but this one's in color woohoo

✨Song of Myself✨ -
Woohoo- Happy Friday everyone! Had a lot of fun doing this one, added some lights and went a little more saturated on my colors. Tried to capture the subtle expression here, which was pretty tough! Hopefully it translated well? 😆 Anyway thanks for looking- Love you guys! <3

“if you burst into song, i’m jumping out of the plane”

safety first, kids


My submission for Round 14′s of #ChoicesCreates, hosted by @mermaidwarriorqueen and @hollyashton. The theme was Any Disney Song. 😇 (And my first ever submission to #ChoicesCreates! Woohoo!)

Inspired by a notable Drake quote, one of my favorite Disney songs “Colors of the Wind,” and the magical lip sync battle with Melissa McCarthy (Skip to 6:15 to see “Colors of the Wind.”) I can imagine Maxwell doing her entire fabulous routine. 😂

smh maxwell part 1
smh maxwell part 2

“Hi,” Oikawa fucking Tooru says with a softened smile on his face, mask pulled around his chin, duffel bag slung over his shoulder. “I missed you.”

casually makes fanart of my own au, complete with some experimental coloring. im getting faster with drawing woohoo!!

from one of my favorite scenes in idol au god bless.

Cat!Woozi AU

Originally posted by choazy

Request: AU Request- Woozi as a cat :3
A/N Hihi ! #DontWannaCry6thWin WOOHOO -Admin Sierra & Madi


  • Cat!Woozi is v v small, but def one of the prettiest and sleekest cats there is
  • his coat is super soft and shiny, a pale caramel color that makes his brown eyes really pop in contrast to his bright pink nose
  • he looks really cute and innocent but has this facade where he acts like a tough kitty
  • he is really aggressive and easily annoyed but is actually soft and snuggly underneath
  • if he’s having a bad day though, y’all dont wanna cross paths with him
  • he’s not one for attacking much, but he makes great use out of his claws
  • he either spends most of his day sitting by the window basking in the sun, or hiding somewhere in the house where you no matter what, can’t locate
  • he’s a pretty recluse cat, but he’ll sometimes flop on the couch; definitely not for cuddles though
  • Cat!Seungcheol will be all over him in an instant when he decides to come out, bugging and nudging him with his paws until he can get Cat!Woozi to play with him for a bit
  • woozi eventually caves and agrees to play with him after the consistent nudging and whining becomes too much to handle
  • but when seungcheol isn’t looking, he’ll make a break for the nearest exit and disappear into the depths once again
  • besides sun bathing all day, woozi loves to be fed
  • he isn’t the type of cat that eats messily or inhales the dish, he’s pretty slow and makes sure he doesn’t make a mess for you to clean up 
  • he’ll feel really full and content after eating so he’ll most likely just go to bed at like 6pm
  • he’s kinda protective over you but doesn’t want to seem that way, so instead of passing out ontop of your covers, he nuzzles into his own small bed thats situated at the foot of your own
  • he lowkey becomes jealous when he wakes up to see Cat!Seungcheol cuddled up into your side but reminds himself that you obviously love them equally despite seungcheol being a dumbass most days
  • he rarely ever meows, only hissing when he’s in a bad mood, so you’re able to sleep in peace and get work done without having a cat meow at you for attention
  • on days where he does want attention, he’ll lay beside you in bed and inch his way closer until he’s ontop of you and blocking your view of whatever you were doing
  • he looks so cute and rarely ever asks to be pet so you never get upset at him and forget all about what you were doing previously
  • woozi is far more important after all!
  • he’s obviously your main priority, cat!seungcheol can take a backseat as far as woozi is concerned :^)
Ascendance of a Bookworm – 046

We Made It At Once

As soon as we finish with dinner, my father heads immediately for bed, since he has to work the dawn shift tomorrow. In order to make sure we don’t disturb him while he’s trying to sleep, the rest of us relocate to the kitchen, where we can quietly busy ourselves with whatever work we can do, quietly, to kill time before we need to go to bed as well.

Keep reading

Get to Know My Characters

Morgan Kruse

01. Full name: Morgan Marianne Kruse
02. Best friend: Doesn’t really have a best friend, but if she had to choose she would probably choose Quinn.
03. Sexuality: Lesbian
04. Favorite color: Bluish-gray
05. Relationship status: Single
06. Ideal mate: Someone who has their own independent life, who lets her have her own independent life and doesn’t need to spend tons of time with her unless they want to have lots of woohoo.
07. Turn-ons: Morgan can get turned on by almost anything.
08. Favorite food: Mac n Cheese
09. Crushes: All the ladies
10. Favorite music: Alternative music
11. Biggest fear: Suffocating in a dead end job or a boring relationship
12. Biggest fantasy: To woohoo with more than one lady at a time
13. Bad habits: She tends to scare people off with how forward she can be
14. Biggest regret: Dating a boy in high school
15. Best kept secrets: Morgan once hooked up with a certain married, dark haired celebrity sim with the initials B.G.
16. Last thought: I want to hook up with that cute bar tender.
17. Worst romantic experience: She was cheating on her high school boyfriend with his step-sister. He caught them woohooing and started crying… totally killed the mood.
18. Biggest insecurity: She worries that she’s not very smart
19. Weapon of choice: Tongue
20. Role Model: Basically all women

WoW Hallow’s End Art Challenge/Inktober Challenge Mashup

15-Faction Leader (Sylvanas Windrunner)

Woohoo! Halfway there! and to celebrate reaching the midpoint of this challenge, I inked a piece I have been wanting to do for ages and that I will definitely color. Oh man, I’m kinda proud if this one, even if it took way too long XD

J-Hope Fluff/Smut: Exams

okay so here it is. i made it based off of exams since i know a lot of ARMYs (me being one of them ;-;) are dealing with exams at the moment. i hope y’all like it! ^^ 

You woke up early morning with your alarm buzzing loudly. Groaning and practically falling out of bed, you reached over and turned it off, yawning. You sat up and looked at the mess of your bed; your binders and sticky-notes and index cards sprawled all over, with opened highlighters marking up your comforter with specks of neon yellow. You sighed, squinting at your calendar half-way across the room. Today was the big day: exam day. You were so unbelievably nervous. This exam could make or break your GPA, and even had the potential to fail you… you didn’t even wanna think about the consequences if you didn’t pass.

You got up and showered, trying (and failing) to wash all of the doubt off of you. You tried to convince yourself that you had this, and that you’d do fine, but the little devil of self-doubt kept chanting in the back of your mind, telling you that you weren’t even remotely prepared, and that you’d screw this up horribly.

After your shower, you dressed and ate a small breakfast, deciding not to cram in some extra morning studying. Instead, you kept to yourself, trying to clear your mind.

“You’ve got this,” you whispered to yourself. You had it, right? You just needed that extra push of confidence. You just needed a bit more reassurance.

You arrived at school, two sharpened No. 2 pencils, a black and blue ink pen, extra erasers, and a smile in place. You were as ready as you could be. But why did you still feel so incomplete and nervous?

You exited the car and looked at the entrance of the school where students all filed in. No one looked as nervous as you. Did they have a secret to studying and confidence that you hadn’t unlocked yet?

You inhaled and headed for the door—but not before you heard your name being called.

“_______~! My lovely girlfriend!!! Hey~! Woohoo! My smart girlfriend! She’s gonna pass all of her exams with flying colors! Yahoo!!!”

You looked over with wide eyes as Hoseok stood with a poster that had your name in glittery letters as he danced to a beat in his head. You ran over to him, an embarrassed smile on your face.

“Hoseok!” You squealed, feeling yourself burst with happiness. He looked tired, and you knew he’d been up all night practicing, which was the reason you refrained from texting him like you wanted to so desperately. He smiled at you, putting his poster down.

“Ay~ there’s my little Einstein! Are you ready for your exam?”

You frowned. “I’m a little nervous, honestly.”

He smiled, leaning in to kiss your cheek. “You’ll be fine, I promise. You studied so diligently. There’s no way you don’t have this material mastered. And even if you don’t, your whole life isn’t defined after one test. You’ll do great.”

You could only smile gratefully as you looked up at him. In an instant, the self-doubt you were filled with had left you. You now felt more than confident enough to go into the classroom and master this exam. You sighed.

“Thank you, Hoseok. I love you, okay?”

“I love you, too. I’ll be out here waiting for you when you’re done.”

You nodded, kissing his cheek quickly before turning from him, entering your school.

You all handed over your finished exams and text booklets. Some of the students looked confident in what they’d just turned in, and some students looked honestly sick with what they’d just submitted. You honestly had no idea. When you were with Hoseok, you felt confident, but alone in here, the doubts slowly began to swim back. You exited the building, and looked up at the bright sky and sighed. It was a lovely day, at least.

“Hey,” you heard Hoseok’s voice as he approached you, a soft smile on his face. You sighed contently. He pulled you into a warm hug, and you felt the tenseness built up in you begin to melt. “How do you think you did?” He asked you softly.

You exhaled. “I don’t know. I don’t wanna think about it. I’ll just see my results at the end of the week… do you have a schedule today?”

He smiled. “I do. It’s to take you out and make you feel better. Where to?”

Hoseok insisted on taking you out to dinner, or maybe out to the movies or an amusement park, but to his surprise, you simply wanted to go home.

“Why home?” He asked as you both headed there.

“I just wanna relax with you. Watch a movie, eat some leftovers… nothing too special.” You yawned. He smiled, pinching your cheeks. You both drove back to the members’ dorm which was empty at the moment. You plopped down on the couch, and gasped.

“Show Me the Money’s on! Hoseok~ come watch it with me!” You smiled, patting the cushion next to you. He came to your side, and you both watched the show as you used his arm as a pillow.

“You should go on there,” you said, looking up at him. He raised a brow.

“Nah,” he said. “I think this kind of show fits Yoongi or Namjoon a bit better….”

You tsked. “You’d still do really well, though.”

He smiled. “You freestyle. I wanna hear it.”

You snorted. “Me? Freestyle?”

“Come on, I bet it’s good.”

You bit your lip, looking between him and the TV.

“Yo, yo,” you said before bursting out into laughter.

“Ah! Why’d you stop! The feeling was there!” He groaned. You shook your head, looking at him happily. You couldn’t believe that just this morning you were so unbelievably stressed out. Just being around Hoseok alone filled you with the utmost happiness, a bubbly feeling that you hadn’t received from being around anyone else. You took his hand.

“Hoseok?” You asked him, sitting up.

“Hmm?”

“How long before the members come back?”

“I’m not sure… an hour? Two?”

You smiled to yourself, and leaned up to kiss his cheek.

“Why?” He asked, turning to look at you. When he did so, you kissed his lips. He smiled softly, and you kissed him again. He kissed you back warmly, and you let your hand wander over to the tail of his shirt and slide up until it touched his toned stomach. You both kissed warmly on the couch as your hands wandered back down until you were at the buckle of his jeans. You unfastened them quickly, and he jerked as your hand slid into his pants.

You both groaned as you heard the front door unlock.

“Hey, it’s—heyyy.” Namjoon tsked, looking at you two sitting on the couch. “Did we interrupt something, you two dirty kids?”

Hoseok smiled. “Not at all.”

“Tell that to your unbuttoned jeans,” Yoongi said, a look of disgust on his face. “For crying out loud, there are children still in this group.”

You sighed, rising from the couch.

“We brought food!” Jimin announced happily. You walked excitedly to the kitchen, helping the members set up the meal.

After a day at the dorm, you were exhausted. You could only watch Jimin and Hoseok dance to girl group songs while Taehyung showed you funny videos online for so long before wanting to pass out.

“I’ll be taking _______ home now.” Hoseok announced, holding your hand as you both walked out the door. The members bid you farewell, and in moments you were in the car as Hoseok drove you back.

“Are you tired?” He asked, looking over to you. “You’re nodding off.” He whispered.

You nodded. “It’s been a long day.” He smiled, caressing your face lightly as you began to sleep in.

“We’re here,” he told me as you pulled into your parking lot. You noticed immediately that you were the only ones home. You sighed.

“Walk me in,” you told Hoseok as you opened the front door. You walked back to your room, and he laughed.

“Look at all your notes everywhere. Did you even sleep last night?”

“A little bit… I’m glad it’s over though.” You said, clearing the bed. He smiled.

“I’m proud of you. I bet you did really well. I wish I was as smart as you when I was back in school.”

You frowned. “You’re really smart, Hoseok.”

“I guess so,” he said, pulling you into a hug. “I was smart enough to ask you out.”

You snorted. “…you’re also really cheesy.” You joked before looking him in the eye. He eyed you carefully, but gave you a look full of admiration. You leaned up and kissed his lips softly.

“Can you stay over tonight?” You asked him quietly while your lips were still close. He kissed you.

“Mhm,” he assured you before kissing you again, this time a deep, passionate kiss that encased you both.

You backed up into the bed so that you could lay down on it, and he crawled over you, his lips on your neck as he pushed your shirt up. You stifled a moan, loving his touch all over your body.

As he worked on undressing you, you worked on undressing him, and in-between rough kisses and soft moans, you both found yourselves completely naked in the darkness of your bedroom, kissing passionately and enjoying the feeling of your bodies pressed together so closely. When the feeling proved to not be enough anymore, he positioned himself between your legs, and entered you slowly.

You moaned out your boyfriend’s name slowly and sweetly, and he kissed your nose before continuing to rock inside of you. The passionate experience made you feel slightly overwhelmed, from the soft moans you both produced, to the lip-biting, skin-gripping, sweat-inducing romance that was blossoming at the current moment. As always whenever you two had sex, you felt overwhelmed with love. You felt as if you were bursting with it.

Your nails dug into the soft skin on his back, and scratched deep down as he slid deeper into you, and you gasped out, moaning louder.

“Hoseok,” you called his name, feeling yourself reaching your climax quickly. He could feel it, too, and he began to rock inside of you faster, deeper, until your back arched off of the bed, and your vision began to blur.

In moments, you were over the edge, and his name stuttered off of your tongue as you held him in your arms. He reached his climax, as well, gripping the headboard and exhaling.

You both sighed.

He kissed your face lightly. “Get some sleep,” he instructed, wrapping his arms around you and spooning you on the bed. You nodded sleepily, feeling the tiredness that you once felt starting back again.

“I love you, Hoseok.” You said, yawning lightly in his arms. You heard him whisper, “I love you, too,” quietly before you fell asleep.

I feel like this was written a bit awkwardly but I hope you guys enjoy it. Thanks for reading! ~ 

joshroth  asked:

I love your animations! They have a very unique style and humor to the them. Could you talk a little about the process behind designing and producing the animation? For instance, do you draw the characters out in Photoshop and then animate them in After Effects? Do you storyboard them out beforehand? Thanks!!!

Thank you so much! 

Welp it goes something a little like this: 

Step 1: IDEA
We (me and my hubby Oren who writes along with me) try not to push it and let ideas flow naturally. When we got it, we got it, when we don’t- we give it time. It usually starts off with a terribly silly idea, we laugh about it for a while, and then actually write it. Frozen is the new black, quite frankly, started off as a joke of something we probably won’t ever make, but here we are!

Step 2: Writing! 
We sit and write a rough breakdown: Scenes, jokes we had in mind, characters, rhythm, etc. Unless we’ve already written everything together, Oren (who is a professional screenwriter) then molds all that mishmash into a coherent script with dialog, and I review it. Make some changes, tweaks, removals/adds until we’re satisfied with the result. (Fun fact: in Mean Elves, Oren insisted we keep the “Stop trying to make precious happen” scene while I absolutely hated it. He won and it turned out to be the most popular scene in the vid. Good job husbando!) 

Step 3: Voices/Sound editing
According to the script I find the right voice actors (I usually record all female voices unless I need something different for a specific video, and Tom Trager used to record all male voices. I then edit the sound in Cubase. Add special sound effects if needed (some of them I only add after animating), the result: A finished sound clip ready for animating. 

Step 4: Storyboarding/Animatic 
I sometimes skip this part with videos that are simpler to make. This is usually a tool that help me better understand and build  the short’s pacing, shots and scene flow. According to the sound clip I now have, I sketch out the scenes. The reason I never ever upload animatics: NO ONE understands what the heck is going on. It’s EXTREMELY rough and schematic. When I create animatics for other filmmakers/animators I obviously keep it as clean and understandable as I can. But for myself? sketchidy sketch awaaayy. I shit you not. Here’s a terrible example

sometimes though, the animatic looks pretty damn normal!


Step 5: Character design 

Sometimes this step wriggles in before step 3, totally depending on my mood and availability of voice actors. I start with sketching out the characters on Adobe Photoshop (easier, free hand to sketch)

I continue to finish the design in Adobe Flash


Finishing the design not only means “inking” and coloring but also breaking apart the limbs and symbols for animating. Kind of like how you would build a paper doll with detachable movable limbs. I break apart as many symbols as I like in order for the later animation to be as flowy as I can but not pushing it too much so I won’t hate myself later! For example: Merida’s hair in FITNB has 9 different parts to it (!!!)


I also create different mouths for speech in this step, and use the plugin keyframe caddy to organize and later help animate the lipsync with


Confession: This is my least favorite part of the job. Sure it’s creative, sure it’s interesting, but it always takes longer than I think it would take and wears me down. 
But then comes my favorite part which is:

Step 6: Animation
Woohoo! Here comes the tough yet fun part. Animating in flash in the cut-out technique in Adobe Flash. I usually start with placing the characters in their scenes, continue to lipsync and eye movement, and then full character animation. Sometimes I work character by character, sometimes I do lipsync for ALL the characters and then work separately, it all depends on my mood and what I think would be better work flow for each specific creation. weeee.
I either set the measurements/size to 1920x1080 or 1280x720.  
After finishing the animation process I export it all as a PNG sequence. 
 



Step 6.5: Backgrounds
While I complete these steps, awesome artist Inbal Ochyon slaves away on creating backgrounds based on notes, existing footage and photoshop edits I hand out to her. Usually around the time I animate she starts finishing them up and does a terrific job at it, What a pro! (honorable mentioning: In FITNB also worked on backgrounds Audrey Molinatti  and Rotem Bloch, and up until a few vids ago Tom Trager created backgrounds too)
Background measurements are always 1920x1080



Step 7: Editing
SO! I’ve got my backgrounds, my animation, my sound design, let’s got to the finishing line by smooshing those all together in Adobe Premiere. I also add camera movements, video effects, some sound effects, and a tad of color corrections if needed. 
(This is one of those steps I always think would be a piece of cake and then takes longer than I thought. Oh well! At least I’m at the finishing line!)
I export the vid as MP4 file, either 1280x720 or 1920x1080, depending on the flash file measurements. 



Step 8: Upload to Youtube! 
WOOHOO! time to upload, add annotations, tags, playlists, create a custom thumbnail, sit back and watch the trolls tell me how much they hate everything I do <3 




Side notes and mentions: 
Added stuff: During the whole creation process I also create different symbols, objects, and other tiny animations I add up later in the final edit 
Music Soundtrack: In some cases I have personalized soundtracks created by composers such as Liad Mazor and Yoav Landau (The Living Tombstone)



(like snow white’s little birdies!)


Hope this has been helpful!
7

I did a color pallet challenge! My first one, in fact! The drawings are in chronological order, from the first one I have eVER drawn to the one I just finished!
1: Sans (pallet: Justice)
2: Papyrus (pallet: Integrity)
3: Bill Cipher (pallet: Determination)
4: Erase ( @elemental-tale ) (pallet: Patience)
5: Frisk (pallet: Kindness)
6: Serif (pallet: Perseverance)
7: Lewis (pallet: Bravery)

(Color pallets by @askfriskandcompany )

First and Last
  • First Doctor
  • First words: “What are you doing here?”
  • Last words: “‘It’s all over’. That’s what you said. No, but it isn’t. It’s far from being all over. I must get back to the Tardis immediately! I must go now… I must go at once. [Ben passes a cloak to The Doctor] Ah yes, thank you. Keep warm.”
  • Second Doctor
  • First words: “Araagh, slower…slower! Concentrate on one thing…one thing!”
  • Last words: “Is this some sort of joke? No, I refuse to be treated in… What are you doing? No! Stop! You’re making me giddy! No! You can’t do this to me. No! No! No! No! No! No! No!”
  • Third Doctor
  • First words: “Shoes, must find my shoes. Unhand me, Madam!”
  • Last words: “A tear, Sarah Jane? No, don’t cry. While there’s life, there’s…”
  • Fourth Doctor
  • First words: “Typical Sontaran attitude…stop Linx… perverting the course of human history… I tell you, Brigadier - there’s nothing to worry about. The Brontosaurus is large and placid.”
  • Last words: “It’s the end… but the moment has been prepared for…”
  • Fifth Doctor
  • First words: “Ah, you’ve come to help me find the Zero Room. Welcome aboard. I’m The Doctor, or will be if this regeneration works out.”
  • Last words: “Going soon. It’s time to say goodbye. Might regenerate, I don’t know. Feels different this time. Adric?”
  • Sixth Doctor
  • First words: “You were expecting someone else?”
  • Last words: “Carrot juice, carrot juice, carrot juice…”
  • Seventh Doctor
  • First words: “No Mel! [wakes up] Myah… that was a nice nap… now down to business. I’m a bit worried about the temporal flicker in sector 13.”
  • Last words: “Got to stop him.”
  • Eighth Doctor
  • First words: “Who am I? WHO AM I?”
  • Last words: “Physician, heal myself."
  • Ninth Doctor
  • First words: “Run!”
  • Last words: “Rose, before I go I just want to tell you, you were fantastic. Absolutely fantastic. And d’you know what? So was I.”
  • Tenth Doctor (David Tennant)
  • First words: “Hello. OK, mmm. New teeth. That’s weird. So where was I? Oh that’s right… Barcelona.”
  • Last words: “I don’t want to go!”
  • Eleventh Doctor
  • First words: “Aaargh! Legs! I’ve still got legs. Good. Arms, hands, ooh fingers, lots of fingers. Ears, yes eyes, two, nose…I’ve had worse. Chin…blimey! Hair! I’m a girl! No! No, I’m not a girl… and still not ginger! There’s something else, something important, I’m…I’m…I’m… crashing! Haha! Woohoo! And… geronimo!”
  • Last words: “I will not forget one line of this. Not one day. I swear. I will always remember when the Doctor was me.”
  • Twelfth Doctor
  • Fisrt words: " Kindeys! I've got new kidneys! I don't like the color!"

anonymous asked:

Can you analyze the flying with mother score?

I absolutely adore “Flying With Mother.” This piece is a gorgeous work of art from start to finish, a glorious musical composition resplendent in color, orchestration, movement, form, and more. On top of this, John Powell creates an engaging score that interacts perfectly with what has been done on screen.

This analysis begins with theoretical music composition principles. I’ll explain it in such a way that anyone, regardless of music background, should understand it. In the second half of this analysis, I’ll relate to how the sound interacts with the events on screen. There is a lot of beautiful alignment between music and movie, and with the melodies symbolizing important themes within HTTYD 2.

The Musical Form of “Flying With Mother”

A lot of soundtrack music falls flat to me for various reasons. One of the first turn-offs for me is that much soundtrack music lacks strong form, a key element in well-composed pieces from pop tunes to Renaissance music and everywhere in between. A lot of movie music simply plays sounds that work well with the visuals on screen, but lacks structure and form when played apart from the visuals. It means it’s not very good music on its own. John Powell, however, understands how to integrate form into video, creating music that stands just as well on its own as it does accompanying movie events.

“Flying With Mother” contains a common musical form that has been used for centuries in a variety of styles, genres, and folk musics around the world. The form is, essentially, ABABA, with a brief introduction and brief conclusion.

For people who might not be familiar with this “ABABA” that I’m talking about, what I simply mean is this: there are two alternating melodies that play in “Flying With Mother.” What I am calling “A” is the “A Theme,” or the first melody. That means “B” is the “B Theme,” or the second melody that plays. So the music switches back and forth between two melodies, which provides simultaneously piqued listener interest when a theme is switched, but also a sense familiarity because it’s a tune that’s been heard before. It’s a good structure exactly because it contains both a sense of uniformity through repeating themes, but also interest through variation.

Thus we see in “Flying With Mother” the following basic road map:

  • 0:00-0:23 Introduction (A Theme)
  • 0:24-0:44 A Theme
  • 0:44-1:18 B Theme
  • 1:18-1:46 A Theme
  • 1:46-2:10 B Theme
  • 2:10-2:28 A Theme
  • 2:28-2:49 Conclusion

As you can see, Powell built an ABABA form with an opening and closing section. He didn’t just write random music, but chose a well-known structure by which to accompany the events on screen.

Proportion of Sections in the ABABA Form

Now in and of itself, it’s not too hard to write a song in ABABA structure. Sadly, lots of movie scores fail to do even this level of rudimentary structure. But you can imagine that it’s pretty simple for a composer to write two melodies, toggle between the two, and finish up a song that way. So while it’s cool that Powell does something that’s ABABA, that structure alone doesn’t make him a genius.

Rather, to write a well-structured piece, composers have to think about more than just something basic like ABABA. What is also very critical to a piece is the proportion of sections to one another. If you make an A section too long, a B section too short, or put the climax to the music at the wrong time, the piece feels off and audiences hear it. The most satisfying musical pieces not only have some structure like ABABA, but the proportion of each A and the proportion of each B is very carefully tweaked to create a maximum sense of build, flow, movement, growth, climax, and resolution.

And Powell does that. Check out my mapped timeline below:

Now that might be hard to read, so I’ll paste in the first and second halves below, too…

FIRST HALF OF “FLYING WITH MOTHER”

SECOND HALF OF “FLYING WITH MOTHER”

The numbers I’m giving are slightly off because there are a few seconds of silence at the end of the track, but this is more or less the timing through the entire piece.

Now one of the first things you might notice is that each color coordinated section has a pretty similar amount of time allotted to it. The A Themes are about the same length between each other, and the B Themes are about the same length between each other. The Introduction and Conclusion are about the same length of time, especially when we consider that the last few seconds of the track are silence (so my Conclusion section in the timeline might be slightly artificially extended).

I looked at this with simple mathematically calculations:

  • Introduction (A Theme) 13% of total piece 
  • A Theme 12% of total piece
  • B Theme 20% of total piece
  • A Theme 17% of total piece
  • B Theme 14% of total piece
  • A Theme 11% of total piece
  • Conclusion 14% of total piece

As you can see, most sections, A or B, are between 10-15% of the total piece. There is no one instant where one of the sections drags much proportionately longer than the others. That means the listeners will glide from one section of the piece to another without thinking that something is dragging or being rushed.

Even considering that the first time B section is 20% of the total piece length makes sense in the overall scheme of the music’s structure. We have just heard the A Theme twice in a row, once with the introduction, and then once after it. By the time the B Theme enters the ear for the first time, exactly 25% of “Flying With Mother” has been heard. Therefore, the 25%-20% proportion between the first two A Themes and then the B Theme is very aurally pleasing to the ear.

The proportions don’t stop there, though. Composers think very critically about the larger form of the piece, not just how each minute chunk works. In particular, composers overachingly want to make sure that one of two things usually happens:

  • There is a big moment 33% the way through the piece and 66% the way through the piece.
  • There are big moments 25%, 50%, and 75% the way through the piece.

In particular, composers want the climax of the piece to be about 66%-75% the way through the piece.

Why do we care about this? Well, it all hops to this idea of the Golden Ratio and human aesthetic. A properly balanced music composition is going to sound “natural” to the human ear, and if the proportions of the piece aren’t nicely balanced, then listeners might feel like something is “rushed,” “stretched,” or “off” about the music. If a composer can get these sorts of proportions I outlined above, then the music has a sense of movement and things happening. Listens can satisfactorily listen to the piece from start to end, so that by the time the last note plays, it just feels right. When the climax comes in the piece, it comes at a point that listeners feel is the exact right time for it to come.

Proportions are important anywhere. Ever read a book that has the climax in the wrong place and the ending feels rushed or dragged out? Music is the same way. Humans are attuned to the timing of the art.

What we see here, awesomely enough, is a perfectly balanced piece in “Flying With Mother.” The A Theme plays for the first 25% of the piece. Right when the 25% mark hits, we hear the B Theme for the first time - a huge aural shift in the piece, and the mark of a first “big moment.” Right about halfway through the piece, the A Theme returns. The volume increases from the quiet B section to the louder A section, but it’s not so loud and dramatic that listeners know the piece isn’t done yet. It’s at the 76% point that we hit the climax. Boom. Perfect sweet spot with the A Theme blasting its loudest and proudest for the last time.

Dynamics, Instrumentation, and Orchestration in “Flying With Mother”

I could scream forever about how well-composed this piece is. One thing that I find especially beautiful is the use of dynamics in this piece - that is, the ebb and flow of loudness and softness. I included it on my timeline, and if you’ll notice, there’s this constant sense of rise and fall in the long run of the piece. The music starts quietly with the bagpipe introduction, builds to a grand moment with the A Theme, slips into something quieter with the B theme, builds again, drops again, and then progresses into an enormous climax that is the loudest point in the piece.

Even from a more subtle and minute level, there is something cool about the rise and fall of dynamics. Every single time the music transitions to a new section (like, an A Theme to a B Theme), the music… builds. It gets louder, more instruments are added, there is a greater sense of movement and flurry… The musical instruments all rise up and grow to the next section, marking the next section really clearly to the listeners, and keeping listeners engaged as the piece flows and moves.

Another reason why the music is so engaging from start to finish is how the instruments are used in this piece. I absolutely love the colors. The combinations of instruments is very unique in many places, it has a lot of variety, but a lot of the same overall timbres are used so that there’s a sense that this is one piece. I will be talking about those later when I talk about how the music relates to what’s happening on screen.

The Symbolism of the Melodies

Now for people who aren’t interested in music composition theoretical blather alone, I’ll finally get to how the music relates to the film. Woohoo!

As mentioned before, there are two main melodies in “Flying With Mother.” John Powell selects each melody incredibly intentionally. HTTYD and HTTYD 2 are filled with melodies that symbolize different aspects of the film.

The first theme, the “A Theme,” is what is considered Toothless’ theme. John Powell spoke of writing a theme specifically for Toothless in HTTYD 2. The music also is, in a way, the Vigilante’s theme, and the music only becomes Toothless’ theme through time as he grows through the film and assumes his position as the alpha of dragons. What the music embodies is the sense of draconic greatness and protecting the dragon species. Valka starts with that protective element, but Toothless becomes the alpha of them all. This melody is no better suited for a moment than like “Flying With Mother,” and indeed this is the central melody of the track. Hiccup and Valka are flying through the skies, soaring on the backs of dragons, bonding over the incredibleness of this species.

The second melody is just as appropriate, and it paints a full symbolic picture of what is occurring in this “Flying With Mother” scene. The B Theme is a melody associated with Hiccup’s restlessness and uncertainty - it’s essentially the melody of Hiccup as a boy transitioning into a man. You hear the music played prominently, for instance, in “Together We Map the World,” when Hiccup is feeling so uncertain about his identity and future that he flies to a separate island to avoid Stoick’s proposal he become chief. Whenever Hiccup feels uncertain about who he is or who he shall become, this melody plays. The last time this melody plays, in fact, is when Stoick dies, symbolizing that Hiccup’s future and role has been decided for him.

So the symbolic tying of these two melodies together in “Flying With Mother” is huge. It’s a musical analysis in and of itself about what’s happening in this scene! On one hand, we have a theme that’s all about being a dragon protector. On the other hand, we have a theme that’s all about Hiccup unsure of what his identity should be. These two themes play over and over and over and over again through the entire track.

Hiccup indeed is at a critical point in his life. He has met his mother after twenty years. Before meeting Valka, Hiccup told Astrid, “I’m not my father, and I’ve never met my mother, so… what does that make me?” Now Hiccup is bonding with his mother, and he’s finding a puzzle piece for who not only she is, but who he himself is. That’s why the Hiccup-identity-centric B theme is just as important in its inclusion as the dragon-centric A theme.

In fact, right after “Flying With Mother” plays and the two Haddocks land, Valka tries to convince Hiccup to soar the skies with her, exploring the world, and locating every single dragon species. Her proposal for who Hiccup is is that of a dragon whisperer and vigilante like herself. “This gift we share, Hiccup… it bonds us,” she tells him. “This is who you are, son. Who we are. We will change the world for all dragons! We will make it a better, safer place!”

Toothless’ theme/the vigilante theme does suggest that Hiccup has stumbled into something critical. Much of his identity does relate to his relationship with dragons - Hiccup becomes the bridge between humans and dragons by the end of the film. However, this time he spends now with Valka in the skies is not the whole picture. Valka’s proposal that Hiccup fly the world with her, in fact, is the opposite of what Hiccup should responsibly do. Hiccup is downright excited by her proposal, but the fact we hear the B theme, that “Hiccup as an unformed boy” theme… suggests that we haven’t hit the right idea yet. Valka’s idea sounds tempting… but the music itself tells us that Hiccup hasn’t found who he is. He’s still in the process of self-discovery at this point, and as much as he enjoys spending time in the skies with his mother, it’s not the answer to the question he asked Astrid at the start of the film.

The combination of the dragon theme and the uncertainty theme, then, highlight Hiccup’s continued pursuit of understanding who he is as a dragon rider and more, he being simultaneously directed and distracted by his mother.

The Music and the Movie Coming Together

The last thing I need to talk about is how each part of the music aligns perfectly with what we see on screen. What happens musically corresponds perfectly in emotion, mood, and symbolism with what is happening visually.

0:00-0:23 Introduction (A Theme)

The piece opens with an engaging repeated rhythm and motive in the percussion. Glockenspiel tinkles on top of drums that are playing in patterns and timbres reminiscent of Scottish folk music. A greater sense of folk music is introduced with the pipes coming in, playing the main melody. The melody is tossed off to the flute, but the bagpipes continue to play, giving chordal support in the background. However, the music is pretty quiet, and at first it’s uncertain where it’s going to go.

Hiccup at this point himself is uncertain what his mother is planning to do. She flies him out above a body of water, whereas he expected that they were off to eat. Something does not add up to him, just as the music is clearly only in its initial, unformed stages. However, Valka has a plan, and it becomes evident when the Bewilderbeast launches out of the water. The music melody chosen, symbolically all about dragons, relates exactly to what Valka has in store: the dragons being fed by the great Bewilderbeast.

When the Bewilderbeast launches up, the music becomes more solid. The flute plays the melody, interestingly and awesomely enough, with a lot of embellishments akin to what would be heard in the folk style of that region. The orchestra begins to grow as the Bewilderbeast bursts higher and higher out of the water. Instruments are added, volume increases, and everything rises up to…

The Bewilderbeast spitting fish into the skies.

0:24-0:44 A Theme

Boom. The first big explosion of the melody, the A Theme, occurs here. Horns play the melody in the background behind a large choir. Halfway through the melody, upper brass instruments start playing rhythmic hits to accompany the singing choir.

The moment in turn is grand on screen. There are dragons diving everywhere. Fish rains out of the skies. Hiccup and Toothless divebomb to catch fish. It’s an incredible moment for Hiccup to experience and highlights the wonders of dragons - which the music, singing dramatically about dragons, details perfectly. This is a high-energy, adrenaline rushing moment, both aurally in the music and experientially for Hiccup!

At the same time, the music is also very bouncy and lighthearted. The choir sings with a sense of bounce rather than sweeping fluidity. There is a sense of joy and adventure on screen with the events, too. They’re flying around catching fish in the air, after all!

0:44-1:18

The music ebbs down into a new section, quieter, a second melodic theme. For the first time, strings are really sonically present. Violins and violas play offbeat accompaniments in the background, the oboes and clarinets give support and melodic movement, and the harp in the foreground plays the melody. The harp plays the melody! WOOHOO! This does not happen enough in music!

This is a downright cool moment of melodic/structural integration with movie visuals. I talked before about how the introduction of the B Theme comes exactly 25% the way through the melody, which is amazing structurally. There’s intention from a theoretical standpoint alone why this occurs in the music. But, at the same time, the introduction of the B Theme aligns EXACTLY with SO MANY important events happening on screen.

The first time the B melody is introduced in HTTYD 2 is when Hiccup draws a map on Itchy Armpit. The second on screen that Hiccup pulls out his map to show his mother, that same melody begins to play! The visual transition aligns with the musical transition, and the musical theme chosen evokes visuals that happened in the past… while also speaking to what is occurring symbolically with Hiccup’s life. This is a whole lot of deep information we receive without a single word spoken.

The music is a bit quieter because now Hiccup is talking to Valka, not flying with an adrenaline rush through the skies. Again, the highly-organized structure of turning the dynamics down fits perfectly with what is going on event-wise in the movie.

Exactly halfway through the first B Theme section, to keep the ear engaged, the cellos begin playing the melody, sweeping in. The violas continue the offbeats, creating a sense of constancy in the piece, while the violins begin to fly up and down in accompanying runs that provide a lot of flying energy, excitement, and flourish. The flute hops in - again, as it did once before at the end of the introduction - with high register violins on the melody, and then the brass leads into the big theme again with woodwinds flying. There is a sense of growth as we return to the A Theme.

Satisfyingly, this sweeping cello melody occurs at a switching point in the visuals, too. It’s when the events transition from Hiccup talking to his mother to Toothless interacting with the ice and Cloudjumper.

The music begins to rise again and get more dramatic. Just as there is a visual transition occurring on screen, the music enters a transition point, too. The music becomes more energetic and dramatic - as Hiccup and Valka rise in the skies and many dragons jump themselves off the edge of a cliff.

1:18-1:46 A Theme

Now the A Theme at the center of the piece is something I downright adore. It’s one of the most creative combinations of instruments that is heard in the entire HTTYD 2 soundtrack. The instruments that are playing are percussion, bass, and voice. It’s a unique combination, but with the way the bass pluckily dances, the triangle rings, and the melody bounces - it works so well. It creates this bounding sense of energy in a very distinct aural landscape. 

What’s so cool is this sense of aural bounce occurs while Valka herself is bounding from dragon to dragon. The way the choir trots from note to note fits in with Valka’s footsteps as she spins around, lightly stepping from one beast to another. Again, this theme is the one that centers on the meaning of dragons - and here what is important is the interaction between Valka and the many beasts she’s dancing between.

The music rises up again dynamically the exact moment Valka steps off Toothless’ wing. The B Theme returns, the new section, the exact moment she rises back on screen on the back of Cloudjumper. The music and the visuals transition as one.

1:46-2:10 B Theme

The second time the B Theme occurs, the music feels like it is soaring. It is where the harmonies are thickest and most resonant. It’s at the same time an ethereal sound, a soaring-quality, gloriously cloud-like, smooth and floating ambiance. Strings soar and voices hold brilliant chords. Everything is in the upper register of the instruments, with oboes and flutes in their upper range sweeping the melody.

This is the point in the movie, too, where Hiccup and Valka share that sense of awe and wonder of soaring through the skies. They’re no longer rushing about, but are flying side by side, talking about what it feels to be a dragon. They talk about how up here, they forget the cold… and feel… FREE. The music soars to that beautiful sense of freedom, peace, glory, and beauty of floating through the skies.

The melody playing is Hiccup’s uncertainty theme. This is a critical conversation he has with his mother, brief as it is. They connect over how incredible it is to fly through the skies and feel free on dragons. This is important especially since Hiccup has been feeling increasing burden about what his role in life should be. Here, in the skies, he can almost forget about that pressure and feel free instead. While Valka does later help Hiccup find his identity in HTTYD 2, we can admit here she’s being, somewhat, a distraction to Hiccup understanding who he is.

The conversation lull and musical calmness ends when Hiccup, with his dramatic flair, tells his mother that he can fly, launching himself off Toothless’ back. The music builds again at the same time Hiccup’s voice gains excitement and he dives off his dragon’s back. There is a brief pause in the music, about a second, where no instrument plays… and that is the moment where Hiccup is falling and Valka is staring, shocked and frightened, as her son plummets to the earth. It’s that skipped heart beat his mother must feel in the fearful surprise of the event. Everything is breathless - Valka, the audience, the music.

The second Hiccup opens up his flight suit flaps and begins to fly… the music bursts back at once, more dramatically and proudly than ever before.

2:10-2:28 A Theme

The music hits its climax. More instruments play than ever before in this track. The volume is at an all-time high. Everything is grand. The high strings are soaring as the main melody while brass hits dramatic rhythmic accompaniment - similar to what we’ve heard before, but at an all-time energy high. The choir holds out chords but sings with and around the melody, and there is a lot more of the bass register filled out in the lower brass and timpani. 

This is also the climax of the interaction between Valka and Hiccup in the skies. Hiccup has jumped out of the saddle and is now soaring with his own flight suit. It’s the ultimate dramatic experience and one that shocks Valka the most. Here Hiccup is, giddy and downright excited, showing off to his mother. Their bonding, their experiences… it’s all come to this incredible moment where they can relate and share with one another what they can do. There’s a sense of triumph as Hiccup can fly on his own, just like dragons can. The music reflects that, playing the dragon theme.

2:28-2:49 Conclusion

Of course, there are still a few things to tweak about the flight suit. The piece ends frenetically with everything devolving, instruments flurrying, melody breaking apart, and the instruments finally crashing. It’s that same chaos that is happening on screen as Hiccup and Toothless frantically try to save the young man from crashing into a rock formation. The music ends, comically with a single tinkle, the moment Hiccup bursts out of the snow screaming in excitement.

Everything about this piece is formed with beautiful intentionality, great thought, and a knowledge of art. John Powell integrates the melodies symbolically into what is occurring in the moment. Each theme plays at appropriate times within the movie events, and the combination of those two themes overarchingly provide analytic commentary for what is occurring between Hiccup and Valka. The orchestration of the piece is brilliantly composed, with lots of novel instrument combinations and unique colors. All the instruments are written for well with their strengths, and the manner in which the instruments play highlight the mood and emotions of the film. All of this comes together under a highly structured music composition that stands well on its own as a piece of art.

To say the least, this is one of my favorite tracks in the score for a reason! Or should I say… many reasons.

Jo Alone
- olivia willoughby

This may be one of the few (or first) times I’ve been able to put my emotions into art. It’s almost empowering, especially knowing that the feeling here has already passed.

woohoo-sasquatch  asked:

Do you ever feel weird about the fact that you're endorsing an aggressively shouty old white man over a woman? It's something I'm really struggling with, even though I fully support Bernie's political stances on most issues.

I would love for a woman to be President, but we have to remember that having a woman as a President doesn’t mean that we’ve overcome the barriers that the vast majority of women (especially women of color) will still face, just because one (highly privileged white) woman experiences a huge success. 

It’s important for women to be in positions of power, but we have to critically examine how that power is made to be used. The Presidency is a very institutionalized position of power. A President, any President, has a hugely influential platform from which to speak and advocate, but the real work of revolutionary change (whether against patriarchy or anything else) will always be done by ordinary people choosing to do things differently. 

9

As you all have probably guessed, I am back home after spending a fabulous birthday-themed getaway in Flagstaff, Arizona!

My former roommate and I spent the first evening running around downtown, enjoying all of the wonderful things fall brings (which unfortunately you can’t experience in the West Valley because it’s too hot) and then on the second day (today) we began our morning with a few-mile jog and then completed Flagstaff Extreme Adventure Course, which is an obstacle course that takes place up in the trees! Towards the end of the course (which took 3 hours to complete, mind you) we ended up 60ft high from the ground! 

It was a wonderful, amazing weekend, and my birthday was made all the better to return home and see all of the sweet messages and gifts you all sent me! Thank you to each and every one of you who made me feel so special this birthday :) It means so much to me!

P.S. @progressoftomorrow, there’s a special photo I took just for you