keep it vertical

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[Please do not repost]

Everything is the same, but… Dazai is short af. [This is partially based on the time my dad told a salesperson that, after having lost me in the store for about the millionth time, he would have to buy me a golf flag and just attach it to me so he wouldn’t keep misplacing his, “vertically impaired child.”

Listen, I’m not like the brightest at 3D art and junk, but like…

ISN’T THERE A BASE MODEL FOR EVERY OVERWATCH CHARACTER? WOULDN’T YOU NEED TO JUST DUPLICATE/EXTRUDE A FEW THINGS HERE AND THERE, AND MAKE SOME NEW TEXTURES INSTEAD OF MODELING A CHARACTER’S SKIN FROM SCRATCH EVERY TIME YOU NEEDED TO MAKE A NEW SKIN FOR THEM???

SO WHY DO MERCY’S LEGS GLITCH AT ALL? IT’D BE BASED ON AN EXISTING MODEL???????? I DON’T?????????????????????????????//

anonymous asked:

Hello this will sound stupid probably but how do you do head/face construction outlines or how you think the best way to do it is

ahhh hmm.. I will try my best to give you some info at least on how i do it/good things ive seen? I don’t have a lot of rules about my faces and I tend to just kind of Go At It a lot of the time? But I can give you some things to think about or the techniques I like to use. There are lots of ways to construct heads and stylize faces. 

I think the most important things I keep in mind, like with everything else, is that the head is a solid object with volume, and that it has its own muscles and fat and stuff. 

in terms of anatomy, with the way i stylize stuff, i like to show a few key things


1) The head is not separate from the neck, and it is not just sitting on the next like a lollipop. The neck interacts with the head. Most people also have at least a little bit of neck/chin fat, if not just loose skin there so that you can move your head. that area is in general soft. 

2) the eyes are In the head, not just stickers on the head or spheres stuck to the head. (of course, this is not the only way to stylize, this is just what I like to show) the eyes are set into the cheek.

3) the mouth area makes no sense like thats not how that works but don’t worry about it. 

the most basic way i construct a head is i start with like, a sphere, which im sure you’ve seen before: 

the lines of the symmetry for me are pretty rough. i don’t follow them very specifically. I use them more for like “the head is facing this direction on this axis and this direction on this other axis” 

vertical line is how far left or right its rotated, and the horizontal is how far up or down. I know the horizontal line is supposed to also be roughly where the eyes go, but I don’t really follow that too carefully. I mean it helps figure out where the eyes are going to be, but if it ends up not feeling right, be free to adjust. It’s more for keeping the head volumetric.

then i have a second oval (of varying shapes for different faces) for the lower half of the face. the top of the cheek starts roughly at the horizontal line of symmetry. I tend to think of this also as a volume. 

This maps out the entire lower half of the head for me, so im sort of like, drawing all the way around underneath the head if that makes sense? it’s very helpful for drawing heads in weird perspectives. For example it helps with over the head perspective a lot because it sort of puts the jaw underneath the cheek bones, underneath the forehead, etc. 

then i construct the face over that, using the nose to indicate direction by keeping it right on the vertical axis or floating over the vertical axis.


In doing facial expressions, I think something really important to keep in mind is the retention of mass. Like, even when you’re stretching the face really far, don’t add mass. (at least, for the style that i’m working with. this isn’t applicable to all styles) This combined with remembering what parts of the face are hard and what parts are soft will make characters seem, more, Solid. 

so like: 

the jaw doesn’t grow or shrink with the mouth opening, there’s still the same amount of chin. the jaw opens to open the mouth, the upper teeth are not on a hinge so the lower jaw is the only thing that moves.

I totally do not always follow this, though. 

like, the chin here is probably a little bit “shrunk” to accommodate the mouth. However, other thing to think about that I’m trying to show with this, is that when one part of the face moves, so does the rest of it. Even if the facial anatomy isn’t realistic, it still all interacts. Like, the mouth opening up that wide smushes up the cheek muscles into the eye. (even though the mouth is just kind of drawn as a hole in the face) 

(more examples of this)

even if the face is kind of “rubbery” here, though, the overall mass is still kept consistent. like its stretched in the second on, but it hasn’t “grown” 

flesh is pulled over an imaginary skeleton underneath, and there is still “depth” shown by the angle of the teeth. there is also thought about how the eyes are sitting in their sockets, even though those sockets are being “stretched” a little bit. 

I hope this isn’t a completely incoherent mess and that its at least somewhat useful information? 

Twenty One Pilots Handshake Tutorial

Slow motion video: (x)

Start with your right hands!

Hand Pair 1: Both right hands

Hand Pair 2: Both left hands

  1. Slap (Hand Pair 1) palms together
  2. Slap (Hand Pair 1) backs of hands together
  3. Slap (Hand Pair 1) palms together twice
  4. Vertical fist bump twice (Hand Pair 1) (KEEP THUMB FACING VERTICALLY)
  5. Hook thumbs together and clasp them (Hand Pair 1) [SEE BELOW FOR A MORE DETAILED VERSION
  6. Clap your (Hand Pair 2) hands on your (Hand Pair 1) hands, clap above them, clap below your (Hand Pair 1) hands, and finally, clap them on your (Hand Pair 1) hands
  7. Hook pinkies and bring them up, down, then up again (Hand Pair 1)
  8. Once you bring your pinkies down, clasp spare hands together (Hand Pair 2)
  9. Bring the clasped hands, which are Hand Pair 2, down, use the other pair of hands to clap twice above the clasped hands (Hand Pair 1)
  10. Slap partner’s forearm (elbow area) once (Hand Pair 1)
  11. Pat your own forearm (slightly above the wrist) once (Hand Pair 1)
  12. Clasp hands together again (Hand Pair 1)
  13. Unclasp the hands from 11 (Hand Pair 2) and put it around your partner as if it is a one-armed hug (Hand Pair 1)

DETAILED STEP 5:

1) Face both hands upward

2) Interlock your hands by hooking your thumbs together, still faced horizontally

3) Move both hands so the backs are touching

4) Roll your hand under your partner’s while they roll their own hand over yours (YOU NEED TO UNLOCK YOUR THUMBS FOR THIS STEP)

5) Lock thumbs together again as your hands are in a hand-shaking position

Helpful tutorial if you’re still confused: (x) 

Reblog if you found this helpful!

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Tangled Rapunzel Wig Tutorial by nocturnalbloom

Hello bunnies, this is my rapunzel wig I just finished for Anime Revolution 2015 in Vancouver. No photoshoot pics yet because the con is August 14-16. The wig is 150 cm and does not weigh too much! I saw these on etsy selling for like 300$??? I think in total this costed me like 75$. Not gonna lie though, this wig made me cry once, I hate tangly wigs ToT. Thinking about adding battery operated lights? I looked up a ton of tutorials but i ended up doing it a bit differently. Anywho here’s how I did this, i’m sorry I’m terrible at explaining things:

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| MY TUMBLR BLOG |

Because of you I found strength. Because of you I can smile again. . Because of you I can laugh. Because of you I can live. Because of you I’m a better person. Because of you I experienced love. Be someone’s reason to be.

mango-pup  asked:

Hey. Do you mind a tack question? Google is failing me. A yard friend brought a new full cheek french link to try her horse in. But, it came with little leather straps which attach the top bar to the cheek piece (we discovered after googling, as everyone on the yard had never seen them before). Do you know what the purpose of these is? It seems like it would keep the bars facing vertically, but, why?

Bit keepers, or bit loops. They’re meant to stabilize the full cheek in one position like so:

This serves a number of purposes. The main reason people use it is to hold the bit ‘at the correct angle’, but exactly what that angle is and whether it matters depends on the horse, their training, their preferences, and the mouthpiece. If you have a french link mouthpiece, for example, or a dr bristol, securing the angle of the mouthpiece matters more.

It’s also often touted as a safety feature, to prevent the cheekpieces getting snagged on something and making the horse freak out. This is a real danger with the full cheek (tho it can also occur with other cheekpieces, like a curb), but the keepers don’t guarantee it won’t happen, just reduce the chances.

Here’s a full cheek without keepers. In this situation the horse has a bit more freedom to decide exactly how they want to carry the bit. This is one reason the full cheek without keepers is more common in western circles, where the bit is hung lower in the mouth (fewer wrinkles) and the horse is taught to carry the bit themselves.

Having the cheekpiece unsecured also means that it will move around more, and will change where and how it presses into the side of the horse’s face. For some horses, this is a big deal, because they hate lateral pressure or jiggly tack. For some horses it doesn’t matter at all.

You don’t have to use keepers with a full cheek. Whether you want to or not depends on the horse.

+the other day’s ikebana. The concept for this was to do ikebana that would be placed on a table for an office meeting or a dinner. The challenge was that this had to be viewable from 360 degrees which usually is not the case for ikebana. Due to this you must hide the needle point holders which is easy enough with mass type of flowers, but I only had line type of flowers, so I made a triangular grid of shorter lines to hide the needle holders. In addition I had to keep the vertical length of the flowers to a minimum to avoid obstructing guests views while seated at the table. Doesn’t really translate in a photo…

Mycroft Holmes imagine: Trapped in an elevator

(I was encouraged to try a drabble by timelady35 so forgive me for the length and any mistakes shown. The post I’m starting off with is: Imagine being stuck in an elevator with Mycroft Holmes and he tries to lighten the mood with a dumb joke.)

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Kassian glanced at Sin, trying to keep his expression as neutral as it’d been when he looked at Boyd. “What about you, Vega?”

Sin barely looked at him. “My lack of care is phenomenal.”

= In The Company of Shadows by Santino & Ais - Interludes


Iconic ICoS Quotes #1/?

FLAME GOWN

The Phantom Menace: When her life is threatened, Amidala becomes Padmé, the handmaiden. With the ability to remove the Queen’s identifying make-up and extravagant gowns, Padmé can easily and discreetly complete her transformation from queen to vigilant bodyguard and blend in with the other handmaidens.

The five handmaidens don robes of soft trevella cloth colored with vibrant spectra-fade dye. The colors fade from deep orange to soft yellow, reminiscent of a Naboo sunrise and hinting that the Queen will rise again. The oversleeves of the gown are done in classic Naboo style and the hood masks the identities of the handmaidens, so Padmé can travel incognito. With the Queen in a sober black dress, the handmaidens in their flame gowns provide a startling and beautiful contrast. 

Design: While the Queen wore amazingly complex costumes, the handmaidens' costumes were kept relatively simple. As costume designer Trisha Biggar explains: “We tried to keep the handmaidens in vertical costumes, with the Queen wearing all kinds of big diagonals and drapery to make her seem bigger than life – and her handmaidens small and petite.” What the Queen was wearing was always kept in mind while designing the handmaiden’s gowns, so they would accentuate, not dominate, the Queen. 

The Flame Gown was one of the more time-intensive handmaiden costumes. The gowns were originally constructed from while silk and vicose velvet, and each had to be fitted to the actresses multiple times. They were worked on till they were nearly complete, and then taken apart completely. The costumes were then dyed in small pieces, so when the handmaidens stood together, the color levels aligned; this also regulated the amount of dye used throughout the costumes.

The gowns were dyed using a technique called ombré dyeing, meaning they were dyed from dark to light, from deep orange to pale yellow. The sleeves, hoods, and sashes were made from a bias-cut red silk crepe. The sleeves were trimmed with antique guipure lace designs dyed to match. 

The Very First Time

Based on this post
Set around the end of Season 2
(Look at that, a canon fic !)

It’s the week-end before Kurt and the New Directions are supposed to leave for New York for Nationals, and Kurt needed somewhere to hide and get some rest away from all the craziness of Mr. Schuester, Rachel; Hell, all of his teammates seem to have lost their minds over the fact that they are going to New York.

Truth be told, Kurt himself is going a bit crazy over it, and he really needs some peace and quiet for a little while.

Having his boyfriend to kiss and cuddle on the grass of his backyard in the nice Spring Sun?

A very nice bonus.

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