designer in focus


the thing I was most looking forward to from Ciao Fes was getting the first look at the new pripara 3ds game, Yume All-Star Live!! it seems like they’re being very strict about not allowing photographs of the game, but of course some people managed to sneak some… here’s what I’ve found out!

  • the UI looks exactly the same as the last two games!! (…..)
  • they’re keeping the design system where you are able to mix-and-match parts of different coords! wings + tails/bows are also still a thing.
  • the coords you design are not cyalumes.
  • no news on whether you’re able to use game coords (Pricolle) or not… the demo’s intro seems to indicate design is the main focus though, which doesn’t sound promising for Pricolle….
  • the design parts on the demo version are for the Dolly Tulle coord and the Sexy Flare coord, and the song is Tick-Tock Magical Idol Time.
  • you’re able to get Super Idol Time, just like you could get Kami Challenge in the last game!
  • there will be a Danpri mode, where you can play as WITH members!
  • the package edition comes with the bonus Yume All-Star coord:


Okay, considering I have an entire inspirational folder dedicated to pictures of this on my computer I might as well make a post about how much I love ONE’s monster designs.

I know the focus is usually on his sillier or more comical ones, but when he brings the creepy  - he really brings it.

I mean, look at this

They’re just


freaking intense 

Like, his monster designs are one of my most favourite things, and I just want to bring more attention to how great they are. Because I don’t think he gets enough attention for how absolutely awesome his monster designs are.

anonymous asked:

Are you alright? Lately it's seems like you're under a lot of pressure and stress, and I just hope there's some good in your life and that you're okay and taking care of yourself

It’s been pretty rough, that’s true. Right now I am leading a really unhealthy, stressful life. I don’t sleep enough, I don’t eat enough (I don’t even have real comfort food anymore. And that’s super shitty) and I don’t relax enough. But I think it’s getting better now. I try to take some time just for myself and do stuff I really enjoy. Without pressure and stress. It’s hard, because for some reason I end up stressing about everything, but then I remind myself that I don’t have to be stressed when I’m playing video games and that it’s okay if some things don’t work out for the first few times. 

I need to learn how to enjoy things like drawing again. I see myself only drawing for the sake of others lately and it frustrates me. I just hope after this semester it gets better. After that I can choose my major and then I go to illustration and I can finally do what I want. Bye bye product design!

anonymous asked:

I'm sad you finished the Bokuroo week, you draw them so rarely now and I just miss my boys so much

anon please don’t try to guilt trip me into drawing more bokuro that’s kinda very rude I realize no one really reads tags so I’m gonna just say it here again - as I mentioned before, this period is really damn busy for me because for whatever reason all my fandoms and ships have decided to hold their ship weeks all together in the span of 20 days and I’m a sucker for this kind of events which means I wanna participate in everything and end up being unable to put actual effort in everything else for a while

THAT SAID how productive I am with a specific ship depends a lot on how much they’re appearing in the main story (currently in the bokuros’ case it’s a very pretty round zero), how responsive/respectful the fandom is when I do post about them (the bokuro fandom is amazing!!! Everyone around it that still keeps on trying to make it about other ships and turn my art into something it’s not supposed to be, not so much) and how much content for said ship I can consume through the fandom/how easily accessible it is (there’s very little content for bokuro in general and try and look for stuff in the tags it’s all about other ships/ot3s or ot4s/unrequited or past-relationship/tagged-but-only-as-brotp)

I really, really, really love that ship a whole damn lot still, trust me, but when I have so little inspiration coming from anything that could give it to me and at the same time I got other ships making me super creative, I’m naturally bound to produce less for it. I’m not abandoning it, I’m just asking you to be patient when my creativity doesn’t happen to be focused on them for a while

The Lost Legacy of Doom’s Hitscan Enemies

I’m dancing. My feet follow no pattern and make no sound as I glide effortlessly over the terrain, but the rhythm of the Super Shotgun guides my every move. I weave to and fro among the soaring fireballs and scything claws, spotting opportunities, darting near and far, catching hellspawn in efficient point-blank bursts of scattershot. Boom, click, ker-chunk. Boom, click, ker-chunk. Boom, click, ker-chunk. Somewhere in the back of my head, I’m dimly aware of the familiar noise of a pneumatic door sliding open, barely audible above a tinny MIDI rendition of ‘Fear Of The Dark’. It’s catchier than you’d think.

Somebody roars. I’ve heard the sound enough times to recognise it as a ‘somebody’. Startled, I pivot to catch sight of the new assailants: two heavyset bald men, cradling imposingly large guns, furious piggy eyes as red as their bulky chestplates. Chaingunners. Before I can close the distance, they open fire, tearing an abundance of new holes in my circle-strafing, road-running backside. I put them out of action, but the damage is done. Was that a fair exchange? It’s not as if I could’ve outpaced their shots. Are they a fun enemy design in this, the most famous of all famously fast-paced first-person shooter? My kneejerk response is ‘no’, but Doom—because of course, it’s Doom—is a lot smarter than it seems.

Few games can claim to have lived as long and as healthily as Doom. Of course, it’s had the unwavering support of a community on its side, constantly tweaking and touching-up and doing everything in their power to stop the wrinkles under its eyes from showing, but its simple formula and flexible combat were always going to hold up well against the test of time. Doom has influenced the design of the modern first-person shooter in more ways than I could possibly articulate, with a little bit of DNA in everything from ARMA to Ziggurat, and yet… I feel there are one or two lessons from it that never quite caught on.

See, the concept of the ‘old-school’ first-person shooter, while not especially formally defined, is very much a thing. We’ve seen bits of it in the likes of Painkiller, Strafe, Tower of Guns, Dusk, Desync, Devil Daggers, and yes, even Doom 2016: games that buck dominant design patterns to focus on swift, streamlined, evasive movement, and a host of enemies that force you to make the most of that movement. Out of style, but by no means out of their depth, these games take after Doom more than most, but no matter how much they borrow from it, there’s one particular feature that many seem to skirt around. Something regarded almost with a kind of hushed, ‘we don’t talk about that’ shame, like the uncle at the family get-together who isn’t allowed to leave the country for reasons that nobody’s quite sure of. Hitscan enemies, a regular staple of Doom’s encounters, have near-vanished from the contemporary games that bear closest resemblance to it. What happened?

Well, at a glance, they do seem to clash with the desired experience. Doomguy can outrun a lot of things—many of which need at least fifty supervised hours logged before you can operate them independently—but he cannot outrun bullets, nor buckshot. You can’t dodge a hitscan enemy’s attacks by just going fast; the nature of Doom means that they take no time to pivot and have impeccable aim, other than the inherent spread patterns of their weapons. Your only recourse, it would seem, is to get out of range—a bit of a tall order, in most scenarios—or to take cover, which sounds like it would go directly against the fast, exciting experience of running around with the wind in your hair and a rocket launcher under your arm. ‘Cover’ is a dirty word; one that brings to mind hunkering behind a chest-high wall, plinking away at a succession of targets and crawling out only when a grenade gets tossed into your lap. To be in cover implies one is at rest, without any of the spatial analysis, fast-paced action or thrilling escapes that characterise the rest of the combat. You can see this stigma manifest frequently in retro first-person shooters, which often come hand-in-hand with the attitude that cover is for babies, and charging blindly into battle with your enormous, impenetrable testicles hanging out on display is the only acceptable combat strategy for ‘real men’. You could probably write a hefty tome about how unhealthy pulp action-hero masculinity has seeped through various layers of media and eventually pooled, like a discarded half-finished McDonalds’ thickshake, in nooks and crannies of gaming obscurity, but that’s a discussion for another time.

The thing is, Doom itself doesn’t actually work that way. In fact, it does a number of things to ensure that hitscan enemies don’t stifle the player’s movement, but instead add an extra set of considerations and trade-offs, forcing them to look at the play space—and when and where they position themselves in it—in a more nuanced manner. Like most of the ingredients that go into a first-person shooter, the way Doom’s hitscan enemies work is subject to its encounter design—a surprisingly diverse field, as custom WADs frequently demonstrate—but there are a few qualities to them you can count on in every sensible encounter.

Let’s break this down, piece by piece. Of the five enemy types in the first two Doom games with hitscan attacks, the three most common ones by a large margin are the ‘former humans’: undead soldiers who utilise conventional firearms—provided your definition of ‘conventional’ extends to a portable belt-fed chain gun, I suppose—and have all the durability of a cardboard cutout of Master Chief that somebody left out in the rain overnight. Upon noticing the player, they give a suitably enraged bellow and enter their attack routine: move, pause, shoot (if possible), repeat.

This pattern gives us time. Like a fireball whistling through the air, it gives us a chance to handle our predicament by reacting and moving quickly. It only takes an undead sergeant a few tenths of a second to level his shotgun barrel at yougive or take a bit of bumbling around, as they are wont to do—but in the world of Doom, it’s enough to at least start on a decisive manoeuvre. Doomguy runs quickly enough that you can very likely put something between yourself and your foe before they fire—it doesn’t even have to be a wall; other monsters serve perfectly well—and since the poor daft AI has no concept of suppressing fire, you need only be behind it for the split-second it takes them to return to their ‘move’ state. Consequentially, cover is less about clinging to the warm, comforting bosom of a solid wall and more about rapidly, momentarily repositioning yourself when the situation demands it; diving around corners, circling pillars, making use of the nearest solid thing in a pinch and immediately darting back out again. Taking cover is every bit as much about clever, well-timed movement as circle-strafing a pack of imps, and to be honest, probably demands far more split-second decision-making.

Another quality that’s critical to the success of the former humans is their relative squishiness: you can usually count on a single shotgun blast to put one out of action, and even glancing shots are likely to interrupt their routines long enough to buy some extra breathing room. A crowd can be swiftly dealt with by just raking a chain gun across their ranks—conveniently, the exact weapon dropped by the strongest former human, the Chaingunner—and pointing anything bigger at them is usually outright wasteful. This is key because it means that they’re only a very short-term threat—or, in larger battles where they’re mixed up with other enemies, only a threat for as long as you ignore them. Ducking behind a pillar once to evade a sergeant’s buckshot is a rush, but having to go through the same motion two or three times is stagnation. By letting you remove the former humans from the fight almost as quickly as they appear, Doom lets you quickly lift the restrictions they impose and expand the space where you can freely move, ensuring you’re never tied to one piece of cover or trapped in some godforsaken alcove.

But not every hitscan enemy in Doom goes down so easily, does it, hmm? I’m going to gently refuse to acknowledge the Spider Mastermind—a rare, highly-situational boss that squats unpleasantly at the end of the first game like a cane toad under the wheels of your dad’s Hilux—and instead concentrate on the notorious Arch-vile, whose pale, emaciated, lanky form is enough to set off half a dozen panic alarms in any Martian marine’s head. It’s everything the former humans aren’t: fast, durable, and capable of suddenly blasting half your health clean off from the far side of a munitions bay—to say nothing of its ability to revive fallen monsters, unravelling your work more and more the longer you leave it standing. Crucially, however, while the Arch-vile makes for a more persistent and punishing threat than the former humans, it also gives us much more time to work with. It takes about three full seconds of dramatic posing for an Arch-vile to wind up its hitscan attack—a pillar of infernal fire that explodes around its target—and once again, you are only required to actually duck behind something for the split-second when the attack connects to avoid taking damage. 

Consequentially, while our vitamin D-deficient friend does rather firmly, briefly force players into hiding, it also affords us the opportunity to stretch our legs and take nontrivial actions in between its attacks, giving it a distinctly different effect to Doom’s other hitscan enemies. Between every Arch-vile’s attack, there’s time enough to dart around the immediate area, change cover, take care of some lesser enemies, or—most likely—run up to it and empty both barrels into its repulsive mug. At an abstract level, the Arch-vile clamps down on the player by forcing them to be out of certain zones at certain times, but doesn’t make those zones inherently damaging to cross, like a crowd of former humans does.

Putting everything back together, Doom’s hitscan enemies are designed not to eliminate movement, but to carefully squeeze it; to force the player to take action, moving along vectors towards positions of safety. Restrictions on where in the combat space you can safely be are what make Doom’s fights engaging, and the restrictions that hitscan enemies provide are every bit as important to your positioning as a Revenant’s homing rocket or an Imp’s tossed fireball—they just take a different approach. Yet they’re also designed to ensure you’re never required to linger at your destination a moment longer than necessary, either by being easy to remove from the battlefield, or by only periodically applying their particular brand of pressure. Like every enemy in the game’s toolbox, they can be abused and used outside of their ideal roles—take a peek at The Plutonia Experiment, half of Final Doom, for some truly breathtakingly rude Chaingunner placement—but their basic principles are every bit as valuable as their peers.

Doom will force you to move, but it will never force you to stay. And that’s the philosophy that every first-person shooter should be built on, really.


K so i had time today and i had my own ideas for Yansim, i also had this uniform design for a while so why not:

  • now the idea behind Ayanos design was to have the simple average highschool girl, but making her look slightly off. Ayano is mostly just pure black, she also does not wear a tie or ribbon that would contrast her uniform for that reason. The hearts in her eyes are more of my own style choice but also show that her empty colourless life gets a little bit more lively upon seeing Senpai
  • I also decided to doodle a normal Student and a Rival to show the differences between them all (in this case best Girl Osana and Midori i wanted to draw her too)

  • Now the normal Students don’t have much personality in their Design, they aren’t the focus, but they can still vary in colours of stockings, ties/ribbon and panties.

  • And the Rivals they stand out a bit more of course, in this case i decided to give Osana more cat-like looking features (Her scrunchies are drawn sharper, to look like cat ears and her Ribbon resembles a cute cat face) because Tsunderes are basically like Cats and it shows her cute side that definetly loves cats (she does have this cat thing hanging on her phone, and what tsundere hates cats that never happened
This was just for fun and practice, i like simple character designs that show off the personalities and ideas of a character a little, so i would appreaciate feedback, maybe i continue this with the other important characters, it was nice for sure and i hope this helps me improve with what i want to do

My biggest fashion struggle is my love of menswear type fashion colliding with my love of showing off what figure I do have. I have a hoarded collection of women’s button ups that aren’t either formless or cut weird with open collars and half-sleeves ans buttons that only go halfway down (why this????!)

I want waistcoats and tuxes that are tailored for curves dangit and a “menswear inspired” ladies section that isn’t all pastels and baggy cardigans worn with pale pink saddle shoes. (Don’t get me wrong, it’s a very cute look. Just not the look I want.)

Basically. I would like a retail version of Janelle Monae’s wardrobe please

you can love things and still criticize their shortcomings (especially in regards to racism, sexism, homophobia, transphobia, fat-shaming, ableism, etc.)

Lopapeysa – the significance of patterns in the Icelandic sweater: introduction

So I promised a while back that I would publish my BA thesis about Icelandic sweaters for you guys – here’s the first part! I made my thesis about sweater patterns, even though I’m actually studying graphic design, so the main focus of the thesis is on the designs on the sweaters. I decided to publish them in parts, chapter by chapter, so that it wouldn’t be one big chunk to read. I’ll tag the parts with a tag lopapeysa thesis so it’s easy to follow the parts. This is the introduction part, and later on I’ll go deeper into the history and future of the sweater. If you have any questions or opinions on the way, feel free to send an ask, start a conversation in the reply box or reblog with your comments! :) 


Like in other Nordic countries, children in Finland learn to knit in elementary school. Like many other kids, I also made my first socks when I was about 10 years old – they were horrible and I hated every moment of making them. The Finnish school system failed to inspire me to continue knitting in my free time, but since those days, I have rediscovered knitting on my own. I made my first “Icelandic sweater” in 2013 from Finnish wool (Figure 1) and got closer to my passion when I moved to Reykjavik in the fall of 2015. As an avid knitter and a graphic design student living in Reykjavík, it was only natural that I would be drawn to the graphic patterns of the Icelandic sweater, lopapeysa. Ever since I came to Iceland, I must have knitted countless of socks and mittens and a dozen sweaters from different Icelandic wool-types and gone through a variety of patterns and techniques. In my opinion as a knitter, knitting the pattern on the yoke is the best part in making the sweater – it is at the same time very repetitive and easy to follow, but at times challenging and exciting to work with. This lead me to examine the work that goes into designing the patterns and how they have formed over the years.

Figure 1: My first Icelandic sweater, “Dalur” from the book “Knitting with Icelandic wool”.

When I first got introduced to the Icelandic sweaters, I thought the graphic patterns in the yoke were the defining factor – but are there other factors that are more important? In this thesis, I will try to find out what really is the signifigance of the patterns in the Icelandic sweater and how have the patterns developed over the years. Where do the patterns draw inspiration from? How are they designed and who designs them? Have the patterns changed with the current trends and fashion?

To find answers to these questions, I will have to start from the beginning: the material of the sweaters. I will go through a brief introduction of the materials and techniques used to make the sweaters by researching pattern books and publications about yarn production. Following the history of the material, I will take a look at how the knitting traditions of the surrounding nations have influenced the patterns, and how much of Iceland’s own tradition is truly included in the pattern designs. As a graphic designer, the design process that goes into making the patterns is of particular interest to me: what restrictions does the sweater’s shape and material bring to the designer, and on the other hand, what possibilities does it offer? In a world of blogs and social media platforms, anyone can be a designer; this is why I will also see how has the internet affected the rise of Icelandic sweater’s popularity amongst knitters and how do people share their designs? Finally, I will take a look at how the patterns have morphed from traditional into more modern adaptations and how the sweater has made its way to mainstream fashion in Iceland and internationally.

There have been a number of papers and research articles written about Icelandic wool, sweaters and knitting traditions, most of them written in Icelandic. Due to language restrictions, the material I’m examining is mainly in English, although some publications like Sjónabók (a recreated collection of the traditional box patterns), Ull verður gull (the history of wool production in Iceland by Magnús Guðmundsson) and others I had to include in the research, since they provide too many good insights to ignore them. From the English material a big portion are pattern books translated from Icelandic to English, such as Knitting with Icelandic wool (introduction by Elsa E. Guðjónsson) and blog posts on the subject. Some articles published in English provide great overlook on the history and tradition of the sweaters, such as Nation in a sheep’s coat: The Icelandic sweater (by Guðrun Helgadóttir) and shed light on the politic history of the sweater as well. As I look into the current situation of the sweater, I will also use blogs and social media platforms such as Facebook, Raverly and Instagram to find out what influence they’ve had in the sweater designing.

I chose this subject because I see many things in common with knitdesign and graphic design: both diciplines are subject to technical constrain and constant pressure on marketing, and both fields have a similar working process. Due to the fact that this is a thesis focusing on the graphic side of Icelandic sweaters, I have chosen to include many pictures. The pictures in the thesis are shown relatively large, since the focus is on the patterns of the sweaters, and no details can be spared.

anonymous asked:

How do you may your gemsonas so "gem-y"?

I got another ask about this earlier and tbh if I was willing to get off my ass and draw it out I’d have a lot easier time explaining it but this will have to do:

one key thing I’ve noticed about gem designs is they focus a lot on basic geometrics. for example:

pearl’s body uses lots of ovals and thin dainty lines. her outfits and hair accurately portray a pearl; elegant yet simple. amethyst (even proper amethysts like her sisters) focus more on circles and thickness. her outfits and hair are never bright and flashy but still make her stand out and are rugged and wild just like her personality, which makes sense since amethysts focus on feeling and impulse. and for garnet her body focuses on squares and rectangles, and w her being a fusion you can still clearly make out attributes from both ruby and sapphire (ruby’s colors and non elegant outfit, sapphire’s quietness and anonymity via covering part of the face). 

another important thing w gems is you notice their outfits are always super simple and easy to replicate or draw over and over again. that’s actually an animation trick, to make a character stand out yet simple enough to be drawn by animators thousands of times over. 

but it’s not just them, all gems focus on some sort of geometric shape and theme that portrays their gem accurately while still never being too busy w their design. and that’s what I try to do w my gems and their appearances. ofc mine may not seem as geometric since my style is different from that of su but I still try to keep it simple yet eye catching:

Sigil Tutorial

*** Sigil Tutorial***
Ok, in this tutorial, I’m going to teach you how to make a sigil using a phrase for something you wish to attain; this can be a long term goal, a short term goal or whatever you want it to be. The important thing is to keep it in the affirmative, for example, don’t just say “I want to land a new job”; instead, say “I will land a new job that pays me more and makes me happy within the next 30 days”. - Stating it this way does several things. First, it shows positive action, forward motion, such as that it will already have taken place, there’s no questioning it.  Secondly, it gives a time frame for this to occur which makes it that much more reachable. Ok now for the example I’m going to share with you on how to make a sigil and activate it: In this example, we’ll create a sigil for this phrase “I will stay calm and anger will leave me.”
As you can see in the pictures, I’m going to cross out all the vowels and then any double letters(letters that come in the phrase more than once.)
What you have left are these letters : w l s t y c m n d g r vNow you break down these letters in their basic forms, as I’ll show u in the picture I’m attaching.
Now this part is up to you; everyone thinks differently on this particular part. As you can see in the photo, with a few of the letters, they have the same pieces to them so you could just use the shapes for one of those letters - such as the w and m and even in the letter “d” you have a “c” - or you can just use all the parts as in the photo.
Now comes the fun part, where you take those pieces of letters and create a shape, you can do this once, you can keep creating new shapes with the letters, whatever feels right for you. I’ll show you my example .
As you can see, I crossed out one design and went with the one that has the arrow pointing to it; you can make it as fancy or simple as you like; it’s up to you.
Once you’ve created it and you’re happy with it, tear off any extra paper around it so u have only the design itself left.  Then you focus on that sigil, u see the desire, in this case, staying calm, coming to fruition- you’re calm, serene, no matter what is thrown at you.
Then you activate the sigil. You can do this in several different ways, depending on what you have on hand at the time or however you feel comfortable. here are are a few examples.
You can light a candle or a match and light the paper on fire(being sure u have a fireproof container near you so u can drop the paper into it) and let it burn down.
You can splash water on the sigil, run it under a faucet or put it in a bowl of water.
You can bury the paper outside
You can tear the paper into small pieces and throw it away.
These are just a few examples of how to activate a sigil.
Then you do the hard part, which is forget about the sigil entirely; don’t let it enter your thoughts (if it does enter your thoughts, get rid of it asap )
I hope you’ve enjoyed this tutorial. Mind you, this is MY way of creating, activating and using a sigil; your way may be different, someone else’s may be different. It’s all about what works for you. Source: Mike Sexton