established designer

anonymous asked:

How do you truly KNOW when a character is character-y enough for their personality, appearance, etc? Idk if that made sense, but I'm never satisfied with some characters designs.

I am not sure to be honest I just..uh..know? feel? 

I think what always adds to a good character design is the emotions being alive, if that makes sense. And it doesn’t matter what kind of emotion but it has to be vivid and lively. Drawing a character is always hard, because the artist has to UNDERSTAND that character as well. Putting it simple, you don’t take a grumpy grump and drawing him as a ray or sunshine (unless it’s a challenge) - it’s what makes out of character..

I love it when you look at the drawing, and it’s fairly static, but there’s still history to it..something that happens beyond the viewer can imagine. Like, hey, was this character just battling? making a choice? saying some super snarky remark? It always adds to The Character, as well.

I think I said it before, but most of the time whenever an artist draws fanart, say for a cartoon, character with an established design, there are always going to be some twitches because of the artist’s individual style. I have to say it’s quite hard to find the perfect features and that perfect balance between the original design and your own. There are features that tend to represent. say, good characters - mostly roundish, softer, while “bad” characters tend to be drawn in very sharp lines. That’s basic, and not always the case, but there is a tendention. Soo..feeling what feature makes a character who they are is hard and takes experience and some…psychology understanding? feeling? I’m not sure how to say this.

It’s normal to not be satisfied with someone’s design! Sometimes you have to draw the character over and over again, but there has to be little twitches and changes each time. Because if you draw them the same, you’re still not going to be satisfied, because you FEEL that the design is off. For example, you can draw a very kind generous character that in your depiction turns out rather arrogant or angry. Maybe the problem is simply in the wrong angle of brows, maybe the eyes are way too sharp and with eyebrow angle make the character seem angry. Maybe the smile isn’t quite in the eyes. Basically every feature can say A LOT about the character you draw.

Even when you draw “kind” character in an uncommon emotion for them, super angry for example, there’s still a range of that angriness this particular character can feel. uhhh I mean. There should be differences between the angriness of evil character and a kind one..Like, unique emotions help too.

I’m sorry this is so so vague and I know it’s mostly on “I feel” rather than “I understand why this and why that”, but it’s all takes practice, as usual, and always depends on how much you feel the emotions and characteristics of people around you as well. The one thing I can suggest is twitching the designs you’re not satisfied with. It will come! Some characters are just hard to FEEL, or you don’t relate to as much, or you relate to them so much you NEED to make the design perfect, which is hard. 

Don’t lose hope, try changing every feature if it makes you finally feel that that’s the right design for that particular character. You can do it! Hope that was at least a tiny bit helpful because I know it’s super vague, sorry for that.

youtube

Character Design is an important part of any movie, but few use it to map out character design as well as Howl’s Moving Castle

Closed Captions available.

Full Transcript below

Keep reading

I’m glad I can finally announce my line is coming soon! I picked out all the fabrics and the colors. I also created the designs, established a pricing model, and developed the marketing strategy. Meanwhile, my parents will just slap their name on it and try to take all the credit like they did with Sears and Adidas.

As an exercise, I’m drawing all the Strawhats pre- and post- timeskip! It’s fun- I feel like I’m learning a lot trying to bend these established character designs without breaking them! I’ll post updates as I draw them, and then at the end, probably redraw the whole thing to be a little tighter and more consistent. Still, this is really fun!

circumventincubus  asked:

Hi! I'm having a hard time translating my concept into an actual livable space part of that is because our project is to design a pop-up retail environment for bespoke products... My main issue is not knowing how to transition my ideas from concept to actual design

My only recommendation is not to try a literal translation of the concept, that will stop most of us from making any progress. Try creating a space that follows the guides/vision established in the concept. Designing a pop-up should be fun and experimental, maybe one of these will trigger an idea:

Archifest 2016 Pavilion DP Architects

Keep reading

A collaboration between myself, and @varvau

Story is conveyed and built with uncountable methods. A creator’s ability must transcend the Great Lie into Great Truth through varying degrees of Originality, often misidentified with the expression, “Everything’s been done, nothing new.” Lottery ball machines are, mostly, identical but their drawn numbers are unique. Traditional weddings in the Americas happen every week; no two are exactly the same. Originality concerns execution, not the fact something exists. With execution comes perspective. 


Ponder the story above. It is about trade, or is it? Certainly a subject, this trade, for an exchange of items is quite occurring. One could prattle endless an account of these creatures sharing daily trade with nothing more said. If that be the inclination expressed, all within earshot must question the extent of that speaker’s exposure to other cultures and their varying forms of relaying information. 

“But, this is a piece of fiction, it’s not serious!” speak many detractors of those seeking to create stories and worlds for a living, and later express devout love for, you guessed, another work of fiction. Twelve years ago, as of this writing, I was told by a doctor, who knew me since Grade V, my pursuit in creating stories and worlds was a “fantasy”, that I should speak with her whenever I “wished to return to the real world”. Quite, she did not believe in the profession of writing in general. Her entire practice depends on literature. That she worked with youths only increased the importance of fiction in their development—yet there she was, advising someone against creating new things, and making their own life decisions. I had, some years earlier than this encounter, decided for myself the what’s-to-do. I’ve not revisited that doctor, and never will.

Works of fiction are quite real for their creators, and some refer to their work as children. Readers identify with fiction for various reasons, and to them it may be more real than what is. A fictional world can be fabulous or grotesque, and still escape from ugly reality. Experiencing a foreign culture grants the same effect. One can tell a good story alone, a great story set in a well-designed world, or if they choose: deliver an immersion in time and place. The decision depends on goals.

Suppose you were dropped there, in that market, without knowledge of local culture, and didn’t die of shock at the sight of non-human beings, who bear likeness to our feral beasts, engaging in very human-like behavior. They don’t speak your language, no guides exist in your first, second, third, or any language familiar. Perhaps, you’re a linguist and realize none of their languages match recognizable lingual families.


In your face there’s scent as language, unless they’ve come to ignore or subdue natural body odor as humans did. It doesn’t factor within your ears, the possibility they employ hypersonic and subsonic sounds humans cannot perceive without specialized equipment, but—oh dear— you’re not naturalist with such equipment or deign leave a comfortable living for work in the middle of nowhere without many modern conveniences.

You quickly realize they posses no mobile phones, digital music players, any sort of advanced electronics, the internal combustion engine, telegraphs and wire transfer, gas lighting, and manure piles in the streets from who-knows-what that pulls their carts—if they did, then a copy- paste from the human world they wouldn’t be. How ever will you survive when so much isn’t

standard for your time and place? Maybe you should “try everything”, the worst advice ever given, except on desperation or a four-for-one sale at Inspired By de Sade. Following it may result in your demise.

The Didelphimorph on the right sells textiles and foodstuffs. Isn’t that nice? But…can you eat, let alone touch it? Is the Caniform vulnerable to certain foods the other may consume without problem? We’ve plants here, on Earth by example, quite hostile. Nasty little things like Gympie (Dendrocnide moroides), a perfectly normal horse-killer from hell that inflicts enough pain victims prefer suicide. Or, perhaps, your fancy is Manchineel (Hippomane mancinella), the adorably named Beach Apple. That one, dear, is truthfully a botanical death machine: a drop of moisture runoff from this tree blisters skin and corrodes automotive paint. Do you want to blister skin and corrode automotive paint? That’s how you blister skin and corrode automotive paint.


And don’t even think about the water. Travel between countries on your own planet, and you’ll find water of varying qualities to which the local population is immune, but you are not.

Your advantage is disadvantage. For the purposes of this example, they’ve no idea you’re even present. And, in regards to this specific civilization, where would you be without Jerome and myself? We’re to blame for dragging you into this otherworldly soiree where you’ve stuck a spoon in the ceiling but hey, you’re still alive. What’s mundane and automatic for this place is unknown for you: a language of Color, Shape, and Posture.

Let us start with the Caniform left, so eager to spend money. Upon his cape are two layers. Green, in local culture, is life and fertility while Brown’s is commonality of the every day. Technically, it is an off-white baize, but still counts as Brown.

That he wears a cape, not a tunic, tells of simplicity, good spirits, and the colors that he is newly wed and possibly expecting to become a father or has adopted a youth. The ceremony was not extravagant, a casual affair with a small number of close friends and relatives. Take note: local culture. His own native, that he’s possibly abandoned, may not define marriage in the same way, or practice it. Their definition of the “family unit” having two parents may not be.

Continuing down to his pantaloons, here again Green, and White. He comes from a lineage of relatively healthy individuals for legs carry the continuity of bloodlines. White is preparedness, but may speak inexperience and innocence towards the large change in his life. The Black tassels on the closure of his satchel indicate he contemplated life behind a sword; that they dangle free means he chose against, for warriors don’t wear needless items an enemy could grab and use against them.


On Shape, the leading edge of his cape being that color proclaims he’s nothing hidden and the vertical lines in his pantaloons speak twice: Green for a very stable family with little to no internal drama. White for a family young, perhaps 1-3 generations old, not big enough for a massive number of non-immediate members. 

On Posture, outwardly it is engaged in business. His open paws forward money and show he intends no harm. That he stands over the Didelphimorph is protection—he’s watching for anyone who’d steal. If he were bent, leveling their eyes, then an abrasive or unfriendly challenge it would become.

The Didelphimorph also wears a shade of White upon his legs, inexperienced where he is, possibly having moved from another region, or country, and is learning this new place. 

Upon his tunic is the survival and security of Blue. By wearing it close to his face, he proclaims status as a merchant who will not price gouge, dependable with good reputation of maintaining stock, and believes in honesty first. The shade lacks vividness; he is not fond for usurping local government. Here, wearing complete vivid blue on more than 25% of one’s clothes is punishable by execution. The golden bangle indicates prosperity, and that he recently wed.

On Shape, the off-white motif of an arch on the tunic suggests inexperience or preparedness in one particular aspect. The style refers to a building designed for residents, and he has acquired a living space. However, in local mental health definitions of shape, it means “halfway to stability”. This creature suffered from something tragic or debilitating in his past, but has over come it. That the arch is placed on the sleeve indicates confinement of some kind, either physical or social. The leading edge, also of the same color, reinforces his honesty as like the Caniform’s cape reinforces simplicity. Upon his bangle, the circle in his native culture describes a marriage under strict contract, the addition of ovals define immense flexibility within that contract.

On Posture, that his eyes are not on the Caniform entrusts he won’t be attacked, and accepts the other’s protection. They are likely very familiar with each other for the money is not set upon any surface, but held. The Didelphimorph, what most would call an opossum, does not have naturally exquisite eyesight. He’s near sighted, the Caniform knows it, and is aware his kind are mostly nocturnal yet the mid-day sun is high. Here is a merchant pushing his work hours into time of day when he should be asleep.

Bonus Material: The Red Textile

On Color, Red is power, therefore anyone who wears or places for decoration expresses it. Yellow carries various definitions, among them wealth. Black is self-moderation.

On Shape, triangles are important. The diamonds consist of two incomplete triangles, a sign of wealth shared, not hoarded. A bearer gives money to richer folk for investments in various causes, pays their fair taxes, and also gives to the needy below. The inverted, incomplete Yellow triangles near the Black X’s tell of one who gives more to the needy than to the rich. The Black X’s themselves are not viewed as two intersecting lines, but four incomplete triangles, designating establishment of inner peace. The Black Zigzag references inner peace despite unpredictability in life while the Yellow lines around it carry a second, separate definition from the above: financial stability is nearly unbreakable no matter what problems arise. Triangles without bases represent openness and invitation.

Bonus Material: The Money

On Color, the government that issued these notes considers all money equal, no matter who and what circumstances it derives, according to Brown. This includes money from illicit activities with varying stages of illegality and socially negativity. As long as it is legal tender, the government attaches no moral stigma to inanimate money even if it punishes the crime and may deal in shades.

On Shape, the rectangle declares stability of the mint, and the circle is “unchanging”. This society does not rate its money vs. others, being the prime standard. It sets boundary that it does not tolerate counterfeiting, punished by execution for the rectangle is also a block.

Unrelated factors aligned over many centuries, coming together at that precise instant and place, themselves forebears of the future in every aspect where physical and social sciences interact.  

This is World Discipline, more commonly known as Geography. Words are not required, though certainly they help. Walk into a bar in the United States, expect a full serving of beer as the definition of good service, and half considered bad. In another country, let alone world, a full serving of beer may be a local means of saying one should drink and leave, whereas a half- serving means stay: enjoy yourself, and what this place has to offer.

Let’s Dine

New York, USA; May 2014

————————————————-

Photo by Danger In Design [Erica & Elly Ang]

7

First Look: The Lotus Elise Sprint 

Evolved, energized and even lighter, a significant update for the legendary Lotus Elise has been unveiled ahead of its arrival in showrooms this spring.

Pride of place in the latest Elise line-up is the new Sprint edition, capturing the spirit of Lotus by offering the latest in efficient engineering to deliver a car that sets the standard at under 800 kg. Featuring a host of weight-saving items as standard, as well as the Elise’s distinctive new styling, the new Lotus remains true to the company’s founding principles. Benefiting the range as a whole, all new Elise editions receive the car’s new look and new interior options, and every single one of the Sprint’s lightweight components can be specified on the standard Elise Sport and the Elise Sport 220 variants.

Keep reading

Fuck Ruby and Sapphire

Not as Garnet. Garnet’s a good ass character when they remember to give her a personality. Like when they unfuse. Fuck them individually. I’m tired of seeing them split apart. Fuck that noise. 

Unpopular opinion? Maybe. But fuck ‘em.

They aren’t characters. They’re just one dimensional caricatures. Ruby gets flustered easily and can pretty much only feel one emotion at a time. Sapphire is frigid and detached and usually right. They love each other and also Steven.

There’s nothing else to them pretty much by design. Do they have any hobbies? Anything about them that isn’t immediately apparent from their designs and established dynamic? Honestly? Probably.

But we ain’t seen it yet and at this point I’m too bored with these two stale ass cardboard cutouts to care. Hope they keep that splitting apart shit to a minimum. 

anonymous asked:

Do you think Revali showed the same arrogance to Zelda as he did to Link or was he more reserved?

I doubt he was as harsh to Zelda simply because while he might have disagreed with her on points, he was still one of the established Champions designated to the defeat of Ganon.

Link, however, was a direct encroachment on his duty, and therefore also presented an immediate conflict/threat to his position and level of importance. That warranted a much rougher response in turn.

2

On April 6th 1320, the Declaration of Arbroath was drawn up by the monks of Arbroath Abbey.

Fifty-one Scottish magnates and nobles issued a declaration of Scottish independence in the form of a letter to Pope John XXII.  This effort was designed to establish Scotland as an independent kingdom no longer under English rule.  
The Declaration of Arbroath is without doubt the most famous document in Scottish history. Like the American Declaration of Independence, which is partially based on it, it is seen by many as the founding document of the Scottish nation.

It was most likely drafted in the scriptorium of Arbroath Abbey by Abbot Bernard on behalf of the nobles and barons of Scotland. It was one of three letters sent to the Pope in Avignon, the other two being from King Robert Bruce himself and from four Scottish bishops, attempting to abate papal hostility. The document received the seals of several Scottish barons and it then was taken to the papal court at Avignon in France by Sir Adam Gordon.

There is considerable debate over the Declaration’s significance. For some it is simply a diplomatic document; while others see it as a radical movement in western constitutional thought.

It could be viewed as a cunning diplomatic ploy by the Scottish barons to explain and justify why they were still fighting their neighbours when all Christian princes were supposed to be united in crusade against the Muslims. All this, just at the point when they were about to retake Berwick: Scotland’s most prosperous medieval town. As an explanation, it failed to convince the pope to lift his sentence of excommunication on Scotland.

Others analyse what the Declaration of Arbroath actually says. The Scots clergy had produced not only one of the most eloquent expressions of nationhood, but the first expression of the idea of a contractual monarchy. Here is the critical passage in question:

Yet if he (Bruce) should give up what he has begun, and agree to make us or our kingdom subject to the King of England or the English, we should exert ourselves at once to drive him out as our enemy and a subverter of his own rights and ours, and make some other man who was well able to defend us our King; for, as long as but a hundred of us remain alive, never will we on any conditions be brought under English rule. It is in truth not for glory, nor riches, nor honours that we are fighting, but for freedom - for that alone, which no honest man gives up but with life itself.’


The threat to drive Bruce out if he ever sold Scotland to English rule was a fantastic bluff. There was nobody else to take his place. The point is that the nobles and clergy are not basing their argument to the pope on the traditional notion of the Divine Rights of Kings. Bruce is King first and foremost because the nation chose him, not God, and the nation would just as easily choose another if they were betrayed by the King. The explanation also neatly covers the fact that Bruce had usurped John Balliol’s rightful kingship in the first place.

In spite of all possible motivations for its creation, the Declaration of Arbroath, under the extraordinary circumstances of the Wars of Independence, was a prototype of contractual kingship in Europe.

youtube

The original designer denim. Established in 1978, iconic ever since.

Discover the cast of Calvin Klein Jeans Spring ‘17.

5

Princess Leia Organa Hoth costume displayed at the Star Wars Identities exhibition, London.

Today we lost a princess and a general, so what better time to look back at one of Leia’s most understated leadership looks. Empire Strikes Back showed a princess who was giving her everything to the Rebellion, maintaining moral and hope in the harshest of environments and in the face of absolute destruction, abandoning her post only when absolutely forced. Remember: She drowned in moonlight, strangled by her own bra.

The first costume worn by Princess Leia in The Empire Strikes Back, this costume continued Leia’s familiar iconography whilst firmly placing her in an active and practical role. Unlike the gowns of the previous film, Leia now wears a combat snowsuit. This is the most identifiably ‘real world’ costume worn by Leia in the original trilogy. She both blends with and stands out from the rebels around her, maintaining her air of regal leadership even as she mucks in. The stand collar of her suit and the padded collar of her gilet both echo back to the collar and hood of her famous hero gown in A New Hope. The clean silhouette of this costume, with subtle quilting details and the simple lines of the waistband a zip-line continues the refined, understated Alderaanian elegance already established.

The colour palette worn by the rebels of Echo Base sits in shades of tan, beige and off-white. Leia’s shades of white and ivory are all her own, making her stand out and easy to follow on-camera on Hoth, and making her an isolated figure of light in the carbon freezing chamber when the snowsuit is worn again on Cloud City.

We followed the colour palette of the first  one. It was just creating the winter variants of the same things.
John Mollo, Star Wars Costumes: The Original Trilogy

Note the difference in boots between this image from the set of Empire Strikes Back, and those displayed at SWID. The higher-wedge, grey boots are clearly visible in the infamous hallways scene with Han Solo (along with the cunningly disguised box Fisher was standing on) and in a number of other scenes, whereas the lower mukluk-style boots from the exhibition are clearly worn when Fisher is running towards the Falcon during the Echo Base evacuation. Skimming quickly through Empire, the darker boots show on camera more often giving the impression that the exhibition boots are Fisher’s stunt boots and the grey pair are the hero boots. However, the grey boots appear to be modified purchased boots. The exhibition boots have been made to specification. The most likely explanation is that the grey boots were intended to be off-camera boots to lend Fisher height, but they ended up being established on-camera against design (due to change in angles/shot order etc. before changes could be made or noted.) However, in Star Wars Costumes book, the mukluk-stye are described as the hero boots. A mystery!

Next Time: The explosive aesthetic of Sabine Wren
Last time: The path unfollowed: Leia & Padme

I can’t believe Lego Batman COULD have made all the characters white because of establish character design AND the fact Lego minifigs are often seen in one skin tone as well as many of the DC characters has already had established Lego designs in previous play sets

but Lego Batman really went out of its way to give A LOT of characters darker skin tones to match the actors of color who played them and went with a bunch of new designs and I really appreciate that because they easily could have excused having an all white cast for multiple reasons

And it’s fantastic to me that kids of color are gonna grow up with this film as their definitive Batman canon 

anonymous asked:

Would you ever draw Wallace when he was human?

OOOH MAYBE…… ive never really establish a design for that but it would be fun to explore!!!!! MAYBE LIKE.. leave a suggestion of what u think he’d look like LMAO if u want to

anonymous asked:

do you have any info/ drama/ rumours/ news on the newer/ younger actresses iqra aziz, Hina Altaf, hania aamir, and or Mariyam Nafees? im lowkey in love with them all especially Mariyam (who's apparently a feminist? nice!) and hina but i cant find anything about them and i don't read urdu :( i read that hania is a established fashion designer and im surprised because she's the same age as me so did she start young in the fashion industry or? sorry if i sound bossy since i know this isnt your job

Honestly, I have not been keeping up with the newer lot but Hania Aamir is definitely the next big thing. She fits the mainstream beauty standards and I wouldn’t be surprised if she becomes a household name in the next couple of years. She has some big movies under her belt already; Na Maloom Afraad 2, Parvaaz Hai Junoon, etc.