I thought I’d post some comparison images of the different version of volume 1 of Avatar Tuner that are out now.
First, I am really quite pleased (and honestly somewhat surprised) at how gorgeous the cover art looks on the English hardcover. Not because the art itself is bad (it certainly isn’t!), but just given the sheer size difference between the books. Clearly, a high-res version of the art exists over at the publisher, and I can only dream of one day getting my paws on it, but there you go. Looks great, and I think the logo similarity works, too.
If anyone’s curious, that is, in fact, the Japanese copy I used when translating the book into English. Translating from a hard copy wasn’t something I was used to back when I started; I had a digital version of the text, but it was paradoxically harder for me to work with so I went with the physical book 99% of the time, save for rare instances when I needed to check something and didn’t have the book on my person. It is, shall we say, well-loved (I own the rest of the series, too, and those books are all in much better shape).
The ‘opening’ page, with Serph’s scope readout on the mysterious object, has been tweaked in places, with semicolons replaced with colons to fit with typical Western usage, and some other adjustments made as well.
The “Om” that marks the start of each chapter of the English version was actually the work of Tony Gonzalez, one of the people over at Bento Books, who did the layout for the book (he also translates Hiroshi Yuki’s Math Girls series, which you can read more about here if you’re so inclined). Each chapter actually has the “Om” rendered in a different Indic script; they are, in order (if I recall correctly): Devanagari, Assamese, Tamil, Bengali, and Telugu. A nice tough, in my opinion!
Also, that’s a real quote from physicist P.W. Atkins, from his book The Second Law. Finding the quotes in this book was interesting, because it involved translating just enough to get the gist, and thereafter looking up what the actual quote was; they’re all rendered in Japanese in the Japanese version, but since that isn’t the source language of the quote itself, I couldn’t just translate it into English myself, because then it wouldn’t be what Atkins himself said! (It gets trickier with other quotes, such as the ones from Nietzsche and Spinoza, since those were originally in German and Latin, respectively, and I needed to track down an English translation I liked, after cludging a translation of my own. Lesson here: localizing books is hard!)
Lastly, the intra-chapter separator is the Sanskrit 'Om Mani Padme Hum,' also Tony’s idea. As you can see with the comparison between the versions, in the Japanese edition, the chapters are broken down into numbered sub-chapters, which is a little unusual in English, and so instead the layout uses the Sanskrit, which I think works pretty well, and helps add to the visual feel of the book, along with the chapter heading “Om.”
So yeah, that’s a little look at the different versions of the book we’ve got! It’s really exciting to have been a part of this, and I definitely hope that the rest of the series will follow some point soon (and that I’ll be part of it!).
Some production backgrounds for AAC from Krystal and Stephanie.
Journal 2 - From layouts to keyframes
We’ve been relatively on schedule since our restructuring and managed to finish the backgrounds/layouts for a portion of our animation in time, some of which you can see here. Now we’re moving on to cleaning up the animatic itself and inserting our keyframes, which will be a learning experience for half our team.
Originally, intended to leave the keyframing and animation to the veterans on the team, but figured it would be beneficial for any future AAC episodes to have the folks unfamiliar with the realm of animation begin learning. I expect because of this it will go a little slower, but will benefit us more in the long run once everyone has an equal handle on how to approach animation.
Each member has 4 shots to work on and complete by September 29th, which should be very generous for keyframes (I think!). If everything stays on schedule we’ll move into the meat n’ potatoes of animation right before October.
Everything in general seems to be stabilizing really well since we hammered out a legitimate schedule, and things are being pumped out at a good pace. Considering uploading our rough animatic for viewing sometime soon if there is interest.
Also, hello to all our new followers! We’ve had a big influx, and honestly its really, really encouraging to everyone on the team that people seem to be so interested, or take such a liking to the character designs. So, thank you SO much!
As usual, if anyone has any questions, or something they’d like to see more of, we’d be happy to answer!
Its my final bachelors degree presentation layout, but im still working on my presentation model made of wood, which im going to post when its finished, hopefully in october.
the project is a concert hall for classic orchestra music in reichenau, austria. the main idea was a visible wood construction to build the ribbed slabs and bridges, who are connecting the different areas of the building.
and it looks much better on DIN A0.
1. Info sheet with concept idea and some technical explanation
2. groundfloor plan + elevation / section
3. 1st floor plan + elevation / section
4. 2nd floor plan + elevation / section
5. 3rd floor plan + elevation / section
6. facade cross-section and details