#i also spent a lot of time fiddling with overlay color adjustment layers but it's not as noticeable as i thought they were

[quilleth]

People in group chat were sharing pretty moodboards, which made me go “I want to play too!” and then spend a good part of 3 DAYS making this mood board for Elisabeth/ Jasper xD

The quote is from Emma by Jane Austen

[mysticsparklewings]

Behind the Screens

Oh, look, a reminder of why I don't do detailed backgrounds often! Okay, okay, this is actually an entry for projecteducate's All Mediums Contest: From Logos To Art. It sounded like a fun challenge, so I thought I'd take a stab at it. (Hopefully obviously) My primary logo choice/inspiration was the Instagram logo, largely because I had a strong visual idea for it in my mind right away. However, if you look closely there are logo inspirations hiding in there, too.  Some of them I think are more obvious, while others are more subtle. In case you'd rather try to find them on your own, I'll list them in small text so you can skip to the next paragraph and not be spoiled. Moving left to right, top to bottom: Outside the window is the Twitter bird, tweeting away; Then we have a literal FaceBook propped up against the window, and next to it a "Ko-Fi" Coffee cup; below the window we have a chair, the SnapChair, based off the SnapChat logo/ghost, which I am particularly proud of. On the right side of the art, we have a globe with some plastic bits that's inspired by the Google Chrome logo; then a PinBoard as a reference to Pinterest; and side-by-side on the table we have an Apple-apple and a Tumblr-tumbler. Fun fact: Because of that apple I now know there are in fact real apple species that have white skin, the most common among them seeming to be the "white transparent" variety. You'll notice all the logos have something to do with the internet/computers/social media, and though I did think about sneaking in a couple of other logos like Dominos or the NBC Peacock (since those logos have good visuals), I ultimately decided it was better to stick to a more cohesive theme. This is also where the title came from, as the idea is this is the reality behind the screens of a perfectly poised Instagram photo. And therein lies the further theme/message you can take away from this; Notice how the figure is holding the camera so that we can't see their face at all, like a mask. And how the other logos have crept into the rest of the scene, in a way that a lot of them you probably wouldn't notice as internet icons if it wasn't pointed out to you. Both of these are realities for a lot of people. On the internet, we put on a facade like a mask. We control the narrative of what people see of us. And our online presence and habits sneak into our lives in ways we might not notice right away. Both things happen for better or worse, and they can and do happen to anyone, regardless of who you are. To that end, I consciously tried to make the person holding the camera little androgynous, so that it could be a boy or girl, but since this is me we're talking about I'm pretty sure it leans more notably on the feminine side.  And it doesn't help that for the positioning of the hands I had to use reference photos of myself when I couldn't find quite what I was looking for online. Speaking of which; to make the art I started out with a traditional sketch of the figure and the background bits that were inspired by logos, except for the Pinboard and Kofi/coffee cup. And it's kinda funny because I wanted to base the camera design off of one of the newer instant Polaroid cameras (as that seemed the most fitting to transform into the Instagram Logo camera), and fortunately when I was taking the reference photos my phone is sized just so that I could use it as more or less a stand-in or base. This worked out even better because it meant I could just take the photos in front of a mirror instead of having to set a timer and hope I could pose correctly from a distance.   I scanned the sketches in, and then came the trickier part: That background. Especially since a lot of the concept here relies pretty heavily on it. I used a lot of reference photos I found online for this. I did have a basic, rudimentary sketch of my own that I made without any references, but I knew to get the lighting and perspective right I was going to need some actual photos to go off of, and I don't personally have a room that looks like what I had in mind for this. Based on these photos, I did end up putting the shelves over the pinboard, as opposed to putting the pinboard higher on the wall, but other than that and some slight adjusts to the perspective, my general idea for the room stayed the same. And, given my tablet situation, I gave myself a bit of break and decided not to do perfectly clean, solid linework for anything other than the human figure and the camera they're holding. The camera kinda had to have clean lines for this to work, and I thought the figure would stand out from the background better if they were done with clean lines. (And I'm pretty sure I was right about that.) For once in my life, I mostly started in the back and moved my way forward. The walls and ceilings, then the window, then the shelves and the stuff on them, then the banners over the window. And my process reminded largely the same throughout: Loosely line the object, give it a base layer of color, then go back and shade/lighten as necessary. And I was using semi-realistic colors, though I knew they were going to get largely disguised later on when I did the all-over overlay to really drive the Instagram logo inspiration home. Naturally, all the stuff on the shelves was a largely more annoying undertaking than I'd anticipated, but it wasn't quite as bad as the multitude of books I had to do for World in a Book. It's not even that drawing in a bunch of objects like that is hard, necessarily, it just takes a while to get through if you want it to look right. Anyway. Once all of that was done, I took a break to work on the figure and camera, getting the lines done and then moving on once again. Then it was the other logo bits' turn. Once I had them all lined and properly arranged/placed (as they were drawn as separate, individual items from the rest of the scene), I colored each one using the actual logo colors first, then went back to shade them, and then fiddled with some adjustments to bring the saturation down a little and make them blend a bit better with the overall tone. I would end up having to undo some of this after I added the overlay, and as otherwise with that in place some of the logo-inspired things would've either blended in too well or stood out way too much, depending on which one it was. (The camera is a bit of an exception here as instead of getting proper shading, I opted to line it only and just use my home-made gradient inside of it. Once those were taken care of, I back-tracked to color in the figure. Which went similarly to everything else, save for this time I'd use multiple layers for the shading/highlights until I was happy with it, then I merged all that onto a layer about the base color. And then, because I have one solid blue-gray base color for them, I then went back and separated the hair, skin, and shirt with their own unique colors. That was all the coloring done, so I moved on to filling all the blank "photo" spaces I'd left everywhere; the pinboard, the tumbler, even a little picture on one of the shelves. For this, I simply used my own artworks as that seemed like the fastest and easiest way. I just went through my gallery, found pieces I thought would fit properly, then copy & pasted them in and adjusted them to size. A few I did a little perspective warping on just to be thorough, but nothing too crazy. Finally, then I could move on to arguably the most important part: The overlay. Actually, aside from the overlay making the whole image look a little bit too dark, a little too saturated, that went a lot smoother than I thought it would. I just had to turn the saturation down a bit and bring the lightness up to fix that. Or, that's what I thought. I must've saved this thing 6 or 7 times thinking it was finished before spotting this, that, or the other thing (usually related to lighting or shading) that needed to be fixed. First, it was just fiddling with the overlay layer because it still seemed too dark overall, then it was tinkering with shading in various places, and then I decided to drop the ko-fi cup in there because it felt like that spot on the windowsill needed something else and I really wanted just one more logo reference. And then the bottom left corner I thought I fixed earlier now seemed too dark, so I had to un-fix/re-fix that. And of course, even after all that back-and-forth, I thought I was finally, finally done when I noticed the black checkerboard squares on the SnapChair were too dark of a black compared to the blacks/darks elsewhere in the photo, especially considering how light the area around the chair is. I'm sure I could've left it alone and it would've been okay, but my own brain wouldn't let me. So I fixed it! It's not even that noticeable of a difference, but it makes my brain feel so much better knowing it was indeed fixed. Fortunately, after that (at least for now) I stopped noticing things to tweak/fix. It's still not completely perfect, but the things I could continue playing with are at least to my satisfaction to the point I'm comfortable calling it finished. Though, honestly, it already feels like this description should be a lot longer when I think about the 3-4 days I spent working on this.    It was a lot of work, but just like I thought it would be, it was fun and I'm really happy with how it turned out. It was a real challenge as far as shading and perspective go, and obviously, for as strong of an image I had in my head when I started, it wasn't exactly a cakewalk to get it there. A lot of the lines are rough up-close, but they don't look so bad when there's so much else going on in the picture to distract from them.  Maybe I'll try the "softer" lines like this more often. I do know one thing, though, I'm going to be avoiding detailed backgrounds for a while. They always take a lot out of me. ____ Artwork (c) me, MysticSparkleWings I do not own any of the logos that inspired parts of this artwork ____ Where to find me & my artwork: My Website | Commission Info + Prices | Ko-Fi | dA Print Shop | RedBubble |   Twitter | Tumblr | Instagram

[mysticsparklewings]

Heaven Help Us

Happy Fake Your Death Day! :D Or at least that's what I'm calling today. For those who don't know, March 22, 2013, is the day My Chemical Romance officially broke up. afterward, March 22 was a significantly sad day for the fandom. The day we remembered what once was. Deathday. But that was before October 31, 2019. My Chemical Romance officially announced their Return.   The world is currently a very uncertain place, including MCR's own concert dates, but I personally take solace in knowing that the impossible already happened once. It can happen again. We, the MCR fandom, hoped and waited and prayed for six whole years. I'm sure plenty of others were like myself and were just starting to lose the hope we'd held onto for so long...and then it happened. It really did. Moral of the story: Never lose hope. Good things come to those who wait. Have faith. Naturally, I had to do something for today. I've done tributes for the 22nd before, but all pre-Return. I'd say it had to be something special, but that's not strictly true. For me, all my MCR artworks are special. I don't do them too terribly often because I want them to be done right. I want to put everything I can into them. I want them to be the absolute best they can be. But I did know I wanted to draw all four of the main guys (left to right: Frank, Ray, Mikey, Gerard), since I've only attempted that one other time, and they came out much more chibi there. (Side note: I really need to find the time and patience to color that drawing at some point). This time I was hoping to still draw them in my style, but a tad more realistic. Or less chibi, anyway. While I was scouting out potential photos of the guys to use, among a few Danger Days/Killjoy pictures I was considering, I found this one that I really took a liking to. Largely this was because they didn't look quite as sour as they did in some of the other photos I was finding.  They don't really look happy per se, but there's an almost hopeful or looking-for-guidance feel to their expressions that appealed to me. And then the idea to call the finished piece "Heaven Help Us," after one of their songs and do something with angel wings in the background occurred to me, and I just had to run with all of it. Naturally, I started by sketching the boys out. I ran into a little trouble with the proportions, and I'm very sure some of that leaked into the final product, but I did my best. I also did my best to capture their expressions, but I know I missed the mark on that in a few ways. Part of it is just there's only so much I can do with my style and expressions and still keeping them looking like guys and not little girls. (To which, I will admit, they probably do still look effeminate. That's just what happens to guys when I draw them in my style. ) I had to sit on the sketch for a couple of days after that though, both to figure out what I wanted to do beyond that and because I was just seriously lacking in the motivation to make more complicated art at the time.   Fortunately though, when I did come back to it, I was able to come up with a fairly solid plan. I decided I'd paint the background separately with gouache and then ink and color the boys on another piece of paper. Originally, the plan was to also then physical cut the boys out and put them on the background, but naturally, I procrastinated the entire time I was working on this project and backed myself into a bit of time-crunch corner, so I had to forgo that idea and combine the two pieces digitally instead. Although, if I'm being honest, that might've been for the better, as I keep trying to imagine cutting out and around all those tiny pieces and sections around the edges and the longer I think the more than sounds like a good way to get a sore hand and lose all of my patience while holding a sharp object. In other words, no thank you. The background is definitely flawed, but landscape paintings aren't necessarily my cup of tea, so I went into painting it knowing that it didn't have to be perfect, it just had to be "close enough." The background in the original photo is a backdrop anyway (it's pretty obvious already but the harsh shadows the guys cast onto it really give it away), so I had a little bit of a leg up there. At least I wouldn't be trying to replicate an actual detailed landscape. So I went in with some yellow ochre, a rust-ish color, some white, and bit of a brown had leftover from one of my previous gouache painting sessions, and just eyeballed the features to the best of my ability. It looks like it's half-finished without the guys in front, but even so, I was still pretty satisfied with how it turned out.   This project has also since reminded me I really need to find excuses to use gouache more often. It works so well for packing on color and blending but still having a lightness to it that acrylic paint just doesn't. Anyway. While the background dried, I got to figure out what to do for my four boys. I went back and forth a bit, but ultimately I decided to do most of the coloring with alcohol markers, except for the hair. The hair would be done with colored pencils. And I'd already decided I was not going to try to draw Gerard's shirt print and I'd just bring it in digitally. At the time, I was thinking I might do the same for Mikey's, but when I got to where I was almost done with the marker portions, I decided I'd take a risk and try my luck doing it by hand. I must say, I did better with it than I was expecting, so I call that a win. It was a little tricky to figure out what colors to use for the markers and pencils since the contrast and lighting is...not strictly normal. From what I can tell, the light is coming from pretty dead-on, almost like it's right behind and above the camera, and it's very bright. So much so that is washes all of them out to the point they kinda look like they all have the same skin color, which I know isn't completely accurate. In some ways, this made shading easier and in some ways, it also made it more confusing. There are places I'd normally put shadows where there don't appear to be any in the reference, so I left them alone, but it almost felt wrong at times.   Gerard and Mikey's hair, in particular, was also a little tricky. Since this was around the time of Danger Days, Gee was dying his hair red and Mikey was dying most of his blonde. I had to get just the right shade of red and shade it appropriately, and it was actually more challenging than I thought it would be to get just the right shade of yellow and ombre balance for Mikey's. After I spent an eternity on both traditional parts though (the background and the guys themselves), it was finally time to move on. I scanned both pieces in and then booted them into photoshop. I cut the guys out of their plain white background and moved them onto the one I painted, then fiddled order with a Drop Shadow in the Blending Options to get those strong cast shadows behind them. They aren't a 1:1, but part of that is my proportions are different and also there was only so much I could do without just basically re-drawing the shadows in myself, which I wasn't too keen on doing. And then I came back to the idea that had originally sold me on this picture: The angel wings. While I was working on the other parts, I had gone back and forth over whether or not I wanted to include them, given how the original image looks and all, but once I saw what the final product looked like without them, I decided the wings were necessary. I simply grabbed a pair from PixaBay, my public-domain0image-site-poison of choice, then duplicated it so each guy would have a pair, then adjusted them as necessary to make them look more realistic as in being attached to the guys. I knew this wouldn't be fully possible based on how they're standing, but I made my peace with that and decided to just go with what I could do within reason. Once the wings were placed appropriately, I then fiddled with the layer options until I landed on one (I think it was either Overlay or Soft Light, I disremember) I was happy with. You can still see the wings, but they're not too in-your-face and distracting. And really, I like this look because it makes me think a lot of the angel statues they've been using in their Return promo stuff. That's really all there was too it. It took me three times as long as it should have because I was, as I said, just motivationally blocked (in working on bigger projects. I still wanted to create, but all I really wanted to make were simple things like the mandalas I've been experimenting with. I'm not sure what kind of selective laziness or creative block you call that ) for 80% of the time I was working on it, so it feels like this description should be a lot longer, but I think I've covered really everything that needs covering. I could describe in greater detail how many colors the layering I used, but it seems unnecessary unless I'm going to document all the specific colors I used and all that, which, spoiler alert, I don't have the patience for. And so, here it is. Like I said, I know the world is a very uncertain place right now, but I'm still thrilled that today is no longer the sad occasion it once was. I'm so glad My Chemical Romance is back, even if the future regarding not only them (as there's still so much we don't know), but the rest of the world too, is foggy and seems a little scary right now. If nothing else, I can now at least listen to their music and know, this is not all there is. This is not the end. In that vein, I leave you all with one of the most famous phrases from one of their songs: We'll Carry On. We will get through this, one way or another. May Death Never Stop You. ____ Artwork © me, MysticSparkleWings ____ Where to find me & my artwork: My Website | Commission Info + Prices | Ko-Fi | dA Print Shop | RedBubble |   Twitter | Tumblr | Instagram