one of my favorite compositions

anonymous asked:

Timothy is one of my favorites in Dgm, but it's also kind of painful to think about how young he is. For CC, Timothy wasn't that old when he was killed and even though he was likely more mature for children his age due to what he went through he was still just a child. So when he comes around in CC how will the reaction be for the adults going from the others (who were adults sort of when they died) to Timothy?

*whispers* I know it’s so terrible

As far as canon goes, Lenalee was younger than him when she was first recruited, but there’s a special sort of horror in that he’s still young and so he can still be saved but probably will not be.

In CC - that’s distant future shit so I don’t have any solid ideas yet, but in general? It’ll be another black mark on the Order’s reputation for them, and while they’ll be furious it probably won’t be Over The Top, simply because they can’t get much angrier than they already are. And for people who will, by then, be averaging forty to fifty, I’m not sure there’s a huge difference between eighteen and twelve. (At least not one appreciable on this magnitude of atrocity.)

What’s really going to kick it for them is that, more than any of the others, Timothy probably won’t be angry - he’ll be confused.

And that- that will be awful.

I’ve deigned some pretty cool snow globes over the years. This one, from a few years ago, was the most popular. It also happens to be one of my favorites. A lot of thought goes into a compelling composition for a snow globe. It has to look good from every angle. Not just the front. I love the mix of characters and the way Genie’s tail brings your eye around the entire piece. Countless overlays were done to get the characters looking just right.


john williams is hit or miss but this is absolutely one of my favorite compositions in film history 

how I work (usually)

I got a recent question about my process and realized I hadn’t posted about it since the middle of junior year, but a lot has changed since then!

For an illustration guest workshop, we were tasked with creating a gig poster for an upcoming show in the area. I chose Foxing, one of my favorite bands, and began brainstorming compositions, accompanying elements, and just trying to hit the emotional tone I was looking for. I think I should note that there is a lot more to this step than I could realistically show you without it taking over the post, but here is a sample!

Then, once I’ve found the emotional and conceptual tone I’m looking for, I scan the elements that are working and print them out at 8.5x11 in a very light grey so that I can work over top of them. I do this for two reasons: A. because I’m lazy and don’t want to redraw it from scratch and B. because often by doing that I lose the original energy of the composition that made it work as a thumbnail. 

The three sketches are due in class, and during critique, we all decide that the leftmost one is the strongest to move forward with. When I get home, I scan the sketch, and fix the things discussed during critique. I change it from rain to snow outside, put the title at the top and smaller, and put a tree outside to show the snow and help the composition. Afterwards, I print it out again, and tape it on my light table. With a second sheet of paper on top of it, I start inking. I use P.H. Martins ink and a size 0 brush for the whole thing. After I finish the bulk of the inks, I’ll place a third sheet over it, where I ink additional elements.

Once finished, I scan the inks and start the digital component of my process. I separate the linework from it’s white background so that I can color it. I block out every different part of the illustration with a flat color so that I can later drop in watercolor textures and clip them to the shapes I have already made. I work mostly with multiply, overlay, and screen layers to help the watercolors retain their texture. Here are a couple progress shots leading up to the finished piece, sorry about the jump between 2 and 3, I forgot to take a screenshot!

And that’s about it! If there are any further specific questions I’d be happy to answer them!


Ooh, by the way, check out this composition from one of my favorite YouTube musicians. It’s a bunch of classical pieces mixed together and it sounds great. :’)


Let’s take a  brief look at the composition of this moment. It’s one of my favorites in “301″. I think it’s a very intriguing amalgamation of verbal (=“smoke”) and visual (=mirrors) clues, and I don’t think it’s an accident. Smoke and mirrors is a term referring to deception, the distortion of the truth, and here it appears to comment on what is silently yet intensely transpiring between Red and Liz.

Liz’s reflection is a key element that receives further emphasis when she says, “I look like [my mom], don’t I?” And the idea that Red is drawn to her because she is a reflection, a mirror image, of her mother is alluded to. But Red never confirms this to be correct. Instead, he starts talking about manufactured smoke that draws the attention away from the real fire, and he even gestures to Liz’s reflection. The camera is also pointed at their reflection.


Because this close resemblance (which interestingly enough wasn’t a big deal until now) is yet another example of manufactured smoke (stirred up in a hurry just like the Troll Farmer’s deception) designed to draw attention away from the “real fire”, i.e. that Red has feelings for Liz, not for a reflection of her mother.