it works so well on digitals

Tonight i saw Your Name 君の名は。(Kimi no Na wa 2016) in the cinema, il try not to say too much other than i really enjoyed it :D annnd i can see why its doing so well around the world. Im big fan of Shinkai’s other films & shorts but i was glad that the story had more to offer than a typical romance and was also packed with humour, drama & personality.  Compared to his previous works it features even more of his signature face melting/beautiful/breath taking digital art & scenery but even from the first few shots you can see his shot composition and cinematography skill has reached a whole new level. 

As far as comparing Your Name to Hayao Miyazaki’s Spirited Away…. its a total apples and oranges situation and i think the least abstract comparison can be made in box office figures as the films are made by two men from completely different generations created using a very different set of tools and skills. Its said that 2D animation is a dead art form but the truth is its just being made in a different way and personally I’m glad there are a new generation of anime film creators like Makoto Shinkai and Mamoru Hosoda around. 

(Thanks to everyone who commented on my last post and let me know what they thought of Your Name, honestly the most fun thing about tumblr for me is reading other peoples comments my posts)

absolute-dino  asked:

look idk about aesthetics to provide, but from spore there a quote i never go a day without saying... "i am a digital dog with 5 electric asses" that is all thanks keep up the good work and i hope you are well

omg i relate except its with final pam in her voice. it mostly is “hello metal husband” 

Also omg thats so nice I am doing well

Here is a reward you beautiful person

* hey did you know your broom was on fire?

So I got myself a tablet. I’ve been working on this for a few days now and playing with clothing designs for Panda. Even though I am not super proficient at digital art…. well I like how it came out!  I’ll probably do more witch panda soon doing magics maybe or raising the dead ;D ~
Images do and may feature characters from:
Panda is @skelanda

something i recently learnt (or well, taught myself even though it’s basic colour theory) is to fucking shade with blue. it takes a while for someone to develop an eye for colours, but once i got the hang of this my pieces have become much more dynamic. seriously. so what i do is just slap on one layer of flat, ‘normal’ colours, and then pick a dark blue, adjust the opacity (if you work digitally) and put it over the base colours. boom instant shadows

mythinktankguys  asked:

Say, an emp bomb crashed the economy, by turning all those pretty ones and zeros into plain old zeros and every last shred of digital money was gone for good -- how would that go down? What would go down first? Would there be anyone to benefit from it (at least for a while)? How would the government possibly reestablish order? (They did with lots of police and districts within cities eventually, but like the first few weeks/months were everything is chaos and people go nuts.)

Okay, you guys are really into destroying the digital economy! Which –disclaimer– is something I’ve never studied. All those ones and zeroes, that binary code that binds the world together? I’ve no got a clue how it works. Nothing, nada. I can’t even code well enough to edit a tumblr theme, so the complexities of the computers that run the digital economy are a total mystery to me. Plus, the complete destruction of digital money? Not something I can research here, either.

But! This is where the magical, beautiful majesty that is the rest of the ScriptFam steps in to help out, in this case namely @scriptaccountant and @scripthacker.

Hacker says (paraphrased by Econ):

First off, it’s highly unlikely that an EMP could destroy every piece of digital information pertinent to the digital economy. EMP-shielded electronics are a thing, and while a lot of information that isn’t properly protected would be lost, big banks and corporations tend to invest a lot of money in protecting their data.

Likewise, most governments will have protected electronics, to prevent against an EMP-style attack from a foreign nation if nothing else. Remember, a lot of big banks, corporations and governments trade on the back of their credibility: would you give your money to a bank you thought might lose it? I certainly wouldn’t. So these big organisation likely have very well protected electronics, and paper back-ups to boot.

Accountant says (again paraphrased by yours truly):

As far as the disappearance of everyone’s money goes, that information (paychecks, bills etc.) should actually be covered by good accounting practices wherein the banks etc. should have hard copies of everything plus backups off-site for digital files.

So in summary, I’m afraid we’ve rather sat on your idea. I know it sucks when you come to an advice blog and they tear down your idea, but if you’re going for realism it looks like your situation is very unlikely. You could find some way to also destroy the digital backups if your villain is clever, or incorporate the backups as a way for the government to get everything rolling again after the crash. I’m sure if all credit cards stopped working and the banks had to manually sort out the hard copies of everyone’s finances there would be a lot of frustration and quite possibly riots etc. to provide the chaos you’re looking for, and it would probably take quite a while to sort out. As for people who would benefit, I suppose those with a lot of cash on hand or goods to trade and barter (if the situation gets that desperate) might be better off than your ordinary Joe, but off the top of my head I can’t think of many people who would benefit from the total collapse of the digital economy other than hedgefunds massively shorting on banks shares and government bonds (and if you want me to explain that concept, feel free to send a follow up ask but it’s currently a topic for another day). But if your villain wants to make money from this, betting against banks and other businesses with a lot to lose sounds like a good plan; I’d definitely suggest they sell any Bitcoins they might have!

So while I fear that this might not be what you wanted to hear, I hope that it helps you out somewhat. Good luck with your writing!

I wanted to make a simple design of Trico with the boy and ended up drawing this design, im willing to make myself a shirt of this since it would look really cool to wear as well as just make a poster or posters for my small convention in the spring time. I waited all 10 years for this game to come out and I’m so glad im able to play it and finish it. Truely a work of art Fumito Ueda has made hopefully he makes more because im craving for more. /p>

Ps: please do not use without permission from me, the artist 

Enjoy :3 

Drawn by me Laundingo (S.R)

Used: Paint tool sai and Cintiq 13 hd

Preventing hand injuries from digital art

I got a question about drawing injuries, and I typed up a pretty lengthy response so I wanted to share it here as well.

I get asked a lot about hand strains and injuries, and it is something most artists have to face one time or another just because we work so hard for our dreams. I personally don’t get strains or injuries, both for art and for piano playing when I still majored in it, two main creative paths where hand/arm injuries are common. My hands rarely feel tired and when they do, I stop drawing. So when I get asked, I usually can only offer the fact that you can find a lot of carpal tunnel exercises on google and there’s nothing else I know about relief exercises, other than I find that flinging my hands also help loosen them up a bit.

The most important thing about this issue is actually prevention rather than relief. I would like to believe this approach is what prevented me from getting injured–I’ve never really been a push through the pain type person, and glorifying suffering and pain as a sign of hard work is definitely unhealthy, as those are huge signals from your body telling you to stop. There are many things that I know for sure strains your hands much more than anything else that I will list below, and I believe that, if it is possible for you, the most efficient way to deal with injury is to find out which of these things is the cause and working around it.

The first big cause is posture; if your arms have no support points (ie you have to hold your elbow up with your muscles or tense your wrist to maintain stability) you will strain much easier, just like how you get tired easier standing at an uncomfortable pose vs a well grounded one. So be sure to seat yourself so that you have somewhere to rest your arm while drawing, while your body is at a relaxed angle with full support. For a normal tablet, rest your arm and wrist somewhere on the table or the tablet. For a Cintiq or tablet monitor, try having it upright so that your elbow can rest on your desk, and your wrist can rest on the cintiq screen, and you only need to use your fingers to control the pen.

The second cause is your grip on the pen. This can be caused by your need for precision/speed of repetitive movement/pressure. Line art, or cross hatching, or pressing hard to get the darkness of the brush you need, are all high stress activities that strains your hand much more than, say, rendering or putting down a base painting. Knowing that, you can:

  • Use a higher brush opacity or turn off pressure sensitivity for opacity to prevent yourself from having to press really hard to get brush impact you want.
  • Go to your wacom tablet preferences if you have one, and set the hardness of the brush so that it’s easier to get the brush opacity/size you want. You want to have the problem of having to try to press lighter for lighter lines, rather than having to press harder for darker/thicker lines. The latter strains much more than the former.
  • If your grip of the pen is too tight purely because the pen is slippery/too small for you/hard to grip, such as old bamboo tablets, there are rubber tablet pen paddings that you can buy online, or you can just use a layer of masking tape all around the grip area to increase friction/grip comfort and make it easier for yourself to hold your pen. A Cintiq or Intuos Pro pen is ideally what you want your pen to feel like: have friction on the surface so your fingers don’t slip, large enough so it rests and takes up space comfortably between your thumb and index fingers without you tensing and curling your hand inwards really hard, and shaped so that your grip is stopped right before the cone of the tip, preventing slipping.

The third cause is the schedule of your drawing. This may or may not be possible to change because for a lot of us, a deadline is a deadline. But try to space your tasks so that you cycle between intense, detailed, hand-straining work, and relaxing, loose, more brainstorming work. The latter is excellent for hand rest while still being productive creative work. For example, if you are drawing comic pages, it might make sense in terms of efficiency to sketch 10 pages, then ink 10 pages, then tone 10 pages. But when you are inking those 10 pages consecutively, that’s when you give your hands no rest and your hand will start to hurt a lot, while you have no choice but to push through the pain to get the work done. Instead, try to draw these pages one by one, or have a few drawings at various stages of completion to rotate between. eg. you work on inking drawing A, then when you feel your hands are strained, switch to putting down loose underpainting for drawing B, switch back to inking drawing A, then start brainstorming drawing C and think more/draw less. Give your hands some natural times to rest up with less intense work, and you get work done without having to lose time by having to really stop drawing altogether.

As tempting as it is to try to feel like you are working as hard as you can to achieve your dreams and aspirations, while feeling guilty about resting/taking the more relaxing route, remember that your hands make your art possible, so treat them well! 

they are standing in the garden, alexander by eliza’s side

i know this scene has been made into comics about 5000 times, but i felt like drawing flowers so i’m making it 5001


Zen on his motorcycle with MC#3

Although i am not a fan with painting backgrounds, the first drawing fits the whole picture than the second one, mainly because of the lighting? The second drawing doesn’t have any so maybe thats why? Idk xD but these was just a practice for me as i am still currently working on the background as well as the lighting because all of my drawings are super FLAT, i really need to practice my skills ; ;. 

I used Blackpink’s referenced “Playing with fire” xD It really reminds me of Zen so…here it is with MC#3

Commission for @zk0x

If you’re interested in commissioning me for something in this style, please PM me! xoxo

Huevember Day 7 - Vulpix X Autumn


On works like Samurai Jack it’s very easy to forget that animation is a collaborative medium.  This has started to change recently as seen on Steven universe where I argue that the board artists are just as well known as Rebecca Sugar. Samurai Jack is so very linked to Tartakovsky and his vision that i have to force myself to remember that my favorite part of the show (the landscapes) were done by Scott Wills and co. Anyways, watch this guys work and be amazed that this was done traditionally instead of digitally. Last i heard his new backgrounds are gonna be made digitally while trying to retain that hand drawn approach.


its been 84 years since my last digital speedpaint (literally)

anyways i had sketched this out on paper last week and since i downloaded this one streaming/recording program called OBS the other day i figured i’d test it out and film this. it worked really well so I’m happy~ I used to use Quicktime but that overheated my poor laptop quickly

A quick doodle of Petyr Baelish on my new Cintiq.