#minus the colours and details and background

[wolfsong-the-bloody-beast]

That Baldur's Gate 3 cover art with Astarion. But it's Sebille.

[lebedame-wegelagerin]

And here, as promised to the dear @vinceaddams come a lot of extant Garments from my recent Visit at the German National Museum in Nuremberg. I am trying to give as much Information about each Picture as I can though unfortunately not all of the Pictures were taken by me and I could take Pictures as extensively (including Info Signs) as I would have wanted, lest I be abandoned in the Clothing Section. Also the whole Section was awfully dim, which made it rather difficult to read some of the Signs. The last three Pictures were taken in a different Section, thus the more pleasant Lighting.

Servant Livery, bavarian Court, mid 19th Century (left); Servant of the Count of Cannotreadhisname, first half 19th Century (right)

Woman's Folkdress, Lötschental/Wallis (Switzerland), Museum dates it 1830/1905 which is an awfully broad Range, but maybe it was altered later; shows wonderfully how late 18th Century Styles were preserved in european Folkdress that came to be in the 19th Century proper

Various Men's Garments throughout the 18th Century, as there are Closeups of each, the respective Detailinformation will be provided further down.

Men's Spencer, c. 1810s-1820s, Linen and Cotton, the Sign didn't say it explicitely but due to it's Placement in the Exhibition and comparable other Pieces I have seen, I think this is more of a common Man's Piece of Clothing.

Three Men's Shirts, various Shoebuckles, a cocked Hat, a Periwig and what I assume to be a Hair Bag. This Display Case had a rather badly illuminated Sign, so sadly I have no further Details about the Pieces.

Justeaucorps, c. 1695, Wool, Silk, Metal Trim.

Waistcoat, c. 1695, Silk, according to the Museum it was worn together with the Justeaucorps, which seems to be a nice Colour-Combination.

Breeches, 1790-1800, Silk. Very pretty Pair, but the bad Lighting doesn't really let it show.

Habit à la francaise, c. 1790, Wool, Silk, Embroidery (What a Material Specification...). I really like the Combination of those subtle dark on dark Stripes and the Embroidery.

Tailcoat, c. 1790/1795, Cotton, Silk, Linen, really peak 1790s Look honestly.

Very wide Court Panniers, with Pocket Hoops and Crinoline in the Background. Alas no Detail Information for this and the next two Pictures.

Frontal View of the Pannier. I suppose I have to get one of those at some Point, if only for how extra they are.

Three Pairs of Stays, two from the Front, one from the Back. Sadly I don't feel confident enough to Date those and I have no Pictures showing the Info Signs well enough.

Lots of pretty Dresses that were exhibited in another Section of the Museum. The right one is a Robe à l'Anglaise, but that's all I can tell.

Another beautiful Anglaise, notable for being preserved in its Entirety with original Ruffles.

More pretty Dresses. Unfortunately due to Time Reasons I have no Pictures of the Suits displayed across the Dresses in the U-shaped Display, though I have to say one of them had a very much not authentic Lacebib hanging from the Neck...

That's all the cool Clothing Pics I have, at some Point I will return and take loooots more Pictures from all the Angles too. Also at some Point I might write to the Museum about the Lighting, there surely is a better Solution when having your Objects barely visible with unreadable Signs while still protecting them from UV-Rays.

Bonus-Pic 1:

Me, in historical Dress, c. 1750 (minus the Shoes), standing in a historical Kitchen.

Bonus-Pic 2, for the Boat-Crowd:

Beautifully detailed Modell Sailing Ship, early to mid 17th Century if I remember correctly. Interestingly enough all the little Sailor Figurines on it were very much early 19th Century in Style, so I assume the previous owner had those added at some Point, before the Museum acquired the Model in the late 19th Century. (The Incongruence sadly wasn't addressed on the Info Sign, so I might contact them about this too.)

[daisy-daze17]

Omori Manga Thoughts cause it was uhhh

OK so like. The thing is I only got into the omori fandom in February of this year so take my opinion with a grain of salt.

1. I'm mostly a fan of the art style-- a lot of people said that Sunny always seems to have a panicked expression so it's hard to read into him, plus the characters look a lot younger than they're supposed to (Which I find odd). But other than that, I think it does a really good job representing the scarier parts with very abstract drawings of Mari/Something. They coloured it well and thank god did Kel's skintone right. There is one particular panel that I especially love:

So much detail and it captures the feeling of seeing faraway for the first time really well ^^

Some nitpicky positive thoughts:

Sunny could have looked more distinct from Omori because the only difference I see are their outfits. Maybe make Sunny's features softer and have less contrasting values so we can see an immediate difference.

I like how they did everyone's eyes-- Sunny/Omori's are just dull and black, and everyone else with dark eyes are shown to have a light in them. (Just a nice detail i appreciated)

I like how Omori is clearly less expressive compared to sunny, but I think Sunny could have benefitted from having more emotions than surprised/blushing.

2. The pacing was weird. like really fucking weird. The basic structure of the game Omori is: Omori is in whitespace -> Omori plus the gang (Hero, Aubrey and Kel) meet up with Basil and Mari in headspace -> everyone minus Mari goes to Basil's house and learn all the combat stuff along the way -> after fixing the photo album it suddenly shifts to basil in a panicked state before glitching you back into white space again. The moment when basil shifts the mood from calm to terrifying is REALLY important.

It forces the new tone on you very suddenly and also sets up a lot of mystery surrounding Mari when Basil can't finish what he was going to say about her. By now we know that something is very wrong and it has to do with Mari, but we don't know what.

The manga is kind of all over the place the whole time. First we see the christmas scene when Sunny gets his violin. But then Mari does her whole nightmare thing and we know somethings up from the first few pages. Next we wake up at night as Sunny in the real world... yet it shows the little "THREE DAYS LEFT" as well? At this point I was super confused because basically the entire nighttime sequence is shown through a sort of montage with Sunny's mom's voice message in the background before transitioning into the day when Kel first knocks on the door. A cool thing they did was parallel Kel's knocking with the creepy knocking we get from Mari Something. HOWEVER for reasons unknown they just completely cut out the fight against something on the stairs??

Something I was really excited about was seeing how they would integrate the combat into the manga. And they do it later with the Aubrey fight (more on that later), but not now? So now I'm wondering if they'll include Sunny's three fears that he has to overcome.

So next we find our boy (KEL!!!!!) and he is asking Sunny if he wants to come to Hobbies. I did find the dialogue here pretty awkward as Kel bounced back and forth in demeanor, but that's to be expected since Sunny isn't talking. (And I appreciate how he shows some kind of reaction to seeing one of his best friends after 4 years lol)

I mean compared to this when he just jumps straight into his hobbez idea without much reaction to actually seeing Sunny lol.

The most notable thing after this is the Aubrey confrontation with Basil and the other hooligans. I DONT KNOW WHY but they chose to not show the hooligans in that scene!! The hooligans are aubrey's little gang/posse who she hangs around with all the time and the people we always see when she's bullying Basil.

It's very important to note that Basil is talking to KIM here. He starts the conversation begging for her to tell Aubrey to give the photo album back. Aubrey is actively ignoring his attempts to get it back, with basil claiming "She won't listen to me."

In the manga she appears out of seemingly no where and proceeds to beat Basil directly with her bat. Prior to this we get no setup or explanation as to why Aubrey's attacking him or what the situation is. WORST OF ALL, It's only Aubrey alone attacking him and NOT her gang of the Hooligans. The hooligans are important in showing us just how isolated and ostracized from society Basil really is after Aubrey began bullying him. He literally has a whole gang of kids who call him a creep and attack him regularly. Here it seems like Aubrey is insane and is just beating him selfless for kicks. (not that I'm justifying Aubrey's behavior in the game, but the lack of context makes this situation even worse.)

I think It's also important to bring up how they switched around the order of events because in this situation, it's not working. We're supposed to first be introduced to younger Aubrey and Basil in headspace-- their younger counterparts. Aubrey is strong-willed and excitable and Basil is calm and kind. And most importantly-- they're VERY GOOD FRIENDS. So seeing Aubrey revealed to have been bullying him these past 4 years shocks the player and makes them understand how much things have really changed. Doing it the other way around will automatically villainize DW Aubrey since we already know what goes on in real life.

And then something interesting happens-- Sunny blacks out during the fight and returns to Headspace. This is SUPER weird as we've only ever seen Sunny go into headspace while sleeping, because it's an escape mechanism he uses to avoid The Truth. Does this mean he isn't aware he goes into headspace unwillingly sometimes? And what does this mean for the continuation of the real world story? Are we going to go through the entire Space Boy quest just to get back to that scene?

Anyway, I'm interested to see how they take it from here. Maybe they'll do a continuous switchover to the real world where they jump between it more frequently. But I question what that would mean for the timeline because the events of headspace happen in between the three days while Sunny is sleeping-- so he can't be in two places at the same time. Maybe they'll write more and more random ways for Sunny to black out to do this?? They defiantly are trying to take a step back from following the game exactly. I can't say I don't like it because I don't know how it'll turn out, so I'm excited for chapter 2!

[maddcactus-art]

COMMISSIONS INFO

How do I work: Message me here, note the kind of drawing you want, explain what exactly you want me to draw, provide with references if possible. If I agree to work on your commission, I'll give you a link to my Boosty page, where you can use a donation pool (PayPal\bank card payment), to pay for a commission.

What will you get: A small sketch preview of your commission with an option of One free fix - if something is not quite right or bothering you - I’ll fix it. (Next three fixes will cost 5$ for each fix. Over three fixes the price will get raised on 5$ for each subsequent fix.). When picture is done completely I’ll send you a PNG file, full size.

How to pay: For now the only way for me to get payments is through Boosty (it's like an alternative to Patreon). You can pay full price or half of it at the beginning, and other half - after looking at the small preview.

Notes:

All the prices are listed without backgounds. For head shots backgrounds are free. For pictures of a half body backgrounds will cost from 15 to 20$. For a full body pictures backgrounds will cost from 20 to 30$. The more details - the more the price.

The prices are listed for a single character. For every additional character the price will grow by this formula - original price minus five bucks. (for example: a half body with a flat colour (35$) + additional character (30$).

What I WILL draw: Fan characters, OC’s, game\movie\book\cartoon characters, animals, etc. What I WON’T draw: Gore, porn, mecha, etc. I have the right to reject your commission if it’s out of my comfort zone, has questionable themes, or something I do not like\can’t really draw. If you have questions - feel free to send me an ask. 

Why Boosty and not PayPal?: due to PayPal blocking all of russian accounts, I can no longer work through it. Unfortunately it means there's no invoices and a different website I can process payments through. All payments go through my page on Boosty, through a donation pool. The payments can be made through your PayPal account or a bank card! (If an instruction or any help will be needed - I'll provide an instruction with screenshots. The platform is safe and is used by many artists, who has been dropped and left out by PayPal or Patreon). At the moment Boosty has some issues with PayPal and probably the only method of payment avaliable is by a bank card. Boosty is trying to resolve the issue. There's also a Hipolink as an alternative... If you need any reassurance in my trustworthiness - you can see a bunch of previous commissions I've made for a lot of people here, or on twitter }: )

[eyenaku]

COMMISSIONS OPEN ON KO-FI!!

I have 5 slots open for each tier, minus the $25 dollar tier which only has 3!

These are sketch commissions, and as such are cheaper, but have no revisions (except for one minor revision for the $25 tier), no line art, and no backgrounds (2 bg styles available, as well as colours of your choice). You get to pick bust, half-body, or full-body though!

More details on my ko-fi!

[bosskie]

Molluck Watches

Welp, I just said that I don't feel like doing any bigger projects but this didn't really feel like one since I painted this in grayscale minus that pink as a highlight colour. This is still kinda a sketch and I just don't feel like painting this anymore. But well, at least I have at least one drawing now that is suitable for the banner.

I don't know what else to really say than that yeah, Molluck is watching his huge TV wall in the dark here. There was no intention to do actual background since I wanted to keep this as simple and I just don't feel like doing anything detailed in digital right now. I have had an idea like this for a while but I would like to do something more proper related to this one day. I feel like I don't know about this but I tried my best. The main thing is just that I got a banner now.

Man, at the same time, I hate drawing but also love it and cannot stop creating stuff... I was going to say something more positive here but last night I felt so awful... Recently, I have just noticed like for the first time how happy Molluck actually makes me, how he is able to give me peace/serenity like no one else... I feel like I just keep loving this Gluk more and more. I don't really mind anymore if I'm seeing him as sweeter than he truly is since it just keeps me living in the middle of my mental health issues, he keeps me being able to feel good when barely anything else feels like anything.

Recently, I have also realized that it seems like I have actually learned to draw Molluck like only two weeks ago... But I still need more practicing but he is finally starting to look like himself or more like how I wish to draw him. But well, recently I have also thought that I should just give up with art, again, since it still feels like I know nothing about art or how 'professional art' is done... Like I have said many times, I have hard time with standing my own creations but I'm still posting them because I just like to create stuff.

Recently, when I felt like I cannot truly draw, should just quit it, it felt like my mind told me that Molluck would love my drawings about him and it just made me feel much better, even loved which is such a feeling I do like never feel. It has felt like that like for the first time ever, I was able to feel loved. I only know that I'm loved but I just cannot feel it. Maybe, even it has felt like my mind just keeps getting worse, there is still slow healing happening. It's still so difficult for me to think that I'm someone to love... I just felt like a mere human trash last night... I'm not having any professional help right now and I don't have resources to really get it more for now but I at least have Molluck. I basically am only able to draw because I just love this Gluk so much and that's why I only feel like drawing him.

[cosmic-navel-gazin]

@razielim this started out as an ask and got outta hand x)

I remember once you talking about movement in videogames gabe. About how satisfying and important just the act of moving can be (which arghhhh yess I couldn't agree more!), and compared it with movement in dreams. And I remember you mentioning Asscreed II as an example and I was thinking (as I was listening to some asscreed ambience on youtube), do you think the visuals and music also contribute to that dreamlike feel too?

I've noticed more recently how like, in spite of the attempt at capturing all the historical places realistically and faithfully, they don't feel like that, or, perhaps I should say, they feel as realistic as a dream of Florence or Venice can be?

The colours are all somewhat muted (like if everything has the opacity not quite at 100%, contrast and vibrancy is way down too). Just a more muted colour palette in general (big emphasis on white with light pinks and oranges and browns, greyish blues and greens with just the occasional sharp bright red of clothes or flowers);

Just so much white! The white interface of the animus and the animus loading effects of the towns being reconstructed on these white digital canvases. And the draw distance (Silent Hill taught me that if you want that dreamlike atmosphere you play with that draw distance son, obscure details, don't let players see everything, imply don't just show)! The skies! I can't remember a vibrant blue sky in this game, it's always a greyish blue or white or pink.

I dunno tell me if I'm talking outta my ass, I think it helps evoke this dreamlike/nostalgic feel. And this extends to Jesper Kyd's music too, how it's oddly experimental honestly? It's not authentic Italian Renaissance-era compositions or something that sounds close enough. Minus the chase and combat ones, the town ones (Home in Florence, Dreams of Venice, Leonardo's Inventions, etc) have this ethereal feel and tranquility to them. It's like the visuals: somewhat muted, somewhat vague, they don't draw too much attention to themselves, listening to them it's like walking through that same white haze the visuals have.

It's this, AssCreed II's movement, visuals and music are dreams of the Renaissance in white laminated glass to me:

::::::::::::::::

EDIT:

I

JUST

realized

that whoever did the box art for the game MADE MY POINT FOR ME BY HAVING THE DEFINING IMAGE THAT ENCAPSULATES ASSCREED II BE:

White-ass laminated glass-looking background with the contrasting vibrant red and the blurred hazy characters.

[zzcorpserosezz]

❄️ Commissions open❄️

I'm very nervous about this aaa qwq

~ ❄️ DETAILED INFO ❄️ ~

• You can choose between black and colour lineart, for free.

The same if you prefer a cleaner or dirty lineart (personally I like the dirty one better, hehe)

• Sketch, lineart and flat colour have the same price.

• You can choose between two drawing styles. First is my personal one (you have more examples on my Instagram) and the second, which is the one I use lately, with Disney Pixar features.

• Payment is non refundable after you receive the finished piece. If commission is canceled before this for any reason, I’ll refund the money minus 30%.

• I have the right to post or not to post your commission on any of my social media. If you don’t want me to post you should note me about it beforehand, and it’ll double commission price.

• Extra character —> +50%

• Character sheet —> $30

• I don't do complicated backgrounds because I DON'T KNOW 😭

Transparent/Gradient —> Free

Simple backgrounds —> +20%

• You can ask for WIPs, and you can request 3 free changes.

• Do:

OCs

OCxCANON 🖤🖤🖤

Some ships

Fanart

Nsfw

Furry

Meme redraws

• Don't:

Anything I'm not comfortable with

Unrealistic big sizes

Hypersexualization

Mecha

Complicated backgrounds

• Don't be afraid to ask!!

❄️❄️IMPORTANT.❄️❄️

• I first make the drawings on paper, and once done, I make them digitally using ibis paint from my phone, so due to the performance of my cell, the images cannot exceed 3000px :(

• I will send the final work by email or wherever you prefer.

• Payments only by PayPal.

• I will only start working once payment is sent.

• The waiting time for delivery of the drawing will be between two or three weeks, although sometimes it may happen that I finish it sooner :D

However, you can talk to me as much as you like. <3

• On my Instagram I show you more of my work:

https://www.instagram.com/zzcorpserosezz?igsh=MXFxam95eG1hOHpwbQ==

THANKS!

[vyvy4n]

vyvy4n’s commission info

DM me!🐊

(If you’d prefer discord my user is the same as here)

Examples

My art tag & commissions tag are there too⬇️

Prices

Base price (full body sketch) — £5

(5th and 11th image)

+ Colour — +£5

(6th, 8th, 9th, 10th, 12th image)

+ Line art & shading — +£5

(Everything else)

+ Another character — £5

(Use your imagination)

+ Simple background — +£5

(9th image)

+ Detailed background — +£10

(7th image)

Questions

How do you accept payment?

At the moment I only accept payment through PayPal, once I have sketched out your drawing I’ll send it to you with a watermark, ask if everything is how you like it, and then give you my PayPal.

Will you draw ____?

Nonhumans (furries, robots, animals etc.), yes.

Create references/designs/redesigns, yes.*

(*all designs in the examples minus Wolverine are my own designs)

YCH/redraw of a reference, yes.

Comic strips, yes.

In a different style, yes.

Gore/injury or NSFW, yes but depending on how complex it is I may ask for a slightly higher price.

Anything else you’re not sure about we can discuss but I can’t think of anything I’d flat out say no to other than illegal shit

How long will it take?

I’m chronically ill so I have a lot of time to draw. Sketches should take no longer than a day, and detailed drawings should take no longer than a week (as an estimation)

Once I’ve started your drawing I’ll have a good idea of how long it’ll take and will message you beforehand :)

If you need the art before a certain time, let me know

Where can I use the art?

Anywhere! I’ll draw profile pictures if that’s how you’re specifically planning to use it, and if you’re going to post it anywhere please don’t crop my @ off. Anything else for personal use is completely fine!

I’ll ask if I can use it on my own page and if you’d like to be @ on the post before I do anything with it myself

You may use any of my art commercially but please inform me before you do so.

Thank you for listening to an independent artist.

If you can’t or don’t want to commission me, spreading my posts around to people who might helps me just as much, спасибо! <3

[roundboard]

Brutal Orchestra Art Hitlist

Just a list talking about each of the characters that I’ll have to go through drawing in Brutal Orchestra. Will detail plans and thoughts on ones I haven’t done, and reflect on the ones I have :)

Nowak/Bosch

I’m coming for you (two)...

Boyle

Done! Clean and simple inclusion of lore elements with a more interesting pose than I normally go for, really happy with how this one came out!

Hans

Done and dusted, I really did try to see if I could include SOME element of her items and such, but no luck... it cluttered the drawing far too much and there were too many conflicting themes. I tried my best to just elevate a lot of the simpler elements of Hans, and used one of her main abilities as a base for the concept.

Also included the fact her arms look kind of like spindly nerves as that’s how they seemed to be imagined by a lot of the community in canon! I think I made her look really nice and I’m still happy with it.

Burnout

Finished :) Probably my rawest piece yet, mega happy with how visceral I depicted him, as he deserves to be!!

Fennec

Fairly happy with how he turned out! I was trying to vary my angles since I have a habit of drawing characters facing right so I wanted to make sure to introduce some variety to the portraits. Plus, it’ll look even nicer by the end when they’re all lined up next to each other. 

He definitely seems a lot more jungle-y than he would let on but... A lot of his abilities seemed that way so I couldn’t help it. Not like it’s a bad thing, green + blue is a pretty good colour combo

Anton

I was definitely happy with him for a first attempt at this project, especially with how I shaded the mask, but I’m almost definitely going to go back to redo him. In hindsight there isn’t enough Anton swagger going on (minus the finger guns) and I think some element of his rude/skittish/gamble-orientated nature has to be shown off somehow.

Splig

Possibly my strongest work concept wise so far, or it’s tied with Kleiver. I’m really proud of myself for composing it in a way that shows off the Tao symbol they have in one of their attacks, and also demonstrate their syringe attack. It all looks pretty fluid as well. 

Only nitpick I’d have with this one is that it’s much more rough and simple(?) compared to my other works. Though, to be fair, this piece was the shortest to draw out of everything so far (about 2 hours or so)

Pearl

donezo... massive maw angle was definitely a good idea

Thype

My second drawing. Still really happy with the more oil paint-like thing going on for him, but similar to Anton, I feel like I could've shown off more from their lore/attacks. 

I’m less likely to try and to a complete redo like I am for Anton on this one, but I may make some adjustments? We can call it a remaster. Remaster sounds good and professional (which I am)

Griffin

I think I stuffed in as much lore as I could in the drawing (minus the fire, but I feel it would’ve oversaturated it.) My progress on lighting and shadows seems to be improving a good amount!! Excited to translate this skill into future drawings

Arnold

went with a more abstract and rough approach to convey arnold having a bit of a breakdown.. I think it worked really well and definitely a style I’d like to experiment with more in the future

Dmitri

Finally done... mega happy with the fire effects and I’m glad I could up the quality of the background more than just a standard black one or textured one! 

Mung

Mung

LongLiver

Finally managed to unlock him, and despite my initial worry that I wouldn’t be able to do something that creative, I managed it! I’m starting to get more comfortable with simple concepts done with more artistic flair if I can’t figure out a way to include their lore or attacks too much within the drawing itself. I also think this drawing shows off a bit more of my Disco Elysium style roots :) very proud of it!

Clive

Resident badass completed!! There was a point where he looked super bland and his head look way too long (like an egg) so thank god for the glow that was added later on... and the shortening of the skull

Kleiver

Even with the limited colour palette, I’m super super super happy with this one. This piece could’ve been kind of boring with just Kleiver shushing but my inspiration basically screamed out of nowhere that I could have bloodied music trails emanating from the stain on his hammer... Head. It doesn’t really show off his attacks but it shows off his brutality and lore enough that I’m absolutely satisfied with how he turned out. I nailed that hand pretty well too.

Cranes

Incredibly with the more simple and clean approach I took!! my first time trying out rain and such so I was really satisfied with how it turned out

Agon

My spookiest work yet, probably... I still really like this one :) depicted his yelling the best way I knew how! Super abstract but fits him well

Rags

Really really happy with her, I think the shading and colours came out excellent. Managed to fit some good stuff about her concept and item wise as well :) I think my only gripe might be that it’s a little less coherent than it could’ve been, with some of the parts of the drawing being quite dark.

However, I’m still really happy with it!!

SmokeStacks

Did this because some guy on reddit asked for it really nicely, even though SmokeStacks wasn’t even on my radar at the time... But they seemed to like it! I did too. I was initially trying to position SmokeStacks like every other portrait up close, but I realized I really wanted to show off the smoke more than the stacks part so I went ham on making the smoke look spooky and ominous.

He’s meant to be sitting on a pile of trash which is kinda hard to tell but I’m pretty happy with this one too.

Leviat

I like how dynamic and “pop-y” I made this one :) experimented with a style I didn’t do too often and was worried about how I’d handle the mass of flesh/teeth and masks thing but it turned out really nice

Bimini

Put as much for the character as I could into it! I think probably the most “packed” in terms of references so far... I do wish I could’ve done something a bit more with the background though

Gospel

so spacey... so gospel... it’s perfect

Mordrake

Mega happy with this one concept and execution wise :) holds a special place in my heart!

[lethal--omen]

[Id: Two digital redraws of Gym Trainer Elesa's friendship snapshot from the game Pokemon Masters. In it she is seen holding out on hand with her middle and ring fingers bent closed, as she leans towards the camera with an open mouth and her other harm flung behind her. In both images, she has been drawn with brown eyes rather than blue. Both of the drawings have a border. In picture 1, there is simple black lineart and a dark purple border, whilst in picture 2 the border has some light blue details added to it, and the lineart is now coloured. There are pink sparkles in the background of both images. /End id]

Decided to do some composition practice by redrawing one of my favorite Friendship Snapshots from Pokemas!!! (The background is taken from the game minus the sparkles, will add it in a reblog)

[tarot-tea-cafe]

All About Tarot: The Major Arcana

The Wheel Of Fortune

The Wheel Of Fortune, also known as La Roue De Fortune, is associated with the element fire, with chance, destiny, fate and what have you, and is the 10th in the majour arcana, the 11th to be pulled in a fresh deck.

Upright, this card talked about (good) fortune, an unexpected windfall, karma, destiny, cycles, life being in a state of constant change, things working in your favour, chance, turning points and more.

Reversed, this card mentions bad or "lousy" luck, a lack of control, the past, misery, disappointment, upheaval, unwelcomed changes, setbacks/drawbacks, external forces at work, oncoming challenges and more.

In general this card of course talks about luck and possibilities, maybe talking about what your influences are to help you understand why youre having a streak of "good/bad luck". this card seems to be here to help point out things you might not notice or say what you know but noo to hear it confirmed for you. that doesnt always mean its going to be good or bad, just like gambling theres always a 50/50. (minus any possibility of cheating, these cards see right through you)

Common depictions may include of course a wheel, similar to a prize wheel from a game show or something with multiple points to show multiple possibilities or directions, a compas perhaps. its very common to see a map and compass or a ship's wheel and someone at the helm ahold of it. all this to show that with so many directions to go life has many options and potentialities just waiting for you and choosing the path you take is life's game of chance.

white and blue as well as a shade of gold, yellow, orange or brown are very common within this card's colour scheme, often a blue background with white clouds. red is a common accent colour among the art for this card.

another common thing to see is some flying creature or person, commonly four in each corner or few circling the "wheel of fortune" in the centre.

However on the rare occasion the wheel of fortune isnt an actual wheel you may see a lone person with more than the regular amount of limps in place of the many points that signify the different directions.

If you have any more details you'd like me to adress or questions you have you'd like me to answer please let me know!

help support me on kofi - previous card - full post

[emilydaisymasters]

Animatic Workings

This is just some more detailing on my now completed animatic, minus a few potential tweaks. Since there are many scenes, I'll just include some that I feel have points worth discussing.

Scene 5

Scene 5 uses the same character design as the previous scene, but includes a part on academics, that being Em being praised for her life cycle drawing, something she is very excited about. These are moments I class as important within this animatic, as they grow steadily more frequent.

Scene 7

Scene 6 is the first time we see an actual grade on any of the homework or schoolwork, and Em is so pleased with it that even without anybody being present, she pins it up onto the fridge. I think of this as being a turning point, the beginning of a shift in focus, and the point in where her colours will start to dull. This scene uses perhaps my least favourite character design for Em, so I unceremoniously have her facing away from the camera in all scenes that it is present.

Scene 9

This scene uses quite a lot of perspective also, and since it begins with dad having the camera pointed to schoolwork in his lap, I think I will have to design the background with a longer bed in mind. This isn't a new premise for this film, with scene 2 in particular having a very big and open background design, but considering I have designed the bed sheet as patterned, I have my work cut out for me. Additionally, this would be the scene in where Em switches glasses, hence the bear from scene 2 wearing her old glasses in the back.

Scene 10

Scene 10 seems simple at first until you realise that the room completely rotates at one point. Bluntly putting it, I have no idea as to how I am going to achieve this effect within a 2D space. I know the walls will probably all have to be separate, but that's as far as I have gotten with it. This will take some experimenting with.

Scene 12

This scene uses the background I originally submitted for my first rendition of the project, though I think I will tweak it to fit in more with the style progression. I didn't want to have to scrap more of my assets than I was comfortable with, so I decided to re use.

Scene 13

Scene 13 will be a tricky one for me, as there is a huge crowd present in the foreground and I haven't decided yet if I am going to animate them or not. Besides that also, the camera zooms in on Em, who looks tired and is completely grey at this point before the film pauses on her face. It isn't entirely clear how tired she is in the animatic, but she is meant to look exhausted.

Scene 14

Scene 14 is of course the conclusion, and marks the first time since the beginning that we get a shot that isn't in the home movie. Em watches the film with a gritty look on her face and glances around the room at the products of beating herself down to get the best grades. The rewind sequence should be easy enough to complete, though achieving the timing for the pause might be a bit tricky. By the end she has gone back to basics as it were and draws the smiley face from the first shot, the only thing other than the TV that will be in colour.

All in all I am much happier with this animatic than I was with my last one, and I'm actually excited to begin further work on the backgrounds. I will post the animatic in full in the next post.

[ashmcfarlane]

Illustrator Skills Show & Tell

Started off by drawing a simple skull using a mix of curved and angular lines. Then had to mark where I believe the anchor points would be. The bigger the curve, the bigger the handle would be.

I then scanned in the drawing and used the pen tool to outline the base shape of the skull (cranium and jaw). I used a mix of different anchor point types to show contrast between shapes while creating this skull, and to overall understand them better.

Here are my examples:

Then worked on the details within the skull using curve points:

Used curved points for the eyes and the nose. I made the eye sockets by using the shape ellipse tool, then using the direct selection tool to change the handle size to have more of a defined shape. I also used the same shape we learned in 'week 2 curves' for the nose, holding shift while placing the anchor points to keep them at the same horizontal angle.

Creating the teeth was fun as i got to be loose with them, just creating rough, oval, lop-sided shapes with various sized handles. The imperfections are what makes it look natural and less corporate. Wasn't really tracing my original drawing for this as I felt I didn't need to.

The end result of my vector outlines. Next I had to turn it into proper shapes. First i gave the base shape of the skull a white fill with no border.

Using the path finder tool I could use the 'minus front' option while having the top layers selected (skull details e.g eye sockets, nose, indents) and the bottom layers (skull base shape e.g cranium and jaw). This pathfinder option will then stamp the top later paths through the bottom layer. Creates a good positive and negative space contrast, with the background colour being the skull's details.

I decided to have the skulls teeth to be purple as I thought it made the image a bit more unique, as skull drawings/images are often overused on platforms. I then decided to give the skull an all seeing eye to add more appeal to the illustration, using the same purple on the eye to match the teeth.

I made an oval shape and then layered 3 ellipse shapes inside the oval, changing the colour and handle size of each circle. This made the eye look a lot more hand made.

Overall very happy with the design.

On the original sketch drawing I was able to understand and pin out all 4 types of anchor points: corner, curved, hybrid and broken. Although, a lot of my handles are pretty off. Definitely something I could have done better on. While make the skull shape in illustrator I found it had the best effect by making the top anchor point have excessively long handles. There were also a couple misplaced anchor points through out my illustration compared to my original sketch. But I feel the more I use the pen and anchor point tools, the more I understand it's theory. I also faced a lot of trial and error trying to remember how to create a broken anchor point (for where the jaw meets the skull). I managed to get there in the end.

Using illustrator I found the various shapes quite easy to make, I did use a descent amount of "command z's" while making this but the shapes were fairly simple overall. The teeth were surprisingly easy to do as I wasn't worried about imperfections, I feel if I was that task would have been a lot harder.

If I were to do this again, I would try challenge myself more by creating more gritty edges in parts of the skull, rather that it being just smooth lines. That would mean i'd be using more anchor points for little details but I think it would have a much better effect. On the design brief it did say to use as few anchor points as possible. I'd like to work on my understanding of anchors and their point handles, just to know exactly how to put them without any trial and error, as it would make design processes a lot quicker.

[interlockingpatches]

Yes! Yes! Yessssssss! Fearsome! Sublime! Implacable! Impeccable! Also that sweet fface! I cannot cannot wait to meet their friends.

This is what I want people to understand about interlocking crochet — there is a distinct learning curve, sure, but once you've got it there's simply no stopping you, and here's your proof!

I don't know if @bearhats worked this out entirely themself (v plausible) or saw me spilling secrets on my mawkish attempt at the craft-Reddit ho stroll last week, but this seems like a fun opportunity to fully hijack a stranger's post and talk about working from hand-drawn graph paper charts, which is how I started, and about how I do more detailed patterns in Illustrator:

Once you have a handle on the technique, you should be able to pretty easily freehand the manatee in the middle from just the pencil sketch on the left. I even include "graph paper" versions of motifs with all my patterns, which I use when I want to plan out captions to add or arrange odd-sized blocks for blankets.

A basic graph paper chart gives you the Colour A mesh (outlines), which is all you need in a pinch! Sketch a motif by connecting any vertices, making only horizontal, vertical, and 45° lines*. Diagonals can cross to form an "X," but that's tricky to crochet, and you'll want to do it sparingly. Draw a rectangle to contain it. Count the number of boxes wide it is, and that's your pre-border width in mesh spaces (msps). Your Colour A starting chain [FA] is that number times 2 + 5 (or +4 if you prefer to start in the 5th ch, as is common in regular filet, rather than the 6th, as I do). The graph paper verticals are dcs, and the horizontals are ch1s. A marked vertical is a dc on front (or through both meshes), an unmarked vertical is a dc on back. Colour B (background) foundation [FB] is FA minus 2 chs, and you just kind of work around the outlines as they come together: when you cross an unmarked horizontal, you dc on front, and when you cross a marked horizontal, you dc on back. If you need me to explain diagonals, go read an actual pattern and/or watch the video.

What graph paper charts don't give you information about are fill stitches (as modelled by the manatee on the right and, extra impressively, in @bearhats' dragon!) These require an extra level of planning, because you need to leave gaps to make room for stitches that won't be made until later rows, which isn't exactly intuitive.

These sketches (OP's and mine) also don't distinguish between F (dc on front of work) and T stitches (dc through both meshes), which both make a vertical line on front but do it a bit differently. This is almost always fine and the distinction is vibey—I use Ts in mesh backgrounds and along edges for structure, around certain details like eyes to emphasize them, and in some cases to make a thinner outlines or achieve a certain texture, but they are interchangeable for most purposes.

Anyway, at a certain point I figured out that it was actually faster and easier to make patterns in Illustrator.

That is my original manatee chart, back before I was even bothering with written notation, and before it had even occurred to me that fill stitches where a thing to do. Here's the original Clover:

If you know Illustrator (or similar, probably, though I quit in frustration the one time I attempted it in Inkscape), it shouldn't be hard to parse how the charts are made:

Make a grid of square cells with the the Rectangular Grid tool, however many cells (mesh spaces) wide and tall.

Use Pathfinder > Outlines to chop the lines into individual segments. Add a dark stroke, that's Colour A.

Duplicate it, give it a light stroke, and use Direct Select to shave off a row and a column. That's Colour B.

Align the grids, ungroup everything.

Select individual line segments and send them to front or back (use the shortcuts) to create a pattern. You'll need to use the pen tool to draw diagonals and duplicate vertical line segments to make fill stitches.

Duplicate the finished motif. *(Duplicate it again, and shave off just the top row—Colour A or B, not both). Repeat from * until no rows remain. Bing bam boom, you've got an illustrated chart for every row, probably in reverse order but who cares?

I add notation and do a lot of finessing to make those charts easier to read, but that is literally my entire process an in a nutshell.

That completes this unplanned, unscripted, and thoroughly unasked-for lesson in in making patterns—or bootlegging mine, which I do frankly prefer you did not do, especially since I'm still giving most of them away. But for real, I would never *could* never have made OP's dragon (for starters, it's enormous! On par with the absolute largest motifs I've done), and the rest of you would I'm sure come with things I could never imagine and would never in a million years wish to.

*Right, angles. OP, for your dragons, know that you can also make double-length diagonals (1x2 or 2x1 msps, corner to corner). I work those as dtrs (3 yos) though those are, mathematically at least, too short for the task, and in some thread combos you may need to add a yo or extend the stitch at the base (I don't recommend using half stitches in the body mesh). Early days on those, even for me!

PPS: Because anyone reading down here is presumably a wonk, above is the notation I'm proposing for long diagonals. I'm happy with it as a left-handed reader/crocheter, but I'd love either an OK or feedback from righties — because you people don't crochet left-to-right (i.e., the same direction as notation, the sensible way), I'm worried that the direction of the horizontal arrows is going to be somehow off-putting?? Does it even really matter when there's a diagram to spell it out? I could just as easily call them nnh (horizontal, or over 2) and nnv (vertical, or over 1 and down a row), which is certainly easier to type.

Here's the notation in the wild:

finished dragon design i made after learning the interlocking technique + also using their border designs! @interlockingpatches

+ a couple more ideas for other dragons to expand this project

[ragnarockz]

After YEARS of trying to find the perfect TMNT tattoo...

I was cleaning up my room a couple weeks back and I stumbled upon the TMNT: The Ultimate Visual History book my family had gotten for me a few birthdays ago. 

There’s always this like, turn-around I do of “getting back into” TMNT (not that I ever truly leave it, it’s so ingrained in who I am as a person that it’s always in the background of my life). I was just flipping through it and came upon this sketch of Raphael drawn by Peter Laird that made it into the book.

My mind just clicked and went, “Yep. That’s the one.”

So I’m getting him done Tuesday. Everything will be the same minus the signature and the addition of his mask being in colour (I HAVE to...the color red means so much to me and there would be no way for me to leave that detail out).

Pics to come when I’m all tatted!