#example designs

[inventors-fair]

Judge Example Rooms ~

Heyo! Myself, @mistershinyobject, @gollumni and @spooky-bard came up with a few examples of Rooms for y'all's brainstorming this week. Can you guess who did which room? (There aren't bonus points for the right answer.)

Lat-Nam's Vault / Sage's Study

This time-locked room from Dominaria allows you to delve into an artifact-oriented room, where the Powerstones can help you unlock your locked rooms, and if need be you can turn the Powerstones into card draw with various U/X themed decks! I like the way that this card shows the use of older cards/mechanics with new Room technology on one of Magic's most established planes.

Lavish Ballroom / Wine Cellar

A powerful Duskmourn-themed rare, you can dance the night away or depart to the dank cellar for a quick nip. These are one-use effects, but the ability to tutor (and then make big swings) can create some serious presence. I like this card's limited-to-constructed feel with the power-push that resonates with contemporary design.

Printing Press / Counterfeit Lab

Move outta the way, there's ink and blood to be spilled! This super powerful card comes to us from the streets of New Capenna, with allied powers and monocolor benefits all around. This is a really fun design that plays into shard technology, multicolor overlap, potential limited shenanigans, and the feeling of how information and disinformation are collected together.

Sigil Annex / Aerie Watchpost

This hybrid Alara-themed card from the towers of Bant has some complex but grokable combat tech. Hybrid design allows for cards to be centered without overreach, and here you may want to get a little bit aggressive in Naya or a little more wary in Esper. Both sides allow for your deck to power up their given shards no matter what orientation you're going for—although in the greater scheme of things, I'm not sure what a Room would look like on Jund... Maybe a cave?

[asfodeltide]

for artists against apartheid

[beebeedibapbeediboop]

Commission for @sunterelle ! I love spider characters <3

[hyacinthsdiamonds]

A lot of you underestimate how prevalent British bias is not only in F1 but across sports generally, and even in other industries.

Max saying he has the wrong passport in the paddock is an accurate statement. Do you think he, Seb, or Michael would've been half as vilified by the British media if they had a British passport instead? Would Fernando? Do you think Yuki would get half as much shit about his radio "conduct" if he was British? Because it's the British commentators who consistently have issues with it, and say shit like it's "unbecoming" for a driver to speak that way, ignoring that 1 it's not his first language and 2 IT WAS ENGLISH PEOPLE HE LEARNT THAT LANGUAGE FROM. Sometimes people misspeak, but Yuki has always taken accountability and apologised if he has and if he caused harm. Martin Brundle did not get nearly as much backlash from the media when he misspoke and called an Asian driver a slur while commentating. He also never apologised for it.

Alex, one of the four Brits on the grid but who drives under the Thai flag, has said that the commentators only call him British born when he does well. He was completely excluded from the Silverstone publicity about the home crowd heroes, whereas George, Lewis & Lando were heralded, not only on race weekend, but for weeks leading up to it.

Alex's statement also reminded me of this Richard Harris quote, "When I'm in trouble, I'm an Irishman. When I turn in a good performance, I'm an Englishman." Genuinely, if I took a shot every time a British organisation/person claimed a talented Irish person was actually a Brit, I'd have died from alcohol poisoning years ago.

Hell, I see George wearing the poppy pin this weekend in the lead up to remembrance Sunday. Do you know the amount of shit James McClean gets every year because he refuses to wear one? And he has very valid reasons for choosing not to wear it, yet he's torn to shreds every year by not only random people on the Internet or on the streets but by commentators and the media too.

Because of how this sport became mainstream and because no one challenged Bernie Eccleston's monopoly on broadcasting rights back in the day (people were given the opportunity to buy a share of the broadcasting rights; the idiots said no), this sport has prioritised the British voice/perspective for decades. I know the other broadcasts are just as biased for their home team/drivers, but the British one is the biggest one, as it's the main broadcast for better and more often for the worst. It's the broadcast with the most reach and influence. Their bias has to be challenged eventually if this sport ever hopes to properly expand and grow. The British bias is so difficult to miss once you start noticing it.

[marciaillust]

I added some colours to her :)

[rookflower]

starting a petition to end this dichotomy in warrior cats designs forever

[cardo-de-comer]

batter has a bat

[shortnotsweet]

This technically applies to my Stepmother AU in which Alicent is around six years older than Rhaenyra, and occupies a wicked stepmother role as opposed to ex ‘friends-to-first loves-to-enemies’. Despite lacking the foundation of shared girlhood, both find simultaneous comfort and rivalry in one another, and undergo a gravitational pull. A young Rhaenyra’s eagerness to participate in swordplay and political affairs at a young is accommodated for, and she grows up with a sword in one hand and the weight of experience in another, which further helps pave her way to the throne.

Alicent’s Costuming

Alicent’s clothing is almost entirely bottle, emerald, or forest green. While there is layering present in her skirts and jackets, the accent should always be a darker green than the base color. The fabric is deep, rich, and retains an undeniably high-quality luster. Look to velvets and silks. Gold embroidery lingers around her sleeves, neck, and hemline to elevate the coloring.

Metallic embellishments should be almost military-like, and appear heavy. Contribute to the imagery of chains or shackles in addition to her status

Draws inspiration from historically accurate stiffness and Victorian shapes, with a tapered waist, imposing, puffy sleeves, and a high neckline. Despite inaccuracies, this shape is evocative of someone elegantly and conservatively feminine, repressed, and capable of exerting power over others. Reference a classic, trussed hourglass shape. Skirts should be notably heavy and full; may make noise in movement

The coloring and shapes remain relatively consistent but lack variation; this is to demonstrate a lack of freedom and exploration, as well as an adherence to conventional feminine roles

Despite these limitations, her costuming should always be put-together, coordinated, and unquestionably fashionable. Tight sleeve cuffs may be accompanied by a more traditionally medieval fan sleeve

Shoes should stick mostly to slippers, or flat designs

In this AU, her hair leans more towards a dark brown instead of auburn, as her show counterpart. This is mostly due to faux-book accuracy and to simplify the sketch process, since keeping her hair darker in comparison to Rhaenyra’s lighter hair translates more easily in uncolored renderings.

Keep her hair either in a tidy bun or pulled back and loose; avoid too many intricate shapes, braids, or styles. Occasionally, the hair will hang loose. Lean into medieval or royal headpieces, clips, coverings, etc.

Rhaenyra’s Costuming

Rhaenyra’s clothes are primarily black and red, occasionally accented or substituted with neutrals such as beige, white, or gray. Exceptions may include blue or yellow, but she generally stays in this color palette.

Strong focus is drawn to her shoulders and neckline, sometimes with embroidered or embellished detailing. She often has strong, angular shoulders in her dresses or jackets, occasionally theatrically pointed. Off-the shoulder necklines emphasize her collarbones and a certain broadness.

There should be decent variety in her clothing; there is a hypothetical outfit for every occasion and more (for battle, for riding, everyday, formal, feasts, everyday, etc.), and most should be composed of multiple pieces and utilize generous layering. This includes under-fabric, belts and corsets, jackets and doublets, draped fabric for aesthetic purpose, and even functional capes.

Most of her clothes should provide visual aid for movement; additional fabric to her skirts, for example. Her clothes should be highly stylized but still easy to move in. In riding and battle gear, it is presumed that she wears pants and boots under her skirts, even if they are not visible.

Shoes lean more into boot cuts, still practical but should have a sleek and uniform quality to them. When she walks, she should make some kind of noise. Shoes should usually be black or potentially red, the latter for decorative purposes.

Overall her style should be more contemporary and lean into the fantasy element. She’s not opposed to oriental details or showing skin, and her costumes should reflect both couture-height drama and period-reliant aspects. Longer lines and diagonal hems mean she is not as devoted to an hourglass shape, and her high collars should always be decorative in some respect.

Keep her hair long and mostly loose, sometimes pulled back. Small braids should be implied as incorporated. Occasional hairstyles feature complicated braids. With the exception of highly decorative braided styles, simple buns should be avoided unless accompanied with very high necklines.

Avoid headpieces that are not either a) her crown or b) ceremonial.

[aubeezz]

Hello :3!!! Doing some 20 (usd) chibi Comms like these ^ I need to save for a new laptop, so dm me if you’re interested!

[eydilily]

I absolutely love your art and how detailed it is! If you don't mind me asking, how do you draw/break down faces? Your style is like exactly what I'm hoping to get close to when I draw them

OKAY so huge disclaimer. im self taught and i dont know what im doing most of the time! frankly i have a long way to go with shape language and character design so i will always suggest people to go to actual professionals and masters LMAO.

i am NOT qualified whatsoever, but, i tried to breakdown my thought process in how i currently draw things!!! for my mcyt designs, obviously i take huge inspirations from the actual ccs.

tango has similar hairlines and beard patterns to cc!tango. joel's hairstyle is very much inspired from his younger hairstyles, and pearl has a similarly long oval headshape from cc!pearl.

all of which are completely personal preference. some people take shape inspiration from personalities, voices, or whatever prophetic visions they have in their heads!

this would be the case for my cleo and etho designs. Cleo to me has a sharper voice & personality so i tried to incorporate that into what id think their face would be! etho is kind of . wet cat, but his voice for some reason gives me... round?? shapes?? so he has floppy hair and rounder eyes and ears in my design.

(another disclaimer: looks does not equate to personality, but like. its a lil easier 2 draw. and theyre shorthands and associations)

^ cleo has a higher eyebrow arch, sharp inner eye corner. etho has ears that stick out, uneven haircut, and his roots are darker :D

so its basically 2 big steps! Picking the face shape and then picking out details that would be unique to that character. to make characters different, i try to always pick something different between each person. so more contrast!!!

pearl and gem are easy since theyre opposites visually -- oval vs square, sharp vs round. for skizz and tango, i draw their eyes very similarly. but i decided my skizz would have a longer face and rounder cheeks, whereas tango has a bushier mustache and flatter face.

i am personally very fond of super stylized artstyles,,, i think cartoony / stylized artstyles take a lot of skill and a lot of character design thought into creating unique silhouettes that are still very recognizable! (for instance, huge fan of @/wasyago and @/alienssstufff)

unfortunately my artstyle isnt geared towards that lol, and alot of my face shapes tend to be very similar. so instead, i try to change up eye shapes (very common method of separating characters) and hairstyles! i have a long long way to go and i have a lot of bad habits lol but i hope this shows a little bit on how each of my characters are detailed differently.

[inventors-fair]

Typal Examples and More

Many thanks to Storm for pointing these cards out, but there are a few more cards from MTG history that have properties we're looking for in this contest:

The thing about Dragon's Approach and Slime Against Humanity is that they also have the unlimited-number clause; considering that those are half the examples we have, it might be a good idea to stray away from this constraint specifically. But Step Through is a phenomenal example because the Wizards in MH2 were...varied, to say the least. They were all situated in Grixis colors (UBR) and looked for a variety of archetypes. Maybe you had a token-making Wizard, maybe it helped with Delirium, or maybe discarding Step Through allows you to cast your Asmoranomardicadaistinaculdacar that you picked up P1P1!

I'll also note that tokens are an interesting combination to look at. When you're browsing sets, are there any creature types that don't appear on tokens that you could make tokens for? Would that combination of token-plus-type impact someone's deck choices or card selection?

Regardless, we've been digging up a couple of examples, and want to show you what we've cooked up—

@loreholdlesbian designed a nightmarish combat trick from Ikoria that combines counters, menace-matters, and the Nightmare creature type into one horrific attack. The power of the effect makes the flavor of the Nightmare typing all the more effective—i.e. it's the creatures that are born from the psyche that are best at navigating the psychic terrain. This could just put a menace counter on any creature, but at common that would be far too easy to jam any one-mana creature with this spell; Nightmares matter here.

@teaxch brought the idea for an artifact to the table, one from the modern Amonkhet that looks to accompany the rebuilders of the world. I shaped the flavor for this one with some minor tweaks including the cycling, but most of the time this card would be used for either an artifact shell (to represent the rebuilding) or a sorcery-based tempo deck (to represent questions as opposed to the instant-speed answers). Having a Sphinx in your hand to cast would just be an added benefit that might be an extra boon for any Sphinx Commander players.

Actually, that's another note: sometimes these limited cards will significantly affect Commander! Keep that in mind for how you're designing. Maybe your card would possibly help in limited but definitely help in Commander.

And as a last note, I came up with an Ixalanian card that I should add an art description to, but I wanted to get this post up first and foremost. Scouts on Ixalan can be found across multiple groups, but if the future of Ixalan perhaps doesn't involve the heavy typal and features a variety of outcasts and explorers together, this card can represent why you might need a specialist in your party.

Hope this is a useful resource! Have fun, everyone. @abelzumi

[magnificentmicrowave]

angel/demon dichotomy

[vaguely-concerned]

the mourn watch background gives you such a GIFT in having other characters notice and call out on-screen that rook code switches like a motherfucker. the whiplash of hearing my snarky 'heeey I'm just a little guy! :>' funnyman rook speak the heightened ritualized phrases of the mourn watch with perfect seriousness and gravity completely naturally and/or break into an academic tone that can keep up with emmrich at the drop of a hat never stops giving me such endless delight. truly their real mind is a riddle wrapped in a mystery inside some hideous mourn watch casual wear

[nenoname]

Being reminded about the pitch for Ford and being fascinated with the way Stan's age changed from "in his 80s" in the pilot to "ambiguous but still old" in season 1 to "wait shit, his backstory timeline means hes still in like his early 60s at most" so they ended up changing his design in season 2

Another tidbit is pilot!Stan's secret being him as the guardian of the town and him planning to pick one of the twins to be his successor.

and well....

A certain spiel sounds familiar. And is likely unintentional cos the initial plan was to have the agents make an offer to Dipper instead! It was switched to Ford because Dipper already idolised him so much

(Also reminder that Ford's name was set from Gideon's debut, with the name Stanley appearing in ep2 via license plate and Gideon calling Stan 'Stanford', so like. His name wasn't actually going to be Tim. It's likely the same case as Weirdmageddon 1 being known as Xpcveaoqfoxso to stop leaks from spoiling everything)

[twinliches]

i love when people get more loud and outgoing and happy to talk to strangers after having a drink or two it's fun to watch people come out of their shell however i am like that sober alcohol just makes me unable to mask my autism. which means partying with me is like this

friend: you were right man the people here are so cool i've made so many friend alrea- dude are you okay you are so quiet all of a sudden

me who has not blinked in 5 minutes: yes. can i please list aircraft designations in alphabetical order now

[remxedmoon]

You should tell us about color psychology that sounds cool as hell

YES… HA HA HA… YES!

GGGOD I WISH I WASN’T OUT OF THE HOUSE RIGHT NOW. but i’ve been thinking about colors literally all day so you all get to be subject to my madness! sorry this is long and rambly wauaua. nightmarishly long post under the cut.

okay. first things first, a few basics. color theory and color psychology tend to get confused a lot in discussions, but they usually refer to different things. color theory is more about we physically perceive colors (color wheels and color schemes the like), while color psychology focuses on our emotional response to colors. if you’re familiar with the children’s hospital color theory post, that poster wasn’t actually talking about color theory, but color psychology (and also it’s incredibly surface level and heavily misunderstands the subject because in what fucking universe does the quantity of positive associations with a color matter more than the context it’s used in and sorry i have personal beef with this tumblr post).

color theory is also a special interest of mine but i’m not gonna touch on it too much here because it’s not entirely important. mmmaybe another time…

essentially, certain colors (and color combinations) have associations in our brains and that affect our behavior and emotions. these associations are also very much affected by the context a color is used in. colors don’t exist in a vacuum! so while red can symbolize passion and love when used in something like a dress or a bouquet of flowers, it has a very different connotation when it’s, say, splattered on the walls or smeared on the ground in a snail trail.

or for a less Children’s Hospital Themed example, i’ll put my euphrasie and king designs here!

(of course the saturation and brightness of these blues play a massive part in how they’re perceived but this is not a post about color theory this is n)

and, of course, combining colors in a piece can also change their meanings!! i’m about to get real fucking normal.

i’m gonna be focusing on the color combo of red and yellow here because it’s the one that’s most relevant to my art (and also it’s really interesting.) basically, seeing these two colors together activates the part of our brain that controls our appetite, making us actually feel hungry. this is why so many food companies use red and yellow in their branding! it’s neat stuff!!

also, if you’re familiar with it, this is why the mv for butcher vanity uses this color palette!! along with red’s general associations with danger and blood, the color combo also physically induces hunger. pretty fitting for a song about cannibalism!

(there is also red’s association with lust and passion and how that intersects with the double meaning in the lyrics but i cannot derail this post into being an analysis of butcher vanity i’m sorry. we’d be here all week. maybe another day... wipes a tear from my eye)

and i think this might be the reason why some people feel hungry when they see my art, even when i’m not drawing food. while i don’t tend to use red outright, most of my art has very warm undertones (red-oranges and yellows especially), which could be activating that hunger response??

(ah fuck color theory managed to weasel its way into this post again)

admittedly this part is just speculation on my end. i think my rendering style and Shapes also play a role in it, but it’s interesting for me to think about!!

this is only scratching the surface of how complicated colors can get. i was going to go on an entire tangent about color grading and how green lighting can make a scene feel unnerving but this post is already Too Fucking Long. aaaa super sorry if this is Rambly or hard to understand!! i’m not Entirely sure how much the average person knows about color theory and psychology so if there’s any confusing terms here i’m fine with adding stuff for clarity!

wauauuaa thank you so much for asking!!!! i love talking about colors.

tl;dr colors have a bunch of different emotions and meanings tied to them, but you’ve gotta pay attention to the context in which it’s being used. so maybe take a step back before you put that thick red trail on the floor of your children’s hospital.