composite approach



Here’s ONE idea I had.
Of course, Soranort can not recall ANY of his dreams when he wakes up.

Only in his dreams, is he self aware, even if it’s mildly.

He is constantly taunted about how pathetic he is, how he was never anyone’s first choice. How they would easily toss him aside if someone better was available, he’s a spare.

He’s constantly being broken down, and threaten his loved one.

Changed the dialog from Handwritten to TEXT.
Thanks Charlie (I’m glad I now know the name of that text)

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okeedokees  asked:

I've just discovered you and I love your work! Would you mind sharing your approach to composition and thought process on it? Are there any artists you reference? Thank you!

Hey! you found me! Thanks!  

 I reference from photos for stuff I can’t visualize on my own, and artists like bouguereau, rockwell, leyendecker, mucha for mind fuel


Whenever I do a piece, the objective I have in mind is to not get bored, because once I lose interest, I lose the piece.

So for me, the composition has to be distinct enough to avoid echoing an early piece, and to immediately be recognized due to its layout. It’s gotta be new for me, and new things are fun and exciting, right? (yes they are) 

I think about the subject, the action, the actual format (whether it’s allegorical, objective, subjective, i.e. is it a symbolization, a certain scene, would you find it in real life? I tend to avoid the latter, because I find it dull and uninteresting and I hhhhhhhate that) I place priority on the human form, it’s versatile and expressive more than anything else, in my opinion. 

Here’s an example. Normally I don’t post my sketches since they’re just glorified chicken scratch, but this is the best example I could think of at the moment. It’s St. George (for my series sanctus), and normally, you’d see him like this 

(Saint George and the Dragon by gustave moreau, 1889-1890 )


(Saint George and the Dragon by raphael, 1504-1506) 


It’s a pretty common depiction, since it goes back to medieval times. The similarities are that he’s on a horse, he has a spear/lance, there’s a dragon, and he’s attacking it.

The big picture (haha pun) is that I wanted to also have my subject be st george (side note, it’s kind of the theme of the series), but different enough from past artworks where I’d know it wasn’t enormously reminiscent of the traditional depiction. So I aim to keep the basic idea, and see what goes on from there. 

This is the first sketch I did, it was okay, I knew I’d never drawn anything like that, which is good, but composition was lacking. I wasn’t so hot about this, so I dropped it. I kinda like it so I might revisit it .  Additionally, though, it strayed a little too far from the main idea. 

Above was the second sketch, after I’d finished roughing it out, I knew immediately it wouldn’t do. I was satisfied for about 2 seconds, then I got disappointed and stayed that way.. If I put it side by side with the other million or so paintings of st george, I doubt I could tell it was mine. It was practically the same: horse, lance, dragon. The action was too similar to other portrayals.  


It’s not as similar as the previous one was, but I didn’t like it. That’s a good indicator too, whether you like it or not. I’d tried to fuse the first and second sketch because I did like the first one somewhat, but it didn’t really work for me. It’s just so awkward … 

So I left the piece for a while, and came back and did this. It was different, simpler (which can improve a piece more often than not), and I liked it. After I did most of the sketch, I said great job u idiot it only took you a week to come up with a sketch the hell is wrong with u, went to bed, and woke up happy, and normally it doesn’t take me 3 actual sketches or something to come up with a good piece, and I was getting pretty fed up before the last sketch, but good thing I didn’t give up (this time. hah) This is basically how I go about my pieces for now.

tl;dr Don’t give up! (haha I lied, go back and read)

mini-mel  asked:

I enjoy drawing, and I’ve been drawing for a long time but I still haven’t found my art style sadly :’) do you have any pointers on how to find an art style .Also love your art style and it’s just wonderful ✨

thank you so much !!  

so this is gonna be kind of a weird… philosophical answer… disclaimer: this is just my own opinion based on my personal “artistic journey” or whatever, so this may not be helpful for everyone.

in any case– IMO focusing too much on stylization is an abyss a lot of artists end up falling into, including myself. but at some point, i stopped caring about about my supposed “art style.” i just wanted to make good art and tell stories with it; i wanted for my characters and environments to be drawn properly and look natural– and that’s still my process now. i don’t see myself as having a unique style (i can’t even answer what parts of my “style” stand out in particular), because i think art styles are tools for us rather than our identities.

you can use a different “style” (i.e. a style that focuses on hard, graphic lines, or a style that exaggerates proportions, or a style that really gets into detailed and delicate linework) depending on what effect you’re trying to achieve. 

there’s no CORRECT style, of course, for any given prompt/situation, so that’s just where our own artistic sense comes in. i wasted a lot of time in high school and most of college trying to find the Perfect way to draw a face for my characters, and i was never happy with it because even if the face looked good, i couldn’t make the work i wanted to make because i lacked the technical abilities for it, since i spent so much effort honing something that didn’t need that much attention. 

overall my point is- work on your skills! and figure out WHY you’re making the work you make. are you coming up with a comic, creating concept art, drawing out storyboards, etc.? you’ll develop an artistic sense, which may manifest in but are not limited to: the way you approach compositions, or how you break up a comic page into panels, or the sort of color palettes you lean towards. that sense speaks to other people and then it’ll be seen as your “style”

Introducing Graywater for Android

Introducing Graywater, Tumblr’s framework for decomposing complex items in a RecyclerView list in order to improve scroll performance, reduce memory usage, and lay a foundation for a more composition-oriented approach to building lists. With Graywater, the app now scrolls faster and crashes less often, and it also gives us a solid foundation for building new features faster and better than before.

On screens that display posts, such as the dashboard, the Tumblr Android app customizes one adapter across multiple screens. This approach results in a complex adapter, and over time, our previous solution became difficult to manage and hard to reason about since there was no consistent place for screen-specific behavior.

Furthermore, each post type had its own layout and viewholder, which meant that once a user encountered a post type they hadn’t seen on that screen before, the entire post had to go through the inflate, layout, and draw process. Once offscreen, the post would take up large chunk of memory in the RecyclerView pool.

Graywater solves this by rendering only the parts of a post that are visible and reusing the parts of a post that appear in other posts, such as the header and footer. By breaking up a large post into smaller components, the UI thread has to do less on each scroll. Even though there are more view types, each individual view type is smaller, so memory usage is lower.

For example, a photoset post may be composed of ten photos, one after another. In the previous architecture, a photoset layout with headers and footers would be inflated and the photo views added in afterwards. If the viewholder is recycled and the next photoset post only has one photo, the extra photo views are discarded. With Graywater, each individual photo view is recycled separately, which allows RecyclerView to reuse the photo views that appeared earlier in the photoset.

This idea is based off of Facebook’s post on a faster news feed and Components for Android, which have been open-sourced as Litho.

Graywater differs from other RecyclerView libraries by being small (a single file!) and flexible enough to work within your model architecture. For libraries like Epoxy and Groupie to accomplish sub-item recycling, complex items like posts need to be decomposed into smaller viewmodels beforehand. For Litho to flatten view hierarchies and perform fine-grained recycling, existing XML layouts need to be converted to layout specs.

By converting to Graywater, we’ve been able to reduce OutOfMemory errors by 90% and dramatically improve scroll performance. It is now much easier to add new item types that are composed of preexisting post components. We have also migrated screen-specific logic to the screen itself by injecting the customized component into the adapter. By open-sourcing Graywater, we’re hoping the Android community will achieve similar performance and architecture gains, and we’re excited to hear what the community builds next!

- @dreamynomad

King Crimson members: Bill Bruford

Really there were very few groups that I’d wanted to have joined. King Crimson’s my spiritual home. Robert’s always had a great big pair of open ears for drums and drummers. I think I’ve always seen King Crimson as one of the very few so-called rock outfits that could begin to accommodate my particular small vision of what it is that drummers can do. Not many other outfits can do that. I mean they have other agendas; they might want songs that are played extremely well or they might be following some other guy’s compositional approach or something, but King Crimson is, or was, and may remain, a nominal democracy, which is the way I grew up - where you could bring whatever you had to the table and negotiate with others and see if you could make it work in a group format.”

From SYFY Wire’s article about Neal Adams!

The Brave and the Bold #93 (1971)

The thing about covers that’s relatively important to remember is that it doesn’t matter how good an artist you are, if you don’t have good ideas, the covers don’t stand out. And not to criticize Boris Vallejo, but once you see two or three Boris Vallejo covers, you’ve pretty much seen them all, they’re the same or similar compositions. These things are memorable because of the difference in the compositions and the approach to what’s going on. And because we were working with such bad technology, certain things have to be forgiven. Like that brown door, it was never separated like that, it was done in a gray and it was indicated for a brown but it was never meant to be that dark and that red, because there’s metal stays on here. But we were at the behest of the technology, so we tried overt concepts that you couldn’t miss, like the light hitting the kid, even though there’s no light hitting the kid, the white hand beckoning Batman. These simple graphic images tell enough of a story that you would forgive the technology. And nobody ever criticized the technology because all they wanted was the idea.

Dancers Bending Down (also known as The Ballerinas) (1885). Edgar Degas (French, 1834-1917). Pastel.

Like many of the Impressionists, Degas was significantly influenced by Japanese prints, which suggested novel approaches to composition. The prints had bold linear designs, as with this work, and a sense of flatness that was very different from the traditional Western picture with its perspective view of the world.


So I decided to delete the last 2 posts and post something a little more organized along with compositional call-outs and the final image.

Step 1: Rough Thumbnail Sketch
Probably the most important step in the whole process. Here is where the foundation of the whole image is created. If this step doesn’t work no amount of cool rendering will fix it. There is room however to make adjustments later on in the process, but you will need to start with something compositionally strong first. I illustrated 3 basic compositional tools above that help set up an interesting composition. 

- Large, Medium, and Small shapes create variety and interest. We like and are attracted to variation. I illustrated this with colored circles over my painting. In all your designs, including characters, try to incorporate a large shape, a medium shape, and  a small shape. At least one of each.

- The Rule of Thirds is a tried a true method of creating an interesting balanced compositions.  It is used heavily in all forms of image making.

Directing the Eye: All of the elements in your painting must be used to direct or corral the eye towards your focal point. My focal point was the dragons egg. Every shape or group of shapes points or directs my the eye towards that dragons egg. You can even use elements of your painting to block the eye from wondering away from what you want to say. Like that piece of seaweed I used on the far right of the image. I’m telling your eye, “ No, not that way. Look over there.”
There are A LOT  of different ways to approach composition. This is just one way. Hans Bachers: DreamWorlds book is a great resource for more details on composition. Check it out! Super informative book. I won’t go into more details about how or why I used them but I thought I would give you an example of how they can be used and were used in this image.

Step 2: Value/Color study and Flat Color block in 

Once I have a composition I like I begin by blocking in solid colors for each element of the painting. No rendering or cool texture at this point. Just flats. This helps me to control the colors and shapes to be set up for a more graphic approach.

Step 3: Clarifying Silhouettes
The silhouettes should be pretty clear after step 2, but just incase they are not I take extra care at this point to make sure nothing is difficult to read or confusing. If you start with good silhouettes you can always soften or strengthen their contrast later when we start using lighting to direct the eye.

Step 4: Lighting
I don’t do much traditional rendering in paintings like this but this would be the point where I would begin defining the light side and shadow side of an image. For this painting I wanted to maintain most of my graphic shapes and only do minimal rendering. I was able to do this by breaking up the graphic shapes into lighter or darker colors. The dragons for example have a lighter underbelly and darker backs. This along with the line work is enough to give it form. Lighting in this painting was mainly accomplished through the shapes silhouette and subtle tonal gradations. I used flat graphic shapes that are lighter towards the light source and darker as they move away from the light to provide the depth making sure to separate the foreground, mid-ground and background with different tonal values. This was enough to give us our lighting.

Step 5: Texture and details
This step is basically about giving each element a subtle patterning to give it another lever of sophistication and life to the image.

That’s about it. After the composition is set up I just bounce around the image making small or large adjustments to shapes and adding or removing light,  that ultimately helps lead the eye towards my focal point, the dragon egg.

Saurian Devlog #37

   Hey everyone!

   This week we have a smattering of news from several fronts–starting with an art book update from our own wonderful paleoartist Chris Masna!

Chris M.

   Long time since my last DevLog entry, eh? Anyway, I continue working (hard, very hard) on the art book thingy. I can tell you that putting together a book takes much, much more time than I initially thought. Not to mention that many of the drawings I did -those originally intended for development purposes, not the published ones- had to be retouched or completely changed since then. But hey, I learned a lot about plant reproduction! 

   Overall, the first chapters are more or less done, and right now I’m starting to deal with the thick Fauna section. Unfortunately, I can’t give you a time estimate on this, but once all that is done, it’ll be time for Tom to revise it and polish up the text he wrote, and for me to work on the so-called graphic design bit. You know–type, sections colours and all that boring stuff that will turn this pile of art and information into a proper book.

External image


   One feature that we’ve wanted to take a stab at since pre-release (and which we’ve seen many of you request since) is more fine-grained control over your character when attempting to bite things – both living and dead. Well, good things come for those who wait, and today we’re revealing aim mode! 

   Aim mode is a new camera / character controller mode where you will get a much tighter view from your dinosaur’s perspective, and be given much more control of where your dinosaur is pointing its head. In addition to providing a more immersive perspective, skillful players will potentially be able to use this to become more effective in combat by targeting sensitive areas (such as the neck). Don’t worry if you don’t think it’ll be your cup of tea, though – functionality in the default camera/controller mode will remain completely viable. With that said, here’s the video footage you probably skimmed this paragraph looking for! 


   Progress on the soundtrack has been going very well and I can safely say I wrapped up all the daytime exploration music! Yay! Not only are these ready for Vol. II of the soundtrack but I’ve also finished the dynamic version of them to be included in the final release of the game, where each instrument on any given track will randomize itself, creating countless combinations on just a single song and keeping things varied and different every time you listen to them.

   I’ve also started working again on more combat tracks that have a lot of distortion. Distortion is cool. For these, I’m approaching them through a different lens, using different techniques, instruments and composition approaches but still trying to retain that Saurian feel to them. It’s a good challenge for me where I’m constantly learning new things, keeping things fresh and exciting. A lot of guitar pedals, tape recorders and tape delays are involved, so it makes everything sound fancier. Here’s a combat track I just finished with Henry playing all the string stuff!

That’s all for this week. See you next time!

Pros and cons of functional programming

This article is the translation based on the original material by Irina Linnik. We decided that these thoughts and considerations she wrote about can be quite useful for our English-speaking audience. Here we will tell you basic pros and cons of functional programming and show why you should c…

anonymous asked:

Hi Bri!! First of all your art is so incredible, it really inspires me!! Second I was wondering, since you have pieces that with just 3 images has a whole story behind, do you have any tips or book recommendations for visual story telling?? Thank you from now on, have an incredible day!✨🌸

hello! thank you sooo very much! it warms my heart to hear that ❤️ as for visual storytelling, it is honestly one of my biggest struggles with art so i hope you don’t mind if i mostly defer to other sources, i’m still learnin too!!

id say the first part of storytelling is of course, writing. simplifying story structure can really help. this is the most basic story you could possibly write, and this elaborates on it somewhat, but this is sort of the most thorough and easy to understand way of storytelling for me. someone recommended this book in a class i was in and said they bought it then didn’t read it for a while, and in predictable fashion, i bought it and so far have not read it. but it’s probably good.

the second part i think about when i approach visual storytelling iiiiiiis…composition! which is a whoooole other monster i won’t get into, so i’m just going to dump a bunch of resources. this book is a great book for multiple reasons, but the way hans bacher approaches composition theory is easy to understand, simple, and effective (my fav). this article has tons of great tips on composition, character acting, and camera angles. this youtube channel is a favorite of mine, and covers everything from composition to storytelling to comedic timing in film and beyoooond. all his videos are great, but his analysis of the quadrant system in Drive is a good starting point. understanding film language can be hugely beneficial to visual storytelling in illustration, there’s so much to learn, but here’s a good introduction for you.

the third part is kind of an amalgamation of a lot of small stuff, but the bottom line is emotional connection. this deals with everything from character acting to emotional engagement with the viewer. it’s a lot of stuff to talk about, this ted talk explains it better than i ever could.

there are tried and true methods of telling a story, and they’re worth learning and being fluent in. but there is no right or wrong way to tell a story (or to make art in general), there are only effective and ineffective ways. the 3 part stories i’ve been posting have been sort of experimental, and the most interesting thing i’ve found is this: let your viewer tell their own story. i read the tags of those posts and people are literally writing their own stories based on their interpretation. people can’t make interpretations if you give them the whole story, so leave things out, leave things up to the imagination and your audience will go wild filling in the blanks. a great example of this in recent times is the movie It Follows, which i really enjoyed (for multiple reasons), but particularly because it can be interpreted a ton of different ways and it is intentionally written to not have a right answer. it has just enough clues to allow the audience to draw their own conclusions. another example that comes to mind is the end of inception.

visual storytelling is such a huge subject with tons of information to absorb and things to learn, this is barely the tip of the iceberg but thaaaaaaaaaat’s all i got for ya! hope some of it was helpful! thanks for the ask, and i hope ur day was very great too 👍