I promise I'm not asking you this to try and get you in trouble or anything, I'm just genuinely curious: if you ever animate a non-white person, will you keep the white or will you change the skin tone? I'm just curious. :)
Well.. I have, already.. For example, Kevin and Mark are darker than the rest, having asian roots, Marzia is more of a “tan” shade because Italy, and I had a colored police officer in my latest animation (also featured in Pun Fiction though that was in all monochrome).
They just range from white to brown, instead of “peach” to brown (and I originally based that off Oney’s “naked” outline-characters, because they stand out well against any background and the facial expressions read easily).
The moment I knew @mormoc was going to be apart of the @pjocoloringbookproject, was the moment I knew that it was going to be the very first picture that I colored. And she didn’t disappoint me! I was utterly blown away with this piece (as I usually am whenever I see any of May’s artwork) and was so excited to color it!
Thank you May, for your beautiful lineart that is just so wonderfully compelling and breathtakingly fun to look at and color! You’re an incredible artist and a lovely friend altogether! Thank you!
Okay. So. Wonder Woman. In my opinion,the second best comic book movie of 2017 so far (and when first place is Logan, second place ain’t half bad).
Let me start off with what I didn’t like with the film:
- the pacing of the first act was really slow.
- Ares was…..so wasted. He had ten minutes of screen time, Tops.
- Dr Poison had so much unexplored potential?
- honestly the villains in this movie are just wasted (with reason, of course, but you can’t help but want more of them).
With that said, here’s what I absolutely fucking LOVED about the movie:
- DIANA. YOU BEAUTIFUL, SWEET, BISEXUAL ASS-KICKING QUEEN. YOU ARE THE LIGHT OF MY LIFE
- Diana and Steve’s chemistry is AMAZING.
- How the consequences of war are portrayed. Innocents dying. Lines redrawn and crossed.
- The visuals. Beautiful colors that makes certain objects and characters stand out against a dull background of war and despair. Vibrant colors that represent the beauty of themyscira.
- THE. FIGHT. CHOREOGRAPHY. WAS. FUCKING. LEGENDARY.
- SERIOUSLY EVERY PUNCH DIANA GAVE LOOKED AND FELT LIKE IT COULD DESTROY A BUILDING.
- Steve being a metaphor for mankind: he’s caring, he’s noble, and yet he’s willing to cross lines as well, and selfish to some extent.
- Ares’ Bad Guy Monologue™. Menacing, and yet the perfect justification of his actions. Also an excellent plot device for Diana’s character development.
- The storytelling. Scenes of peace and relaxation intertwining with scenes of war and death. The beauty of humankind mixing perfectly with the violence and selfishness of mankind.
- Diana is the symbol of Love in a world of turmoil. Her unconditional love towards mankind was captured perfectly in this film.
- Diana’s character development.
- Steve’s character development.
- The fact that this movie addresses sexuality and racial discrimination I mean holy shit?????
- the humor was perfectly timed and really brings out Diana’s innocence.
- just…the diversity, man. The amazons are of different races and ethnicity. People of color fighting alongside the heroes. The fact that there’s a island full of bisexual/homosexual goddesses
- honestly 99% of this movie being me pure joy I love patty Jenkins and I love gal gadot god bless
All in all, it isn’t perfect, but it sure as hell is a wonderful movie. 9/10 for me.
before you get on my case by telling me “cheyenne!!!! ofc the beauty and the beast was colourful look at all those colours!”
look me in the eye and tell me that this entire movie didn’t just look like the Masquerade scene from the 2004 Phantom movie.
like look at that, and then look at these stills from the new movie:
now look at these stills from the original animated movie:
look at those fucking beautiful colours! all that beautiful contrast!
everything just looks so muted in the new one and everything’s some shade of gold with maybe a little bit of blue mixed in, but even when the blue is there it’s so muted it might as well not even be there? it’s just so unbelievably boring and i am unbelievably tired of washed out colours and zero contrast just. ugh. Belle’s dress is boring enough, but there’s nothing for it to stand out against in that background. where are you supposed to look? even Gaston doesn’t stand out, especially since other people in that scene are wearing similar colours; the only reason he stands out even a little is because he’s been placed on a physically higher level than the other characters. basically every single one of these costumes blends in to the background when it should stand out against it.
i’m not an artist, i’m not a designer, but there’s just no focus. what is an audience supposed to focus on when the characters look more like part of the woodwork than the focus of the movie? where are our eyes supposed to go? this movie is just a couple hours of bland aesthetic when it should be bright and vibrant. at the very least i should not feel like i’m looking at a bunch of fucking chameleons scurrying around a dead forest. this movie is supposed to be bright and vibrant so why doesn’t it look bright and vibrant? this isn’t Saving Private Ryan, so why is every single movie trying to code its colours to be that?
it’s frustrating and it looks ugly and dull. there is no contrast where this movie desperately needs it, and to be honest it’s feels like looking at a talking hardwood floor for ninety minutes.
So as I was telling my friend, does anyone have any image of Aoyama without his belt using his navel laser? Even in the forest lodge arc where he shoots Mr. Compress he has it on.
So my theory is that he is the theory and he comes from a rich family and how he states, “Why am I not like anyone else?” in these two panels:
He says he’s different than everyone else and just wants to be equal to them. And the flashback to him getting his belt which he asked to have in the sports festival and there has been nothing to show him using his quirk without the belt. I believe his parents manufactured or had the belt manufactured to serve as a replacement quirk due to him not having one and he just knows it’s a fake one. And the tummy aches might be from the engine or motor or whate have you overheating his stomach.
So I have the feeling All For One offered him a position to help out the both of them. Either he had a hand in the navel laser belt being made and used it to bribe him or he offered him to have a real quirk and would grant him one if he would spy on U.A. for him.
Not to mention he does stop Tokoyami from beign kidnapped but they still got Bakugou, their intended target, and as he hasn’t really been outlandish in his performances he might actually have better aim with that thaan we thought. And before you mention the fight between him and Mina, the manga only shows her punching him, not a rapidfire of missing laser beams. Solets stick with manga canon for this and not anime filler…or anythign from the anime tbh.
Hi sorry to bother you I was just saw the gif set you made for ftwd and there was an effect you did that I've been looking for a tutorial on. The one where you make the background a solid color and only have text or an image show through. I've been looking and I just can't find out how to do it. If you're busy no worries but I appreciate any help you can give. Thanks! -Kristen
Hey Kristen, you’re not bothering me at all, I’m happy to help!
Tutorial: Manipulating Backgrounds In Gifs
Disclaimer: I taught myself how to do this and I am 100% sure there are easier ways to do this effect, but I usually prefer to teach myself things like this. I really recommend looking for alternative tutorials on photoshop tutorial tumblr accounts such as itsphotoshop and yeahpsds after reading mine, not every tutorial suits a creator so it’s always a good idea to explore different methods!
Is there a limit to how many main characters I should have? Do you have any tips on how to manage them?
It depends on what exactly you mean by “main characters.” If by ‘main character’, you mean protagonist, I would recommend keeping it to just a few, and using chapter breaks to alternate the focus or perspective of each one. The most protagonists I have seen is about six or seven, although I believe Catch 22 has over twenty, with only a chapter or two dedicated to each, so I’m assuming it must have a very unique style to it. (Haven’t read it)
If you mean prominent characters that are frequently alongside the main character- ie, the Ron and Hermione to the Harry Potter- that gets a little more complicated. With any large cast, you want to make sure that no one’s purpose gets lost. Follow everyone’s arc through to the end, and make sure it makes sense in the plot. It can get really difficult.
Personally, I keep track of arcs by writing them out separately and keeping the lists as a sort of check list to make sure everyone gets properly covered. I think it helps to have a sort of web or time line drawn out to help you keep track of how everyone’s arcs connect. It’s color coded. I’m organized like that.
I also like to keep my characters and arcs organized by “grouping” them. Often you’ll find in your large-cast stories that not everyone interacts with everyone else a whole lot. There are certain characters that interact with each other more often, and they sort of have their own group. For example, Character A is on a team with four other characters, and that team has their own conflicts and arcs going on. Character B is also part of a club with five other characters, with their own goals and conflicts and such. But, they occasionally overlap- not everyone, but just a few. Character A and Character B are best friends, and maybe another character is on both the team and the club, and maybe Character A’s sister is also part of the club, and Character B is dating part of the team, and so on. That means Character A’s sister interacts with A and the club, and Character B’s significant other interacts with A and the team as well as B.
(I hope that made sense- it’s easy to see how quickly large casts can get confusing.)
And for some general tips:
One, introduce them with some spacing. If you bring in all of them at once, it can be really confusing. If you do meet them all at once, at least let each one have a moment to shine so the reader can get to know them a little bit, as early on as possible, so that your audience comes to care for them immediately and look forward to seeing them in the rest of the story.
Two, make the introduction of the main characters stand out compared to the background characters, so that your audience can easily tell who is going to be important.
Three, watch the names. Similar names are destined for mix-ups.
Four, make sure everyone has a “job.” Of course you want all your important characters to have more than one trait, but it’s okay if there is something they are known by- for example, on a spy team you might have a leader, a hacker, a get away artist, etc.
In summary: No, there is no law anywhere saying that You May Have Exactly 17 Main Characters Maximum. But be mindful of possible confusion, and make sure that every single character serves a purpose and traits that are distinct from the others. Regularly check in and ask yourself whether on not this character is actually serving a purpose in the story. You want each one to be memorable, distinct, and fully realized by the end of the story.
Questions like this are interesting and I’m sorry that I can only give you a vague answer. There is no steadfast guideline here, and even if their was, writers break rules all the time. All I can really say is, try to stay organized, and frequently check back and re-read to make sure it doesn’t seem too overwhelming. If you have someone who is willing to read or critique your stories, one of the most helpful questions you can ask is “if you have to axe one character, who would it be?”. The answer can be very telling in some cases.
I hope that helped in some way. You’re the captain of this ship. The success of your voyage and crew is entrusted to you. You’ll do fine.
so turns out all i needed was a low grade fever to break my writers block. guess who gets to meet alfie in this one?! timetravel!reader does!
Someone was whispering as you re-emerged from the haze you’d
been stuck in.
“This was meant to be a legitimate fucking venture, lads.
This was me playing it by the book for once and this is what I get for my troubles, eh?
Opening fucking night, I’ve already got strange women swooning about the place”
You furrowed your brow, the ringing in your ears fading away
to a hum, and then nothing. You fluttered your eyes, noticing the lights in the
room had been dulled. No, you were in a different room entirely. An office, by
the looks of things. The whispering was behind the couch you were lying on, along
with the sound of the door shutting.
“What do we know about this?” The voice continued, sounding
more done with the situation than you were. If you were slightly more conscious
you would have made a joke but you were too concerned with acclimatising yourself
at this particular time.
You curled your toes and realised someone had taken your
shoes off. A coat was tucked over your legs. Turns out old-timey gangster boys
could be pretty sweet.
In 1859, while the Second Italian War of Independence was being fought, Hayez painted Il Bacio. Surely his most famous creation, the painting enjoyed a wide and earned popularity right from the beginning. The sweet and furtive kiss that the two youngsters in medieval clothes share was immediately interpreted as the goodbye of a plotter, or a war volunteer, to his lover.
This interpretation was supported by the fact that the young man’s face is almost completely hidden, that his left foot is on one of the steps- as if he were about to run away-, that his knife is pushing on the girl’s hip, and that it seems like someone is watching them (their shadow has been projected against the wall on the left).
The two lovers stand out against the plain background of squared rocks. The young girl is completely immersed in the hug. Her lithe figure seems to be cut between the man’s red tights and his brown mantle, and it is enhanced by the shimmering effects of her pale blue dress.