more contrast in the mid tones


Once again, I’m no expert- there are things about these layers I probably haven’t covered, so please try them out for yourself!

Layers 1-7 help your contrast. They are usually a pair of the former two groups I went over in my last post.

1. OVERLAY:  Helps your contrast by boosting your lights and darks, while the more mid tone pixels aren’t affected as much. It does this based on the layers beneath it.  “Screens” the lights, “multiplies” the darks. 
2. SOFT LIGHT:  Similar to overlay, but a “softer” effect. You can think of soft light as more transparent.
3. HARD LIGHT: You can look at hard light as an intense version of overlay, with much brighter colors and a much less transparent look.
4. VIVID LIGHT:  This is the heavy metal version of overlay- think of it similar to color dodge and color burn.  Very intense colors, good for finding interesting lighting and color combos.
5. LINEAR LIGHT:  Crazy amounts of contrast and color is added here, even more than vivid light.  so heavy metal 
6. PIN LIGHT:  This one is interesting because besides it also being an intense contrast layer, it can add random noise to the active layer.  Apparently this is a combo of the lighten blend mode on the light pixels and darken on the dark pixels, but the noise effect is what makes it really interesting imo.
7. HARD MIX:  You will turn this mode on and be like “no” but it is actually adjusting its fill will reveal another overlay-ish type layer.  It throws the colors on the active layer towards a more primary color such as blue, or magenta. 
8. DIFFERENCE: This will invert your colors, taking into account the layers below. If colors are very close, they will be black.
9. EXCLUSION: This also inverts your colors, taking into account the layers below. If colors are very close, they are grey. Exclusion and difference are layers that would be good for graphic pieces, I haven’t really gotten used to incorporating them in my painting workflow.
10. SUBTRACT: Similar to the above layers, but more intense. You will notice that the darker you make your active layer with Difference, exclusion, and subtract, the lighter and more transparent looking the result will be.
11. DIVIDE:  Divide, however, usually results in crazy highlights that are pretty opaque unless the layer is fairly light, and then it will begin to go transparent. 
12. HUE:  Makes the lower layer take on the hue of the active layer.
13. SATURATION:  The lower layers take on the saturation of the active layer.
14. COLOR:  The lower layers take on the color of the active layer.
15. LUMINOSITY:  The lower layers take on the luminosity, or brightness, of the active layer.

Once again, I’m no expert, but I hope this helps. Thanks guys!

zionwade  asked:

What do you think makes a good wrestling entrance theme?

That’s a good question. Thank you for asking. There are three things that make a wrestling thing good: 1) it has to match the wrestler’s character; 2) it has to be catchy; and 3) it has be memorable. I’ll share with you some of my all-time favorite wrestling themes.

“Million Dollar Man” Ted DiBiase’s theme is pitch-perfect. You hear his supervillain laugh at the beginning and you know right away he’s hitting the ring. The refrain “Money money money money money” and DiBiase’s spoken lyrics dovetail nicely with DiBiase’s character as an arrogant rich asshole. It’s basically Wrestling Theme Composition 101 if you ask me.

The Rock’s theme song has gone through many iterations over the years, but it’s retained and/or remixed some elements without turning it into a completely different theme. It always starts the same — The Rock yelling “If ya smeeeeeeeeellllllll… what The Rock… is cookin’“ — before launching into a barrage of blaring guitars. Here’s what it sounded like in its first version.

See how close the “new” version sounds to the original? Preserving the character of The Rock’s leitmotif keeps fans clued in, even if the song gets tweaked or revised.

Finally, let’s go over a more recent example: AJ Styles.

I love this theme for many reasons. First, the gospel-like opening gives this leitmotif a very distinct sound. It stands in contrast to the more rock-driven themes that are prevalent in the WWE, although the saturation level of “generic metal” themes is nowhere near as awful as it was in the mid- to late-2000s.

But this difference also sets him off immediately as different from the rest of the WWE roster. He *is* different — not a homegrown WWE talent like a John Cena or Randy Orton, but an accomplished outsider, having honed his craft elsewhere and abroad.

That use of gospel tones also carries some other subtext. It ties in with AJ Styles’ Christian faith and his fondness for Christian hip-hop music. While there is no mention of his religiousness on WWE television, his theme is a slight nod to that fact, which a more perceptive wrestling fan might notice.

Suffice it to say, it’s one of my favorite entrance themes in the WWE presently.

cherrylolitalove  asked:

I haven't seen this talked about anywhere so I wanted to ask what do all the blending options mean? (on the right side of the screen under opacity)

Normal–Does nothing. Layers will remain as they are.
Multiply–The best mode for darkening. Works by multiplying the luminance levels of the current layer’s pixels with the pixels in the layers below. Great for creating shadows and removing whites and other light colors (while keeping the darker colors). As an analogy, think of the selected layer and all of the layers below as individual transparencies, and that they are stacked on top of each other, and then placed on an overhead projector. Using this analogy, the light passing through the lighter areas will have trouble getting through the darker areas, but the lighter areas will shine through other lighter areas with relative ease.
Add–Looks at the color information in each channel and brightens the base color to reflect the blend color by increasing the brightness. Blending with black produces no change.
Overlay–Uses a combination of the Screen blend mode on the lighter pixels, and the Multiply blend mode on the darker pixels. It uses a half-strength application of these modes, and the mid-tones (50% gray) becomes transparent. One difference between the Overlay blend mode and the other Contrast blend modes, is that it makes its calculations based on the brightness of the layers below the active layer—all of the other Contrast modes make their calculations based on the brightness of the active layer.
Screen–Similar to the Lighten blend mode, but brighter and removes more of the dark pixels, and results in smoother transitions. Works somewhat like the Multiply blend mode, in that it multiplies the light pixels (instead of the dark pixels like the Multiply blend mode does). As an analogy, imagine the selected layer and each of the underlying layers as being 35mm slides, and each slide being placed in a separate projector (one slide for each projector), then all of the projectors are turned on and pointed at the same projector screen…this is the effect of the Screen blend mode. This is a great mode for making blacks disappear while keeping the whites, and for making glow effects.
Lighten–If the pixels of the selected layer are lighter than the ones on the layers below, they are kept in the image (the opposite of the Darken blend mode). If the pixels in the layer are darker, they are replaced with the pixels on the layers below (they show through to the selected layer). Note that this behavior is on a channel by channel basis, i.e., this rule is applied to each of the 3 RGB color channels separately.
Darken–If the pixels of the selected layer are darker than the ones on the layers below, they are kept in the image. If the pixels in the layer are lighter, they are replaced with the tones on the layers below (they show through to the selected layer), so basically the darker tones of all layers are kept. Note that this behavior is on a channel by channel basis, i.e., this rule is applied to each of the 3 RGB color channels separately.
Difference–Subtracts a pixel on the active layer, from an equivalent pixel in the composite view of the underlying layers (B-A), and results in only absolute numbers (the subtraction never produces a negative number—if it turns out to be a negative number, it’s converted into a positive number). It does a selective inversion where black never gets inverted, white inverts absolutely, and all of the other luminance levels invert based on their brightness on a channel-by-channel basis. With this blend mode, similar colors cancel each other, and the resulting color is black
Dodge–Brighter than the Screen blend mode. Results in an intense, contrasty color-typically results in saturated mid-tones and blown highlights.
Burn–Darker than Multiply, with more highly saturated mid-tones and reduced highlights. 

Sources (x x)

(Their explanations were better than what I could come up with :D)



awhile back, i wrote a post about clutter. and how we have so much of it. my dearest t-bag recommended that konmari method book to help me with my decluttering mission. it’s a quick, very useful read. and while i didn’t really agree with everything she says (for example, her biggest method of determining whether or not to get rid of something is to ask yourself if it sparks joy. and then she advises to basically get rid of all your books. well, piles of books spark all kinds of joy for me so i’ll be bending this rule), i did like her overall message.

the part that got me thinking the most was not the part about tidying in general. it was the advice about how to begin. here are some excerpts from the section “before you start, visualize your destination” (p. 36-38):

- think in concrete terms so that you can vividly picture what it would be lie to live in a clutter-free space. 
- your next step is to identify why you want to live like that…ask yourself “why?” again for each answer. repeat this process three to five times for every item. as you continue to explore the reasons behind your ideal lifestyle, you will come to a simple realization…before you start tidying, look at the lifestyle you aspire to and ask yourself, “why do I want to tidy?” when you find the answer, you are ready to move on to the next step: examining what you own.

i loved this exercise. this exercise of asking “why?” over and over again until you get to the root of your visual desires. and the exercise of thinking in concrete terms what you want your home to look like. she points out that our homes are really the only places that we have almost complete control over.  and that point, along with this “why” exercise, really hit me. i’m pretty sure i spent a little more time than normal thinking about this.

i scoured my pinterest boards (all pictures are from my “home” board) and picked out the pictures that spoke to me the most. none of the images above are 100% what i would want in our home. but they all have elements that really appeal to me. (luckily, matt and i are on pretty much the same exact page in terms of aesthetic preferences.)

what are those elements? well…i think there’s something about simplicity but not in that scandinavian, all-white way. more in that things serve a purpose while still being visually appealing way. i like a little bit of mess but not too much. i like dramatic, high contrast but not in an overwhelming way. i like a little bit of moodiness. i like the slight sense of humor that mid-century modern furniture has. i like a mix of modern sensibility with vintage-esque touches. i like jewel tones and wood. i like things that don’t quite belong. i like single dramatic pieces that don’t saturate the picture. i like for things to have a place and to serve a purpose (even if that purpose is just to sit there and look pretty). i love plants. i like things to be polished and aesthetically sharp while still being inviting and warm.

and then i asked myself “why?” a bunch of times to question why i want my home to have these elements. and i basically came down to: i don’t like to be bored but i also don’t like to have to process so much in my visual environment that it takes up too much brain space. i think this plays out in my affinity for slight tensions - between colors, eras, etc. i want people to feel welcome and visually pleased. which plays out in wanting things to be aesthetically pleasing without feeling too precious. i also think that’s why i like plants so much. and why i don’t like things to feel overly modern or minimal. 

basically, i feel like in my everyday life, my brain is always moving in a million directions at a million miles per hour. when i enter my home, i want my brain to feel calm but still engaged. i want to be reminded of sweet moments in our lives, past and present. so emmett’s books and toys strewn around the living room don’t stress me out. our bookcase stuff with books i’ve saved from all eras of my life makes me really happy. our window shelf crowded with family pictures is fine by me. our open kitchen shelf with the precariously stacked spices is kind of scary but also necessary (i tried to clean out spices we don’t use and got rid of two things). 

the book author asserts that knowing what makes us happy and having these concrete images of what we want extend to our lives. how we make our home and prioritize what stays and does not has repercussions for how we prioritize elements in the rest of our life. i like that idea a lot. we are in the slow process of getting rid of things and adding little elements to our home as we go along (having a rapidly growing toddler definitely helps with that “adding things” component). i’m trying to be more and more mindful of what we have exit and enter our home. and, more generally, the ways these choices reflect the kind of life we are creating for ourselves. 

The Devil’s Playground: Part 1

By now you gals and guys know how much I love environments. I love to draw them and I really feel that they can make or break a story because your characters need to inhabit a world that feels authentic. Now I don’t want this to be misinterpreted to mean that an environment has to be incredibly detailed in order to be effective. I’ve seen artists who have drawn every window in a skyscraper yet left still manage to leave me cold. Backgrounds can come in many shapes and sizes, the can be as gloriously detailed and rich as Bryan Hitch’s work, or beautifully stylized like Tim Sale’s or as graphically impressionistic like Mike Mignola’s, there is no spoon. What’s important is that they feel convincing, like living breathing characters all to themselves.

In Daredevil: Father I consciously chose to imagine the story as being filmed in a much more high contrast fashion than any of my previous work. That meant bolder, more uncompromising blacks, fewer mid tones, zero to no feathering or rendering. Having never worked like this, it was a bit nerve wracking and resisting the impulse to render objects was a constant battle and it meant a whole new approach to drawing environments for me that was a bit daunting at first.

Seen here are pages 8 and 9 from issue one and it’s the reader’s first real look at Hell’s Kitchen in the series as DD jumps into the city like a kid jumping into a pool at summer camp. I felt it was an important element to establish and set up early in Father as from Karen Page to Foggy Nelson to Ben Urich, the world of Matt Murdoch is filled with amazing supporting characters, but perhaps non bigger than Hell’s Kitchen itself.

By now many of you have read reviews or are getting a sense of the feel of our upcoming show on Netflix (ONLY ONE MORE WEEK!), and I think you’ll be happy to see that it follows the very same philosophy. Hell’s Kitchen is not only one of the most important characters in Matt and Daredevil’s world, it’s his playground.

Behind The Page.

My apologies for the late entry today but after a full day of travel I’m a bit behind the eight ball and more than a tad jet lagged. So as thank you for your patience here’s a piece of bonus art. The original layout for the cover of issue 3 of Guardian Devil. I must have been tired when I originally drew this because the page was upside down.

This cover was used as the inspiration for the opening image of the Daredevil movie with Ben Affleck which was incredibly flattering.


Favourite Star Princess bodices (with the costume design): 

1. The Las Vegas bodices. Holy smoke. The ombre effect and very detailed beading. The ruffle, delicate over the bust, and very broad over the shoulders, and with a row of purple mixed into the blue to underline the ombre theme of the costume. The well balanced star/bead decorations over the bust. And the bodices blended perfectly with the skirts. I just have so much love for these. 

2. An elder bodice, in use on Broadway. Same ornamental beading as in Vegas, but a more generous bead fringe over the bust, and the star placed over the cleavage, as in the design. Rather light ruffle over bodice and sleeves. Another definitive favourite of mine. 

3. Yet another elder US bodice, from the US tour. Same beading as before, but a lot more stars and bead fringe over the bust, and actual puffed sleeves instead of “just” the ruffle. Also gorgeous ombre effect, blending perfectly into the skirt. 

4. The “short” Danish bodice. Called that because they had a longer one too. This was, I believe, an old Swedish costume redecorated. Bold, but balanced colours, lovely ombre effect, and an intriguing mix of blue and gold in the decoration over the bust and the puffed sleeves. And the bust decoration was just very well balanced. 

5. The costume design by Maria Bjørnson. Still love this one. 

6. A newer Aussie/World Tour bodice. I think this one is rather simple in shape, and the front seam has always bugged me. BUT I also love the simplicity of it, and I think the decoration over the bust is lovely. Especially the blue and silver star-decorated fabrics turning into actual puffed sleeves. Could have blended better with the skirt, but ah well. 

7. The second-generation Toronto bodices. Sharp tailoring, simpler beading than the first ones, more muted colours with a lovely ombre effect, and a modest but nice decoration over the bust. 

8. Mid 2000’s West End bodice. Right before they went nuts with colours, and with a really cool solution on the decorations over the bust - the bead fringe topped by a blue-and-pink wavy ruffle, topped by three stars. The tailoring of the bodice also rather similar to the design. 

9. The “long” Danish bodice. With a much longer and more defined pointed front than the “short” one, and colour wise more purple in the middle section. Really snug tailoring, nice silver tone contrasted by the hints of gold over the bust and in the puffed sleeves. Also very good blending with the skirt.