NGC 7023: The Iris Nebula : These cosmic clouds have blossomed 1,300 light-years away, in the fertile starfields of the constellation Cepheus. Called the Iris Nebula, NGC 7023 is not the only nebula to evoke the imagery of flowers, though. Still, this deep telescopic image shows off the Iris Nebulas range of colors and symmetries, embedded in surrounding fields of interstellar dust. Within the Iris itself, dusty nebular material surrounds a hot, young star. The dominant color of the brighter reflection nebula is blue, characteristic of dust grains reflecting starlight. Central filaments of the reflection nebula glow with a faint reddish photoluminesence as some dust grains effectively convert the stars invisible ultraviolet radiation to visible red light. Infrared observations indicate that this nebula contains complex carbon molecules known as PAHs. The pretty blue petals of the Iris Nebula span about six light-years. The colorful field-of-view stretches almost five Full Moons across the sky. via NASA
Current Favorite Tools Available in the Clip Database
I’ve had people ask what tools I use in Clip Studio Paint, which is hard for me to answer because I use a lot of different brushes. (If you want to know what’s used on a specific image, please give me the post’s ID number and I’ll find it on my blog and tell you!)
Here are some of my current favorite tools and brushes. I will give you the name that they are listed under so that you can find them in the clip database as well. These are listed in no particular order, because they’re all great!
“Tマーカー風ブラシセット” This is a collection of fantastic tools to create work that looks like it’s a traditional marker piece.
The collection contains several different tools including brushes with chisel or brush tips, blenders, and a texture you can overlay on your image to achieve the grain effect you see in traditional, scanned image. The texture is even pre-set to have the correct blending type and opacity!
For extra fun, I suggest using colour swatches from your favorite art markers in conjunction with these tools, for even more authenticity.
Overall this set is AMAZING and I love just playing with it.
“カサGペン” I’ve been using these pen tools a lot lately for sketching and sketch style ‘inks’. I’m not sure if they’re intended to mimic any specific type of pen, but they’re fun to use and the line quality they produce is really nice. “エッジ鉛筆“ in particular is one of my current favorites!
“水彩マーカー●▲■とテクスチャーセット“ Created by the same person who made the fantastic marker brush set, they’ve also created an amazing watercolour set! Like the marker set, it comes with several tools with different looks and effects and overlays you can put over your image (I use the ‘pigment pooling’ texture from this set a lot). There are also blenders in this as well.
My favorite feature of this set and what makes it rank higher than other, similar watercolour sets is the colour blending effect. These brushes can use a single colour, or it can use both your main and sub colour, showing one colour when you press lightly and another when you put more pressure. This allows for some great depth of colour and more natural flow to the blending. Fantastic!
There’s more, but these are the things I’ve been using the most lately. I highly recommend checking out the stuff in the Clip database, you might find something you love.
3. Many of the effects I created came out of spontaneity. I randomly filmed a leaf caught on a spider web spinning because it looked interesting, had an idea, and added in an iris in post.
4. The entire bit with the giant spider was conceived during filming of the looping entrance sequence. I noticed in a hole in the trees, a single orb weaver spider suspended. I zoomed in on it and noticed how clear it all was. I realized that I could stabilize the spider’s motion, track the motion of the branches, and then add the spider back in with an increased size. From there I found a free crawling animation of a spider and warped it’s legs to match the giant orb weaver so it looks like it goes from rest to crawling down.
5. The spider’s name is Mongo.
6. All of Mongo’s screechy spider sounds are modulated mouth sounds made by me sucking air through my lips and teeth.
7. The sound of Mongo running on the boardwalk was just me tapping my fingernails along a wooden floor, pitched down and slowed.
8. The process in After Effects in which I make an element look like it’s part of the world is usually: - Track the motion of the base footage and apply the tracking data to a null object - Drag in an element and position and crop it accordingly - Attach the element to the null object so that it moves with the base footage - Tint the element to the white and dark levels of its surroundings - Turn on motion blur - Make a copy of the base
footage, then make a pre-comp contaning the element, the null object, and the duplicate base
(this duplicate is solely for referance if I need to edit something inside the pre-comp and is turned off for the final effect) - Apply match grain to the pre-comp, the grain source being the base
9. Future Noah’s hair is a cheapo wig I got from a wholesale Chinese site, but the beard is real. I grew it for a month or two to achieve that ruggedness.
10. Future Noah’s voice is 3 layers; one pitched up, one pitched down, and one unmodified.
11. My ARG master and buddy Stringweaver piloted the camera and filmed as present Noah from the point where the camera turns to meet Future Noah, to the point where Noah trips and falls on the DIE box.
12. Filming Future Noah’s bits, and every shot at the boardwalk really, was super hard because the infrared night vision is very picky when it comes to lighting. If it’s too dark, you can only see a few feet in front of you due to the limitations of the camera’s infrared light and if its too bright everything just gets completely washed out. There was only a good 30 minutes of perfect light before sundown to get all the shots needed.
13. The bag of mystery meat was just some candied yams and chicken bones. I had a hard time not gagging when putting that stuff in my mouth.
14. The bit where I showed the gash in my hand is not a practical effect, it is completely digital. I put two Xs on my palm, tracked them, and attached a scar to my palm with some stock video of blood oozing. In addition to the process listed above in #8, I put in a lighting effect to mimic the infrared light beam passing over the palm that truly made it all look real.
15. I actually rolled an 8 on my first take and had to edit it so that it appears as if I almost landed on it.
16. Upon finishing editing, I realized that there were several instances where Future Noah’s left hand is clearly visible without the scar. I had neglected putting a physical scar prop on my hand before filming as well as forgot to add the tracking Xs on my palm. I initially felt it was beyond me to do anything about this, but the Kubrick in me would not stand for this glaring continuity error, so I painstakingly went back into as many shots as I could where my left palm was visible and meticulously tracked my pinky and thumb frame by frame to add the scar onto my hand so that if you pause the video at any point where my hand was out a dark scar would be visible.
I diiiid it! :3 Once again, this was all drawn on my phone with the exception of the title cards and the inner glow film grain effect. The 4th and second to last drawings took me a long time because there were SO MANY LAYERS!
I'm cosplaying as Megumin from Konosuba for my first cosplay, and I'm trying to make everything at home, so how would I build the wooden staff that she weilds? Is there a way to carve something out of styrofoam and make it look wooden? I just want something simple to make at home. Thank you for the great blog! :D
(2/2) Also, is there a way to build it while still being convenient for travel?
Foam would be a good choice for the top portion of this build, yes. I wouldn’t go with what you are thinking of as styrofoam, but rather a different type of styrene foam – XPS foam, aka ‘pink’ insulation foam. This can be carved and sanded into shape, and then sealed so it can be painted. This would get a very smooth look. You may need to make this in two halves and include some curved structure on the inside for a bit of added strength.
To make the orb float, if it is lightweight enough, fishing line will work, or you can use thin acrylic rods to stabilize it.
For the staff itself, you have several options. If going for the more realistically textured look, an actual wood stick is a good option, and can either be scavenged or purchased. If you want something smoother, a wooden closet pole or PVC would be good options.
To make it separate for easy travel, you can sink a screw into a wooden pole, or you can make separate tubes that slot together. (See this recent post for a few tutorials.) I would do this just above or just under where the wrapping is so you don’t have to worry about the cloth having a seam in the middle or re-wrapping the handle, since the seam will mostly be hidden by the joint between the cloth and the wood (or “wood”). If you want to do it in the middle of the wrapping so it is more likely to be hidden by your hands, either secure the wrapping well on either side, or leave a small trailing bit on one half and a way to attach it (such as a snap or a place where it can be tucked under the rest of the wrapping) to hide the seam.
how do you get the grainy texture on your gems drawing? thank u !
Okay so I’ll take you down step-by-step over this yh, all of this was done on Photoshop CC :) Basically you start with the lineart
Then I whip out the Megapack brush set by @kyletwebster (if you want to buy it which I highly recommend, the link is here)
The brush that does the grainy magic is this one:
Then you create a new layer below the lineart and sweep it in the centre of the drawing. Make sure you don’t lift your pen while doing this, otherwise the grain effect will overlap and you’ll lose the white specks
Erase the background and you have your base colour:
Lock this layer. Then, create a new layer on top of the base:
Right-click that layer and create clipping mask:
This will make colouring SO much easier for you. Whatever you draw on the clipping mask will stay within the base colour layer. You don’t need to worry about erasing the edges now! Here’s an example:
Okay then, you keep building up colours on separate clipping masks and plan out the flat colours first before you dive into shading.
Once you are happy with how everything looks you can add as many details as you want :D
The shading and highlights were done on separate masks too. If you want to shade, change the layer mode to Multiply. If you want to highlight, use Colour Dodge. You can even play with the layer modes and see what comes up, experimentation is key! Hope this helps <3 ;*