objects and scenery

ok so i know, as a snapchat user, that we don’t always send selfies. therefore, i am here to present the first part of my new pack!! underneath the cut you will be able to find #165 #283 #298 random snapchat icons, sized 230x230. i don’t claim any of the pictures, but they were all edited by yours truly (i used topaz, a psd and a texture). you will find pictures of couples, friends, sceneries, objects and others. the content below may be triggering to some, so be aware of the tw: guns, drugs and semi-nudity. like/reblog if you use it! tip: add /mobile to the end of the post’s url to see images as a gride.

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Bayonetta Scenery: Ithavoll Building

Under the cut there are 33 gifs of Faceless Scenes/People/Objects; 1. all the gifs below are size medium to small with no text gifs included; 2. none of the following gifs were created by me; if you are the original gif maker and would like me to remove your gif, please feel free to message me and I will do so; 3. if this gif hunt was useful to you, please like or reblog ➳

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Commissions!~

Now that it’s been quite a while since opening commissions, figured I’d update the sheet a little bit and show you guys some new examples! If you have any questions or concerns about any type of commission you would like to do, please feel free to ask away! Know you can come to me about any questions you may have.

If you don’t see something above that represents anything that you would be looking for and need even more examples, click this link to check out my art tag for more examples of my work!

All the money I make will be set aside for paying for college, basic needs, as well as being put aside for money to move out!

Thank you all for the consideration!

I’m also listing out some good information below that can also hopefully answer some questions for you!

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Some Helpful Art Tips on Submitting Your Demo/Portfolio to an Animation Studio

So last semester I attended a lecture by one of the recruiters from DreamWorks Animation. I recently uncovered my notes on the presentation and figured it might be of use to post them here so others can benefit from this information too.

STORYBOARDS

+There must be a beginning, middle, and end

+Never end your storyboards/shorts with “to be continued” it gives them the impression that you have not finished your idea.

+Including grid planes (sky and ground) are a plus to help the viewer understand the space they are in

+Use a variety of tones to establish space, depth, and mood. Using color to emphasize an important object is also a good strategy.

+Focus on the beats. This is not an animatic, you do not need to pinpoint every minute action. Include the important frames to create a clear visual interpretation of the narrative.

+Demonstrate that you have a good understanding of cinematography and camera movement (i.e. don’t brake the 180 degree rule, make the visual experience interesting)

CONCEPT ART/ VISUAL DEVELOPMENT

+Understand Lighting and color
+Good quality digital paintings with impact
+The work should have an element of “charm and appeal”
+Include process work.

“Shape language” is also important. This refers the stylization which reaches across all elements in a particular story/film/ collection. Shape language applies not just to characters, but to objects and scenery. What are the nuances of color and form that define the style?

Character design is generally the most desired position for any artist, but very few artists will actually be selected to work with character design. No one is hired on at entry level for character design, this is something you can only work up to by proving your skills and building a good reputation within the studio. Most visual developers will work on props, vehicles, scenery, etc. So learn to treat your props as characters! Never underestimate the minutiae. Anything from mushrooms, and flowers,  to posters in a character’s bedroom. Also include variations on these props. Don’t do just one mushroom. Make ten mushrooms. Or twenty! You’ll want to get across that you have a good eye for detail. DreamWorks loves detail!

Finally, understand how your work fits into the grand scheme of things. Know that when working on a feature film, game, or any big creative project, departments will have to collaborate to get things done efficiently. Make sure your work is readable and easy to understand. Something the other departments can work with without having to ask questions.

DEMO REEL

Human moments/Acting/Nuances of movement and expression (reactions shots are a good thing to include; show that there is a thought process)

The quality of your demo is more important than the length
One format they suggested was to include clips from your thesis film (if you have one) and attach the full film at the end of the reel

If you submit a thesis film, especially one you worked on with a partner/partners, clarify which sequences you were responsible for/what components of those sequences you were responsible for. They appreciate it when notes like these are included as subtitles/captions within the film itself, so they do not have to refer to a separate article while watching the short.

Make your demo entertaining.

If you decide to show off your lighting/surfacing skills, modeling food is a good way to get their attention. You know you have a well rendered piece of fruit if you can make the audience hungry.
Lighting translucent objects (flower petals, thin fabric, etc) is a good way to go.

It is also good to include your work process

Gardevoir Family Headcanons

(The second part of my request from @m3xkeleton. Hope you like!)

  • Ralts are always blind, so must navigate by way of psychic power, which they use to map out and gather information from their surroundings. As all of their subsequent forms have working vision, most ralts go through a sight adjustment period following their evolution into kirlias - they will stare for hours at objects, scenery and, more than anything, their trainer, coming to terms with experiencing the world in a new way. At this early stage, kirlias should not be exposed to bright, flashing lights or anything that could disorientate them - they are always prone to fits and nausea in the first few weeks. 
  • Even as they evolve, they never lose their ability to navigate without sight. This understanding makes gardevoirs good companions to the blind.
  • There is a a traditional Hoann dance (known as サンダンス, or sandansu) that is inspired by the movements of kirlias. It involves a combination of slow and skipping steps, straight legs and still arms, sometimes calling the performer to go on pointe. There is dispute as to whether ballet developed from sandansu or vice versa, although some argue that the two could’ve emerged independently.
  • Although gardevoirs are thought of as intrinsically feminine, contest stars generally favour male ones. Male gardevoirs are taller, with longer arms and legs, and so often look more graceful in their movements.  
  • It is not fully understood why male kirlias have two evolutionary paths but female ones do not. Genetics seem to be the most influential factor: in certain sub-species, male kirlias will only evolve into gallades; in others, all kirlias, regardless of sex, will evolve into gardevoirs. Some believe that cross-breeding between sub-species has muddled the gene pool, meaning that most male ralts are born with a predisposition to either evolutionary path. That said, environmental factors - such as adaptive purposes and personality - also appear to play a role.
  • Gardevoirs, kirlias and ralts must have their hair trimmed as humans do, although not nearly so often. Their hair grows ten times slower than human hair does and is notoriously stiff and heavy, but will become unkempt if left unattended for years. Wild gardevoirs are usually told from domesticated ones by their longer, wilder hair.