moments and Gameplay Mechanics

Concept art also helps in visualizing critical game moments, actions, and mechanics. Artists create dynamic pieces to depict crucial scenes, whether it’s a battle sequence, a chase, or a puzzle-solving moment. These illustrations help the development team understand the flow and intensity of gameplay, making it easier to design around the narrative’s pacing and ensuring that key moments are visually striking and memorable for players.

The Use of Concept Art Services

Concept art services provide specialized expertise in transforming abstract ideas into concrete visuals, benefiting game development companies in multiple ways. Here’s how concept art services contribute to the game development process:

1. Turning Ideas into Tangible Concepts

Game developers often start with abstract ideas—a storyline, a world, a character’s personality—that need a visual form. Concept art services use talented artists who can translate these ideas into tangible visuals, creating a visual roadmap for the project. These services can provide a wide array of concept designs, helping developers explore different artistic directions and select the one that aligns best with the game’s vision.

2. Saving Time and Resources

Hiring a concept art studio can be highly efficient, especially for studios that may not have in-house artists specialized in concept art. By outsourcing to a team of professionals, game development companies can save time in the early stages of development. Concept art services streamline the creative process by providing skilled artists who can produce quality artwork faster than a generalist team, accelerating production schedules and helping developers stick to deadlines.

3. Consistency Across the Game's Visual Design

A coherent and consistent visual style is essential in creating an immersive game world. Concept art services ensure that every character, setting, and item fits within the game’s established art style. From the color palettes to the proportions and lighting, concept artists provide detailed guidelines and style sheets that the entire team can follow. This consistency is especially valuable in larger projects, where different teams may be working on various parts of the game simultaneously.

4. Providing a Reference for 3D Artists and Animators

Once the concept art is finalized, it serves as a reference point for 3D modelers, texture artists, and animators. Concept art is the roadmap they follow to ensure their work matches the envisioned design. Detailed concept sketches outline the dimensions, shapes, and textures, making the 3D modeling process more efficient and accurate. This reference material is also useful for animators who need to understand the physical attributes and movement capabilities of each character.

5. Attracting and Engaging Investors

High-quality concept art can be an essential tool for game development companies seeking funding or partnership. Before a game is fully developed, visually appealing concept art can communicate the project’s potential, attracting investors and publishers. A well-designed portfolio of concept art can demonstrate the game’s unique features and artistic style, creating excitement and confidence in the game’s viability.

Why Concept Art is Essential for Immersive Gaming Experiences

Concept art doesn’t just set the visual tone for a game; it creates an emotional connection for players. Strong concept art can make characters more relatable, environments more immersive, and the game world more engaging. For players, this depth translates into a richer gaming experience, where every aspect feels thoughtfully designed and visually appealing.

Conclusion: Concept Art as the Foundation of Game Development

Concept art is the cornerstone of any successful game development project, laying down the artistic vision that will guide the entire production. By defining the visual style, tone, characters, and environments, concept art ensures that every element is cohesive and aligned with the game’s theme and narrative. Through the use of professional concept art services, game development companies can transform abstract ideas into vivid, detailed visuals, saving time and resources while maintaining consistency across the game.

For studios seeking top-tier concept art, partnering with a concept art studio or outsourcing to experienced artists can be invaluable. Whether you’re working on a fantasy RPG or a futuristic sci-fi adventure, concept art services offer the expertise to bring your vision to life, creating a strong foundation for a successful game. And if you’re looking for a reliable partner in game development, Juego Studios combines creative artistry with technical precision, helping companies create visually compelling games that captivate players worldwide.

[insdindia]

Top Animation, Interior Designing, and Textile Design Courses in Pune for Creative Minds

Introduction

Pune has become a leading destination for creative courses, offering a range of specialized programs that cater to aspiring designers, animators, and artists. For those looking to build a career in the creative field, Pune is home to prestigious institutions like the International School of Design (INSD Pune). This article provides a comprehensive overview of the top animation courses in Pune, interior designing courses in Pune, and textile design courses that cater to students and professionals alike.

Whether you’re passionate about creating lifelike animations, designing functional and beautiful spaces, or developing unique textiles, these courses at INSD Pune offer an ideal blend of theoretical knowledge and hands-on experience. Read on to explore each course’s structure, benefits, career opportunities, and why Pune is the perfect city to pursue your creative dreams.

Animation Courses in Pune

The animation industry in India is rapidly expanding, with opportunities spanning film, television, gaming, advertising, and education. As more businesses and entertainment sectors adopt digital content, the demand for skilled animators has skyrocketed. An animation course provides the foundation in character design, 3D modeling, and motion graphics that allows students to thrive in this dynamic field.

Why Choose Animation Courses in Pune?

Pune's thriving IT and multimedia industry makes it an ideal location for animation courses. The city’s blend of innovation and educational excellence enables aspiring animators to gain practical skills and insights into the industry.

Key Elements of Animation Courses at INSD Pune

At INSD Pune, students are trained in various animation techniques, including:

2D and 3D Animation: Learn industry-standard software like Autodesk Maya, Adobe After Effects, and Blender.

Character Design and Storyboarding: Build foundational skills in character development and storytelling.

Visual Effects (VFX): Training in creating realistic effects and transitions.

Career Opportunities in Animation

Upon completion, graduates of animation courses in Pune can explore roles such as:

3D Animator

Visual Effects Artist

Game Designer

Motion Graphics Designer

With Pune’s robust job market, these opportunities provide graduates the chance to work in leading companies both locally and globally.

Interior Designing Courses in Pune

Why Interior Design?

Interior design goes beyond aesthetic appeal; it’s about creating functional, safe, and visually appealing spaces. A well-rounded course in interior designing courses in Pune introduces students to various aspects of architecture, color theory, lighting, and space planning.

Advantages of Studying Interior Designing in Pune

As a bustling city with a booming real estate market, Pune provides a fertile ground for aspiring interior designers. The demand for skilled designers who can create unique residential and commercial spaces is ever-growing.

What INSD Pune Offers in Interior Designing Courses

INSD Pune offers a structured curriculum that includes:

Space Planning and Design: Focuses on residential, commercial, and office spaces.

Furniture and Fixture Design: Learn about sustainable and innovative furniture design.

Digital Visualization and CAD Software: Master software like AutoCAD, SketchUp, and Revit for 3D visualizations.

Career Paths in Interior Design

Interior design graduates have diverse job opportunities, including roles such as:

Interior Designer

Space Planner

Lighting Designer

Furniture Designer

Textile Design Courses

Exploring Textile Design

Textile design is at the heart of the fashion and interior industries. It involves creating patterns, textures, and prints for fabrics used in clothing, upholstery, or even industrial fabrics. A career in textile design offers creative freedom along with numerous industrial applications.

Why Pune is Ideal for Textile Design Courses

With Pune’s expanding fashion industry, a textile design course offers students the chance to work closely with garment manufacturers and interior design companies, allowing for real-world applications.

Textile Design Curriculum at INSD Pune

Courses cover every aspect of textile design, including:

Fabric Science and Weaving Techniques: Learn the intricacies of fibers and fabric creation.

Print Design and Digital Textiles: Master digital tools for textile printing and surface pattern design.

Dyeing and Embellishments: Gain hands-on experience with dyeing methods and adding embellishments.

Career Prospects in Textile Design

Graduates of textile design courses in Pune can pursue roles such as:

Textile Designer

Print Developer

Product Developer

Fashion Illustrator

Why Choose INSD Pune for Your Creative Career?

Industry-Relevant Curriculum

INSD Pune has a curriculum designed in collaboration with industry professionals to ensure students gain relevant and up-to-date skills.

Experienced Faculty

Faculty members at INSD Pune are experienced designers and artists who bring real-world knowledge to their teaching.

State-of-the-Art Infrastructure

The institute is equipped with modern studios, digital labs, and design software, giving students hands-on experience with industry tools.

Networking and Placement Opportunities

With its connections to the design industry, INSD Pune offers excellent networking opportunities and placements in top design companies.

Conclusion

Choosing the right course and institution is crucial for a successful career in the creative field. The animation courses in Pune, interior designing courses in Pune, and textile design courses at INSD Pune provide students with the skills, knowledge, and exposure needed to thrive in the design industry. With a focus on hands-on learning and industry connections, INSD Pune stands out as a top choice for aspiring designers.

Whether drawn to animation, interior design, or textile design, INSD Pune has a course designed to nurture your creativity and turn your passion into a successful career.