not designed to quit

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It was getting too long, I had to cut it, I’ll make 2 more parts on the Art tips!!

Oh and also don’t hesitate to tell me what you think about this first one, if there’s too much text, if it’s hard to read, if it’s boring etc… I’m still not sure about how to make pretty tutorials ^^’

Have a super good day!! Hope it helps~~

*** Flipping your canvas on traditional media:  Look at your painting in the mirror, or turn your paper and put it against a light, to see the reverse image or take a pic of your drawing with your phone, and in the pic editor, just flip it~~

What About Pierre? Looking at the Yellow Waistcoat in “The Great Comet”

A little something different this afternoon; rather than looking at a specific character or show, I’m going to look at a specific item of costuming that caught my eye this season. Paloma Young was nominated for the Tony Award for best costume design this year, and as I noted in my Banstand review, I am quite an admirer of her work. Her designs on Natasha, Pierre, and the Great Comet of 1812 are no exception, and are definitely worthy of a full, traditional review later on this year.

But when I think of the performance, one piece in particular stands out for me: the rich yellow waistcoat worn by Pierre (Josh Groban in the original run, occasionally replaced by show composer Dave Malloy). More than any other costume on a male lead this season, the waistcoat sticks out in my mind as particularly well done and beautiful. Perhaps it’s because I have a strong fondness for classical designs, or perhaps it’s because of my love of 18th and 19th century fashion (not that I would ever revive it in the current day, but there’s something so absolutely crisp and appealing about the clothing of that era). Either way, I wanted to dedicate some time this afternoon to looking at this piece in a bit more detail:

This waistcoat might be my favorite article of male costuming from the 2017-2018 season. It’s a beautiful shade of yellow, almost a rich mustard shade without being dull, the leaved pattern running in columns is elegant and detailed without being distracting or overbearing, and I love the double column of burnished brass, nearly black buttons. Like many fabrics on broadway, the lighting can give it a different look depending on the angle, and I like that it appears a brighter yellow in some shots and during some scenes:

To me, that shows not only Ms Young’s skill, but the versatility of the fabric. When designing a stage costume, it is very easy to forget to take into account the lighting design of the performance and focus on a single scene or a single moment in the production. Professionals, though, know that the choice of color needs to be made carefully, both for the primary design and for any elements of patterning or adornment.

This waistcoat is a master class in how to balance those concerns. When against a darkened background, as in the first still, with direct lighting, it takes on that rich mustard that I said I loved. In the second still, the lighting is more diffuse and gives it a more vibrant feel which fits with the raucous scene behind the Pierre character.

The character of Pierre–”poor bewildered and awkward pierre”–is a brooding one, and the bright color (even when it appears much richer) helps to offset that a little bit. But when the character is looking darker or more brooding, the waistcoat once again changes subtly in order to reflect that. Take a look at it when it’s partially covered by a black overcoat for an idea of what I’m talking about:

This has to do with the cut and flow of the fabric, something that is one hundred percent down to the designer’s choices. Notice how the waistcoat appears almost constricting, as opposed to the more open feel in the previous stills. Like whatever burdens Pierre is contemplating, the waistcoat weighs him down a little bit. It’s a subtle thing, but an important one.

Normally, I would note that many of the elements of the waistcoat would not be apparent to the audience and would only be apparent in promotional images like these. But The Great Comet is really not your average production. The audience is literally onstage, or at least the banquettes, tables, and armchairs allow members of the audience to be onstage. The cast also frequently seems to mingle in the seats a little bit, and the movement of every character allows the costume to be seen by a far wider percentage of the audience than might normally be the case.

I really enjoy this design on a number of levels. The color and pattern are beautiful, and the way it responds to the varied lighting of a production (one which is more varied than even the typical Broadway show) is a testament to Paloma Young’s skills as a designer. Taken as a whole, it’s a beautiful item of clothing that does what good costuming should do: elevate the character, draw the eye, and create a kind of magic that helps to put the audience in the performance rather than be suspended outside of it.

It takes a lot to costume two amazing Broadway shows at once, and I can’t help but once again congratulate Ms Young on a fantastic job!

anonymous asked:

Can we just talk about how much I love Saihara because he literally has all the same flaws as me and because of this I can love and relate to him more than any other Danganronpa character in the entire series? When anon said that weakness is the reason others will hate him as a character really annoys me because those are the things that I personally ENJOY about the protagonists. (Also, I really don't see Saihara as 'weak', anxious and insecure, definitely, but not weak)

I feel you anon, I relate to Saihara quite a lot, too. He’s not designed to be a self-insert protagonist in the way Naegi or many other vn protagonists are, but that doesn’t make it impossible to relate to him either. Rather, his weakness, anxiety, and depression are all traits that made me feel he was more relatable, not less.

It’s rare that a protagonist has these flaws so openly, and even rarer when they aren’t magically “fixed” or brushed under the rug by the narrative. Many protagonists who might start out in a series as weak or timid or anxious often become brasher, more extroverted, more shounen-like as they begin to adhere to the “believe in your friends, believe in yourself, you can do anything as long as you try” mindset in fiction. So the fact that Saihara managed to grow and develop as a character while still remaining very much the same person at heart made me love him, honestly.

Keep reading

[My OCs] Probably-not-quite-but-nearly finalised Albert’s design and colours, mainly just have to decide on the designs for his priestly garb and actually reference some modern priest garments :’)

EDIT: No longer catholic as he has a son, which he can’t have if he’s a priest! Another thing I need to think about pft

anonymous asked:

Hey! I love your fanart! How do you picture Tom Riddle's dressing style?

Thank you!! I think Tom would wear fancy dresses robes (once he could afford them), something that would suit his social standing as Slytherin’s heir… He would also absolutely loathe muggle clothes. At hogwarts though he would wear school robes like everyone else.

I made a quick messy doodle of how i imagine their school robes. I’m not very good at designing clothes so it’s quite boring (〃 ̄ω ̄〃)ゞ

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Art Tutorial Preview

This one was fun to do since I usually leave silhouettes till after I design my character. Starting with them is quite interesting as it feels like I’m molding a character out of clay. I hope this was helpful!

Yo! Get full access to all my tutorials/references through:
Patreon: [https://www.patreon.com/lunaartgallery]
or
Paypal Order:
the 10$ package will get you 15 items of anything available on my Patreon, emailed directly to you.

Thank you~!

Why “Beauty and the Beast” was actually pretty great:
  • the music is not good, it’s great
  • production design, costumes (even the freaking yellow dress which is actually quite gorgeous on camera), everything is truly beautiful and quite breathtaking at moments
  • the acting was surprisingly wonderful. it’s disney, it’ll be cheesy at moments—but for the most part, it was terrific
  • this is not a childish adaptation
  • when it gets dark, it gets DARK. 
  • g a s t o n
  • new songs! new character development! 
  • the cgi is not even that bad. in fact, there are moments when it’s pretty seamless. the practical sets and effects compensated for it, in my mind.
  • and when it’s wonky? you won’t care because you’ll be too busy smiling
  • there is some hilarious shit in this movie
  • the beast’s expressions are actually amazing; you can really see the actor moving beneath them 
  • T H E    M U S I C
  • you get to see little kids and adults all freaking out the whole time
  • SIR IAN MCKELLEN PLAYS A CLOCK AND IS AWESOME AT IT
  • emma watson will make your heart stop she is so beautiful
  • sneaky political/ethical gestures that made me cheer
  • this movie is so pure and we need that right now
  • and by the end? i just started laughing and crying—in excess joy. i couldn’t believe it. i’ve never been moved by a movie like that in my life.
  • it won’t please everybody but if you loved the original and if you are prepared to attempt to enjoy it for what it is—a colorful, painterly, vibrant adaptation of a beloved story—then go watch it.

Some Gochi for my followers, love you guys! Thanks for being there, enjoying my fanart and my blog :)

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  (Don’t repost / remove the caption / add onto the post or use without permission)

‘ Lock, shock and barrel. Three mischievous trick or treaters that cause chaos around Halloween town. When their not doing that, their acting as Xiggy boogies henchmen, assisting him in what ever his next scheme may just be.Lock, shock and barrel however,are just their nicknames. Respectively being Lea Axel , Xion and Roxas. ‘

SO, I got around to making one of these for the trio in the NMBC AU. Which also meant, I had the chance to touch up their designs or fix things I wasn’t quite happy with from their first designs in the AU etc.Also got around to designing the mask Axel and Xion wear, just like how Roxas has his skull mask.

My half of a collaboration with SilverStrangequark! Man, these took way longer than I expected to design and draw, but I’m quite happy with the results. Chespin-Rowlet gave me the most trouble, but it also turned out to be my favorite~

Edit: I wasn’t clever enough to come up with any on my own, but here are some great hybrid names courtesy of @feymark

Night Owl (+ Misdreavus)

Popcorn (+ Mareep)

Lakeside Blue (+ Ducklett)

Pricklemane (+ Chespin)

Tinderwood (+ Fletchling)

Grandfather Clock (+ Hoothoot)

White Lilly (+ Ralts)

Lemongrass (+ Natu)

anonymous asked:

Oh My God! You love Dear Evan Hansen! Yesssss. Since I'm seeing a lot of trans love in your blog (#fuckyeahtrans), you should draw some trans!Evan, Connor, Jared (gayming son), or Zoe!! I love you and your art sm!

hanging out with your tf (tree friend)

A doodle of the Altertangle AU but with Asgore as Rapunzel.

Altertale and Altertangle belongs to @friisans