look how similar the camera angle is

charlesoberonn  asked:

You mentioned wanting all storyboard artists to go to at least one board breakdown. Do you have any other tips/guidelines or things you'd want your staff to do if you ended up being a showrunner?

I’m not sure. It’s all super hypothetical and I’d probably end up realizing what was needed as we needed it.

However, if I were to guess, I think I would have each storyboard artist come to their own breakdown at some point, at least once. They could probably do it on their 2nd or 3rd board, after they’ve started getting their sea legs, so they can build it into their process at the same time that they’re getting stronger with the style of the show.

Something else I would be trying to do is get rid of flat staging where I could. In animation, and in TV animation especially, it’s very common for staging to be similar to a sitcom. Characters stand in ¾ angles and the camera is either a wide, a medium, or a close on them. This style of staging is great for many things because it’s clear, it’s easily understandable for different kinds/shapes/styles of characters, it’s very easy to teach, it cuts down on how many backgrounds you need, and it makes shot choice styles line up across 10 different storyboarders. I don’t think that look fits Infinity Train though.

I would probably give my storyboard artists some homework, much like how I was given homework when I first started on Regular Show. I was told to read “The Five C’s of Cinematography”, “The Illusion of Life: Disney Animation”, and Preston Blair’s classic “Cartoon Animation”. Since Infinity Train would have comedy, adventure, sci-fi, and horror elements, I guess I would have people take a look at Alfred Hitchcock storyboards and shot choices. I specifically like the shot choices in The Birds. http://www.bfi.org.uk/news-opinion/news-bfi/features/storyboarding-terror-hitchcocks-birds-turns-50

I think if the shot isn’t increasing drama somehow and doesn’t feel like a movie, then it’s comedy, which we should only use flat staging on comedy sections. There are a lot of unreasonably specific shot choices I like to make and I would try to get as involved in that as I could with the team. If you’re that specific about something, it’s kinda unfair to make someone else keep trying to make it over and over again, you gotta get in there yourself and explore it with them. That was something I appreciated about Regular Show. JG would let us give it a shot, then he’d let us try again, then if we didn’t get it on the third time he would just do it with us.

I think I would also just point artists and writers to people and works that I think about that will affect the tone and look of the show. I think letting people know where you’re coming from on a show really helps them get an understanding of the show because it points to things they’re already familiar with. So for example, on Regular Show we were pointed toward Mighty Boosh and the Simpsons. For Infinity Train I think its influences include: Killian Eng, Lucian Stanculescu, Myst, Agatha Christie, Voyager, Doctor Who, The Prisoner, Chronicles of Narnia, Wrinkle in Time series, It Follows, The Guest, Empire Strikes Back, and who knows how many more that I can’t immediately think of.

Anyway, that was a pretty long answer after saying “I don’t know” so I guess maybe I do know.

Eclipsa and Star

So, continuing with my previous posts on the subject I have a few more thoughts on the matter of Eclipsa (and on the idea that she may be trying to manipulate Star).

Eclipsa’s influence on Star so far is interesting, to say the least. Star begins Lint Catcher intending on being the best princess she can be, following Tom’s comments in the previous episode. She won’t give Marco whatever job he wants just because she technically can and she doesn’t want him to distract her by being up in the main castle (of course, the real reasoning is a little more complicated but this post is long enough without it - I’ll just refer you to this excellent post by Malthus1 on reddit: https://www.reddit.com/r/StarVStheForcesofEvil/comments/7bwesx/theory_stars_actions_in_lint_catcher_make_sound/) - however, her position changes over the course of a single short conversation with our very own queen of darkness.

This line: “well, can’t you?” is particularly unsettling. Note the change in “camera” angle; most of the scene is “shot” (for lack of a better term) fairly wide, at a neutral angle, allowing us to see both Star’s actions and Eclipsa’s reactions - neither is given particular emphasis. When we reach this line though, the camera tilts so we are now not only now looking up at Eclipsa (and by extension she is looking down on us) but doing so at a strange angle. Similar cameratography is used again later when Eclipsa talks about how dangerous the laundry room is (and that turned out to be more-or-less true) so I don’t think it’s supposed to suggest we’re being lied to or anything as overt as that; rather, I think this technique tells us what Star is paying particular attention to, and what we as an audience should be noticing by extension.

Following this very short conversation, Star comes to the very Eclipsa-like conclusion that "I’m a princess, I can do what I want”. A lot of people have picked up on the parallels between this kind of selfish thinking and Eclipsa’s “crime” of doing what she had to do for her. This is even the second time we’ve seen Star decide to rebel after being encouraged to do so by Eclipsa; in Stranger Danger she ends up going to the Rose Tower after Eclipsa mentions earlier in the episode that Star shouldn’t let the fact that it’s been condemned stop her.

I would also extend this idea and encompass Eclipsa herself - she has long been condemned but, Eclipsa argues, that shouldn’t stop Star from forming her own opinion. Of course, by the end of the episode, whether she trusts Eclipsa or not, Star still ends up defending her from the Magic High Commission. This scene was also accompanied with a close up - signalling to the audience that Star herself is noticing these words more than anything else being said.

The thing is, I can’t decide if Eclipsa is doing this on purpose to manipulate Star, or if she’s just naturally rebellious and is giving what she thinks to be good advice. Especially in the second example where it’s not certain if Eclipsa even knew who Star was at this point, the things she’s saying and encouraging fit entirely within her worldview, which - while definitely selfish - certainly doesn’t seem to be motivated by malice. I imagine if you were to look inside a Mewman thesaurus, you would find “Eclipsa” as a synonym for rebel; I don’t get the sense that she’s being hypocritical or even particularly manipulative with this advice. Surely if you wanted someone like Star to help further your goals, you’d be trying to convince them to do what’s best for you, not them.

So yeah… very very conflicted. I feel as though she will probably end up being the antagonist, simply because no-one else has been introduced who could really fill that role, but I feel it would be much more interesting if it turned out that, far from being manipulative for some higher purpose, Eclipsa is genuinely trying to help but just has a worldview and moral values that are really unhealthy for someone in Star’s position to adopt.

Joe’s shrines and relics

Meta-analysis of Joe’s arc throughout the seasons of Halt and Catch Fire, as far as 4x06, and thus a warning for spoilers. Also, this is a long one, because Joe Macmillan is after all a complicated guy.


Where Gordon’s shrine was always an almost sacred location to him before meeting Joe and it became a shrine when the right person did an all nighter in his garage, Joe did not have a pre-determined location. Joe just feels he wants to work with someone when he meets that person. The person comes before the location. And he will seek them out anywhere, wherever they are. He wants to work with Gordon since he saw him at Comdex 81 and he wants to work with Cameron when meeting her at his lecture in Austin Tech. He seeks and needs people who have a conviction and dare to oppose him. After all, we know Joe – dog with a bone. Gordon and Cameron both do that, but in different ways. Gordon grounds him, Cameron inspires him. Gordon can say “Enough! What you want right now is not realistic at this point in time.” Cameron says, “What you want right now is not enough. We can do so much more.” So, he has chemistry with both of them, but only the chemistry he has with Cameron is inspirational and sexual. Because of the background story we have about Simon, it is not sex that inspires him, but rather inspiration that turns him on.

The basement setting as a shrine begins to be established for Joe within the first ten minutes of the series: he meets with Cameron in a bar to scout her professional potential, has a peek-a-boo argument with her, gets drunk and before long he has sex with her in the bar’s basement. Basement screams instinctual, primal, uncontrollable, and subconscious. The connection created and sought here by Joe and sought after in later seasons in this location comes forth from a primal subconscious need, often masked by rationalizations, rather than a deliberate conscious process.

Just to clarify how primal this first sexual encounter with Cameron was, I’ll remind you of the mating of cats: lunges, luring, cornering, mounting, and painful barbed finish for the female who lashes out and screams at the tomcat. That is pretty much how Lee Pace and Mackenzie Davis acted it to me. Later once hired, Cameron decides to work on the BIOS in the basement instead of her designated cleared out cleaning room. It is in this basement that she initiates and establishes a sexual incubating pattern: whenever Cameron is mentally and mathematically stuck on a problem, having sex with Joe gets her unstuck, lifts her mentally into having a higher overview. And they celebrate their anticipated success for Comdex 83 in the basement (before Bos gets arrested).

Keep reading

anonymous asked:

thoughts on the theory that dan and phil kissed in pinof 8 bloopers?

im not really going to argue if i think the kiss actually happened or not because its incredibly likely that he was just smacking his gross banana lips and frankly i don’t care that much, it’s not my place to try and make the decision if they kissed or not. i don’t really consider myself a shipper and generally just like their relationship, no matter how they define it

that being said, i was incredibly curious if it was even possible or not, so i stayed up with emily most of last night and watched back the video clips and pulled out some reference pictures of phils room

although this one isn’t to scale, or at least most likely isn’t, it’s actually fairly close to the distance between objects in phils room. in the video, phil walked on the bed, in front of the mirror, and then in front of the tv. after that we can no longer see his reflection in the mirror

we know from this image that the distance between the tv and the door isn’t that great, and since phil was headed in that general direction, we can assume he would be somewhere around the door. makes sense, because he said he was leaving. although i doubt the banana thing was the last bit they filmed for pinof 8 so i wouldn’t really say he completely left the room, most likely was just hovering somewhere around the door. this isn’t confirmed or anything but it makes logical sense

we see phils shadow in the reflection of the tv briefly while he crosses and then it disappears, which means he is somewhere out of the reflection of the tv, meaning again, by the door probably makes sense

when dan gets out of shot, we can see that he was sort of going at an angle towards where phil would hypothetically be. we see that he bumps into the camera, and this should be possible if the camera were set up like this, which it most likely is, seeing how the caspar video and this video look pretty similar in distance from the camera. if we were going at an angle, which we can see he was, he may have bumped into the leg of the camera

once he bumps into the camera, we can see more movement in the tv. it’s basically impossible to tell who it is and trust me, i tried, but seeing how dan started to move and this happened instantly after, it’s probably pretty safe to assume its his reflection. the reflection then vanishes while the gross banana sounds are being made, and you can see it again right before dan goes back on shot to look at the mess he made. this one is very likely dan because you can vaguely see his figure in the reflection of the tv

we also know that dan never gets in the reflection of the mirror, so therefore, he likely didn’t cross close enough to the tv to be seen in the mirror, but the distance was right so you could see his movement in the tv. again, with the way phils room is laid out, this isn’t really a stretch.

this diagram approximates their movements in this 6 second period. dan is red, phil is yellow, the mirror and its reflection are black, the tvs reflection is orange, the camera is the blue box, and the pink circle is likely where they were and where the kiss would’ve taken place, if it happened.

so what does this mean? basically, phil was likely by the door, and looking at the clues, it was likely that was the direction dan went as well. so therefore, hypothetically, a kiss could have occurred. the question becomes if you could hear the kiss from the door while the camera was over there, but remember, they aren’t necessarily that far apart. we’ve heard small noises of things by the door before and even across the house or outside the building. the walls in their london flat aren’t much better than manchester. so, with all this in mind, it’s possible that they kissed. considering where the whiskers were smudged and all the shit i said, that could be the case. i’m not going to make the assumption that they did or didn’t, because i just wanted to see if it was possible, and i found that it was.

we also learned that i have too much time on my hands and need to find a hobby

A Glass Body is believable, though may be Reserved for the iPhone 8

Another change we might see is the resolution, as Apple is lagging behind rivals there and sharper screens are apparently being prototyped, including one that’s more than 1440 x 2560, though that sounds like too much of a jump. Finally, the size might change, or an extra size option might be added, with both 5-inch and 5.8-inch sizes rumored. 5 inches would slot between the existing 4.7-inch and 5.5-inch sizes, while 5.8 inches would dwarf them, but even larger phones have been launched by other companies.

And beyond the visual differences, there’s a chance Apple will also improve 3D Touch, making it more sensitive and accurate than it is currently, according to one source. The iPhone 7S might also feature True Tone technology, allowing the screen to adjust its colors based on the ambient light around you. The iPad Pro 9.7 already has this feature, so it’s a very believable addition.

When Antoniades says the stage is “next door” he’s not kidding. Just a few feet from where we’re sitting is a full filming studio fitted with motion-capture cameras, suits, a performance stage and an editing suite, where the game was created. When we asked how much it cost to put the 3x3 meter stage together, the team told us it was around the price of a small smart car – a fraction of what a major studio would pay. The rigging, holding just nine motion-capture cameras, was sourced from Ikea, and the lighting squares from Amazon.

Before it had this studio, Ninja Theory’s team would have had to book out slots in expensive motion-capture studios in far-flung locations, film everything it could and then work with what it had at a later date. “There are many good things about the motion-capture tech,” he told us. “Building games is hard, and each game has its own structure, so you tend to iterate a lot. Having a stage next door means we can literally just jump over and shoot scenes as we need them. It’s a much more fluid way of working, and it means you save a lot of money.

”The combination of facial and body motion-capture technology that Ninja Theory used enables what the studio calls ‘real-time cinematography’. Essentially, the studio is able to capture an actor’s performance and transfer it in real-time into Sequencer, an editing tool for the Unreal Engine 4 game engine.

In this editing suite, the studio is able to edit the game footage like a film, with the added benefit of being able to change things like lighting and camera angles. Essentially it makes creating a game more similar to filming a small-scale film, something Hellblade’s creative director Tameem Antoniades says has made a huge difference in terms of time, cost, and production value.

Understanding how to work on a smaller scale and keep your ambitions in check is part of this, but Ninja Theory also had some seriously cool tech on its side. Using advanced motion capture and facial recognition technology, the team was able to create a game that looks as good as any Triple A game out there, yet also significantly cut both production and release costs.

Other than the talk of future set pieces that will come up, it really is remarkable how similar this is. It really is just NGE with a fresh coat of paint (and some fat trimmed).

I love that all my favorite camera angels… camera angles are still here, like the mysterious look Rei shot Shinji in the hospital, and this awkward situation in the elevator at Nerv.

At this point, I’m wondering if it would even be worth it to liveblog the second and third movies… Wouldn’t it be really redundant? We’ll have to see about that.

anonymous asked:

I've wanted to try doing storyboards/animatics but I've no idea where to even start... do you have any tips/advice? ^^

Start Here! http://sevencamels.blogspot.com/



—Thumbnails first—plan your scene before you draw.  goo.gl/pBbPpy Study how other films similar to your story use camera angles and set ups. Take a movie, pause it everytime the view changes and draw one of these simple sketches.

—Let your drawings be MESSY. It’s ok if they don’t look perfect as long as they are clear and readable. It’s the animators job to hit perfection—story artists just point the way. Check out my Defying Gravity boards when Glinda is riding on the broom—they’re pretty scribbly.

—Have other people ‘read’ your boards. Without adding in dialogue, give the pictures to someone and see if they can describe what’s going on in the scene.

—Be ok with throwing out drawings, starting over, or making changes. Story artists are the rough draft of the movie so the territory comes with a bunch of editing.  There are 150+ boards that got thrown away in the making of Defying Gravity, shots that didn’t work, angles that didn’t communicate what I wanted.

—Send me art anytime! hair.of.gondor@gmail.com I would love to give feedback!

anonymous asked:

Hi so I think I read in one of your posts once you thought that Ruffnut was bi, did you say she was flirting with heather or something? Do you know What episode that was? Love your blog BTW xx

For others interested in seeing the conversation about Ruffnut’s sexuality: [1] [2] [3]

I wouldn’t fight to the death arguing that Ruffnut is bisexual. She’s not as obvious as Snotlout is. That said, I do have suspicions she isn’t completely hetero, either. A term like “bisexual” works for her.

On one side, she flirts with a number of people: males, males, males. It looks like she even is even flirting with one of the guards on Ryker’s ships in “Night of the Hunters Part 2″ (the guard who is moisturizing the Zippleback’s skin). She definitely seems far more attracted - very consistently - to men. Of course there are many non-hetero sexualities that account for that sort of thing, and there are a number of bisexuals who are more interested in one gender moreso than another. Still, this is something to take into consideration and weigh fairly when trying to pinpoint what Ruffnut’s orientation might be. We know for sure Ruffnut is interested in men. We might be less certain about her status with women because of less evidence - which means less ability to make good conclusions.

On the other side, we know one thing that Ruffnut does when she flirts is she lowers her voice and makes it breathy. It’s low and sultry. She does this to Hiccup in HTTYD when she says, “I like crazy.” Her voice takes on a similar quality around Eret multiple in HTTYD 2. Ruffnut’s body language also gives herself away. She puts on this quirky, foxy, naughty, enamored smile and stares at her love interest intently. This is seen clearly in both HTTYD and HTTYD 2.

And she does all those things with Heather in one scene of one RTTE episode.

The voice she uses to flirt - that breathiness with a low fundamental frequency - arises in one sentence when she’s talking to Heather in “Have Dragons Will Travel Part 2″. The other youths crowd around Astrid, Snotlout clearly bragging and trying to flirt with Heather. Fishlegs is trying to get some alone time with her, too. Ruffnut then leans in toward Heather and says in a somewhat sultry voice, “Hey, glad you’re back. Your dragon rocks.” She smiles coyly, squints her eyes, and props herself up against the wall in an interesting posture. Her intensity sort of weirds Heather out.

So we get a lot of evidence Ruffnut could be flirting here. First, the two boys are flirting, and then Ruffnut comes up and seems to be doing the same thing they are. Astrid yanks Heather away from “girl time” so she can have a breather from her admirers. It’s sort of implied that Ruffnut is one of the people she needs to escape for similar reasons as she needs to escape Snotlout. It could be simple admiration or intrigue, or it could be a bit of Ruffnut’s queer side coming out.

Second, as I say, she’s got all the vocal expression and body language as how we know she flirts. Altogether, the way Ruffnut interacts with Heather here is remarkably similar to how she grins and speaks to Eret when she first meets him in HTTYD 2. It’s similar again to how she speaks to Hiccup during HTTYD when she says she likes someone crazy. 

Just… look at it…

Same body language, same voice, even the same camera angle and movements from both parties.

It just feels and LOOKS like a parallel flirtation.

This is why I suspect Ruffnut might not be entirely heterosexual. I’d be fine with people calling her bi.

It’s of course totally possible Ruffnut is just emphasizing Heather’s dragon does rock, and she is just interested in the Razorwhip. It’s possible to interpret this moment as nothing queer. This is just one phrase in one episode in one show; Ruffnut isn’t shown to do anything else that seems non-hetero throughout the rest of canon. Still, it’s an interesting moment, and perhaps indicative toward a sexuality that is more bi, heteroflexible, or so forth.

My final call is that Ruff isn’t fully straight (”bisexual” works, though other terms could work, too). She lives in a society of mostly hetero pairings, and it’s heterosexuality that usually gets its way in her mind. BUT she does have moments - like with Heather - that something not-quite-straight comes out.

[SugaKookie] Light Leaks And Shadows

written for my carnations muse, c

part of my red carnations au

warnings: coarse language

“Kid, you busy?” Jungkook glares at the boy from over his art theory notes and Yoongi laughs. “I mean, Kookie~” He draws out the nickname with a grin. “You busy?”

Jungkook pushes the papers away, rubbing at his eyes. “Not really. I think the words on there—” He jabs at the stack of paper on his desk aggressively. “—are doing the tango.” Yoongi snorts and Jungkook looks up, noticing for the first time the camera slung around the older’s neck – not out of place on campus, but rather unusual to see when they’re in their apartment. “You going somewhere?”

“Yeah.” He watches as Yoongi folds his tripod up, shoves it into his camera bag. “Found a new place a couple of days ago. Gonna do a shoot there.” He pauses. “Want to come?”


“I might need a model and you’ve modelled for me before.”

“Yeah, true.” Jungkook pushes his chair back and stands up. The last time he modelled for Yoongi, he was still living in his own apartment and they were in one of the university’s studios. Jungkook grabs his phone off the table, grinning cheekily. “You still gonna buy me dinner afterwards?”

“Brat.” Yoongi laughs, reaching out to ruffle the younger’s hair, leaving the question unanswered. “C’mon, let’s go.”

They end up in what looks like an abandoned dance studio. No, not abandoned. Trashed. The wooden floorboards on one corner of the hall-like space are completely littered with large shards of glass, no doubt from the mirror that runs from one end of the back wall to the other. There’s green glass bottles too, smashed and against the remains of the studio’s right wall. What used to be an enclosed, private learning space has been torn open, sunlight catching on the shards of reflective glass and casting eerie patches of light and shadow along the other two, still-intact walls.

“Wow…” Jungkook lingers at the entrance, something akin to fear keeping him from taking a step further.

“Beautiful, isn’t it?” Yoongi comments, turning back to look at the younger, already opening his bag and setting up his his tripod.

Jungkook wonders how Yoongi could consider such a broken place beautiful but he nods anyway. “What do you need me to do?”

“For now, nothing.” Yoongi’s mutters, preoccupied in checking the viewfinder and twiddling with his camera settings. “Just avoid the piles of glass. Maybe stick to the left wall.”

Cautiously Jungkook walks further into the room, taking in everything him from an artist’s perspective (as in yes, I would/no, I wouldn’t paint this) and he really can’t see how Yoongi could find this place beautiful. He just finds it similar to a disaster zone, and borderline creepy.

“Okay, done.”

Yoongi has the camera set up facing the wall at an angle and Jungkook looks back at him through the lens. “Is this position okay?”

“Yeah. I’m just doing full body shots for now.” 

Yoongi’s barely taken five pictures before he looks up again, frowning.


“The pictures are missing something” Jungkook almost misses the words, muttered more to the camera than to him. “Maybe try…uhh…moving? A bit?” 

Jungkook quirks an eyebrow. During all their previous shoots Yoongi had kept telling him to stay still and not move. “Move how?”

“Uh…” Yoongi looks lost in a way that’s entirely new to Jungkook. “Rhythmically?”

Jungkook stares, a couple of beats too long, before falling into a body roll, dipping down to the floor and then bringing himself back up.

“Hmm…Yeah. That.” Yoongi’s looking through the viewfinder, fingers rapidly fiddling with various knobs and buttons. “That’s perfect, Jungkook-ah.”

Jungkook shrugs, he doesn’t get it. But then again, few people get his paintings until after he’s explained them so he’s hardly in a position to judge the older. “Want me to dance, hyung?”

Yoongi barely glances up from the camera screen. “Yeah, that’d be good.”

He gets through almost three RnB tracks and two contemporary ones, sweat beading on his forehead and songs looping through his mind, before Yoongi calls an end to the shoot.

“Want to see?” He asks Jungkook, handing him a water bottle from his camera bag, and briefly Jungkook considers the possibility Yoongi planned it all (but the look of utter confusion that had been on Yoongi’s face was far too honest for that to be true).

“Sure.” Jungkook downs half the bottle in one shot then takes the camera from the older boy, lowering himself onto the floor, cross-legged, and flicking through the first of the pictures.

The first five are nothing special, just Jungkook’s side profile. Full body. Looking kind of contemplative but not really.

The next five are…different. And Jungkook can sort of see why Yoongi asked for movement. Where the first five are your standard, tourist-style photo, the five after have streaks of light across Jungkook’s body, bending and moulding to the curve of his spine and neck in a way that makes it appear as though the light is dancing.

“Beautiful, right?”

Yoongi sinks down beside him, leaning over until his chin is resting against Jungkook’s shoulder, hands taking the camera from Jungkook and flipping through the pictures.

“This is my favourite,” he says, turning the screen to face the younger boy and Jungkook’s breath catches in his throat. 

It’s a half body shot, only capturing Jungkook from and angle, waist up, with his head thrown back, arms a blur at his sides. One half of his face is drowned out shadows, and there are spots of light on the other, clinging to the curve of his neck and bend of his arms. He’s so clearly moving, in the middle of a free-spin, in fact, that it’s hard to believe it’s only a photo.  

“Wow…” He’s voice comes out breathier than expected and he supposes he should be embarrassed at being so taken by a picture of himself.


Yoongi’s voice is closer than he thought and he turns, the compliments dying on the tip of his tongue because he’s so close. Close enough for Jungkook to count each eyelash and commit it to memory and Yoongi’s eyes are a deep, dark brown, but for some reason they remind Jungkook of the ocean.

And then Yoongi blinks, and stands up, and Jungkook let’s out a breath he didn’t even realise he was holding.

He tries not to think about how Yoongi is both the fire and the ocean.

Yoongi doesn’t buy him dinner as thanks. Instead, he cooks it and Jungkook didn’t even know Yoongi could cook. But he can, and right after they’ve set the table and laid out the food, the lights black out.

So they end up eating Yoongi’s cooking by the light of scented candles and the entire affair feels like it was plucked straight from one of those cheesy romance novels his mother used to leave lying around their house in Busan, and when Yoongi leans in with a teasing smile, a sangchu-ssam between his fingers, Jungkook feels far too much like one of those shy, female k-drama leads.

He takes the ssam from the older with his fingers instead of his teeth, trying hard to focus more on the food and less on how Yoongi’s usually sharp features are softened by the light of the candles.

God, Jungkook wants to draw him like this, sitting far too close and looking far too beautiful.

[Received 7:32am}
i’m baccccck

[Sent 10:03am]
how was it?

[Received 10:06am]
fun. tiring. i’m jetlagged af rn.

[Sent 10:09am]

[Received 10:09am]
meet up? usual spot?

Taehyung gets to their corner shop first, sliding into one of the booths facing the street and resting his chin in his hand.

“Oh my god. What have you done to your hair?” 

Taehyung turns, grinning at the gaping boy and running his fingers through his bright pink hair. “Why hello, Kookie. Nice to see you too.”

“No man, I’m serious.” Jungkook sides into the stool next to him, eyes still trained on the shocking colour. “What have you done?”

“Excuse you.” Taehyung huffs, blowing a couple of pink strands out of his eyes. “You wish you’d look as good as me in this.” 

Jungkook laughs and Taehyung slides a covered bowl and chopsticks towards him, before uncovering his own bowl and taking a large mouthful of black bean noodles. “Man, I wish Japan had these.”

Jungkook mimics the the movements with loud, obscene slurping noises while the older shoots him a disgusted look. “How was Japan, anyway?”

“Loud.” Taehyung mumbles around his noodles. “Busy. Crowded. Not much different to here except for the fact that the streets are quiet as hell past 3am.”

“The heck were you doing out on the streets at 3am?”

“Don’t know.” He looks tired (jetlagged, Jungkook’s mind supplies). “I think I might’ve been on my way back from a party. And drunk.” Taehyung pauses, shaking his head is if to dispel the memory and Jungkook decides he’s probably better off not knowing. “Anyway.” He turns so that he’s facing Jungkook. “What’s your new roommate like?”

“Messy.” Jungkook says after a pause. “Really unorganised—”

“That’s perfect for you.”

Excuse you.”

“What?” Taehyung laughs. “It’s the truth! You had your art shit all over the floor when we were rooming together!”

“Yeah well I’m not a freaking language student Not everyone gets the luxury of textbooks and exams.”

“Exams,” Taehyung starts, pointing his chopsticks at Jungkook, “are not a luxury.”

“Well. Neither are my major projects.”

Taehyung shrugs. “Fair enough…so what does your roommate study then?”


“Have you seen his stuff?”

Jungkook flushes. “Yeah.”

Taehyung leans forward, pushing his empty bowl to the side. “Is it any good? 


He huffs impatiently. “C’mon Kookie. He’s an art major you have to have more to say about him than this.” He pauses, fingers drumming on the counter top. “Have you drawn him?”

Jungkook looks everywhere but at Taehyung, already seeing where the older boy is taking this conversation. “Yeah, a couple of times.”

“Oh. My. God.”

He looks up.

Then immediately wishes he hadn’t. 

Taehyung has his eyes wide open, pointing at the younger with a far too wide, far too rectangular grin. “You like him.” 

It’s not a question. It’s a statement and Jungkook flushes. “I do not.”

Taehyung sits back and crosses his arms and Jungkook wants to wipe the smug grin off the older’s face. “You like him.”

“Tae, I’m not going t—”

“Don’t even try and deny it Jeon Jungkook. You’re blushing—”

“Am not!”

“— And you paint him.” Taehyung continues without a pause. “You never paint people.”

“I’ve painted you.”

“Yeah, but—” Taehyung rests his chin on both hands in the iconic flower-boy pose. “How could you resist trying to paint this—”


“—perfection. Am I right?”

“I only painted you once.” Jungkook deadpans. “And it was for your birthday.”

Taehyung looks unreasonably smug. “Exactly.”

“Okay, fine.” He jabs at his now-empty bowl with a ferocity that matches the speed of the heat spreading across his cheeks. “I might have a crush on him. Just a crush.”

“Does he like you back?”

“I—” His chopsticks still and Jungkook once again recalls how freaking close Yoongi was, “you’re my muse” playing in his head like that one lyric from that one song with that annoyingly catchy beat. “—I don’t know.” He thinks back to the dinner Yoongi cooked for them both. “Maybe.”


There’s silence for a couple of beats, broken by Taehyung (he never has been good with silences) when he launches into a play-by-play of how he ended up on the streets of Tokyo at 3am – but Jungkook’s no longer listening, mind once again drifting back to his roommate, the one with the pretty hair colours and gorgeous side profile and fuck, Jungkook might just be drowning a little in Min Yoongi.

Just a little.

anonymous asked:

Hi viria! I just want to know, do u have any tips for drawing selfies? I am using references, but it's not working very well for me right now :( btw i love all your art! Perfection!

Hmm usually what makes it a selfie I guess *or at least how I make it look similar to a selfie* is the arm in the perspective, holding the camera. 

Then in the difference to a lot of usual art, the characters are looking on the viewer (in the camera), except maybe some of them who are unaware of the picture being taken and just keep on on doing their thing.

The next one I don’t *always* do, but I still it adds the nice touch to it. Blurring things either in the movement or out of camera focus!! Don’t overdo it, but adding it a bit is good for a selfie I think.

Also depending on the angle, the heads might seem bigger from the *fish eye*, but only those closer to the camera.

You can also add noise texture to the picture so it has the pixelized feeling, but personally I don’t really do it much.

Mm then I guess selfies usually imply at least some kind of background? Or at least background colour. If usually *im guilty of it* it’s okay to draw everyone ascending in the heavenly light on white nothingness on the selfie it wont really work as well, because the bodies should be in the environment the picture is taken.

Hmm this is all I can come up for now, I hope it helps! ` V ` 9