they have such interesting visuals

ok here’s the thing

i think some people are taking dean’s general aprehension regarding jack as some kind of large homogenous mass of misplaced anger (often taken as “because Castiel :-(” but thats another problem for another time). Sam’s “explanations” of Dean’s feelings aid that but… it’s just sam’s words. and when you take everything into account, it falls flat and false.

In terms of interacting with jack, dean might be harsh and surely is unfiltered level of honest but he’s not mean, not cruel

where he really goes extra in terms of being rough is with sam. he is not stupid and he recognizes the difference between a toddler with too much power that should not be trusted  too much because of simple damage control

and an adult man who should know better but willfully ignores every rational argument because he likes his own narrative better (sam, who dances this dance repeatedly since near day one).

He’s not personally pissed with jack, surely not as much as at the very least sam (and some people) wants everyone to think. The bar scene is textual proof that Dean can relate to Jack, the promise he gives him is only confirmation of that. Dean’s been there in a way Sam hasn’t because burdened with a power near impossible to control both Dean and Jack wanted to stop causing damage and be stopped at all costs if necessary, while sam (and cas,while we’re at it) most of all wanted to be right and win, no matter the cost (and im not just pulling old dirt out, this is recent seasons too, ie. releasing the darkness or fucking with cosmic consequences).

He’s pissed at sam’s dance no. i don’t even count at this point. He might be grieving the loss of his family but he’s not stupid. I don’t think he buys the amazing uncle sammy thing - historically there is no reason for him to and there is no reason for the audience to do that, either. And here’s why:

- sam shot dean’s biological daughter, emma, even though the situations were near identical,

- sam never gave benny minimum of trust even though benny meant so much to dean and never betrayed him

- as recently as in s12 sam sided with BMoL who were clear about their intentions to commit all monster genocide regardless of whether they preyed on humans or not.

and yet! now all so suddenly sam wants to take jack under his wings and lavishes him with sweet words, ignoring any warning signs with spectacular ease. did he change his mind after 15 minutes with jack in a cell?

or is it about the possibility to harness his power (whereas emma, benny or any other nonhuman wouldn’t be useful like that) because he can do the thing where he can open the portal to the alternate dimension where mary is? (note how he doesn’t accept her death and the texts spends time to consistently point that out)

so if you want to call someone a nasty grief-driven dick, you’re barking at the wrong tree

The Steps I Took to Make This Animation!

OH DANG! This post did WAY better than I ever though it would! So to celebrate that, I’m going to show you all the steps I took to make it!

DISCLAIMER: I’m not a professional and I have no formal training as an animator. What you’re about to see does not entirely reflect the methods used in an actual professional environment.

Step 1: Basic Shapes and Keyframes

Once I got an idea of the proportions of Plusle and Minun, I broke down their design to a few simple shapes. I then planned out the keyframes using these shapes.

Step 2: Added Legs and In-Betweens

With the keyframes on 2s, I added an extra frame to each keyframe that are on 1s. Here’s a video on animating on 1s, 2s, and 3s if you’re not sure what those mean. I then added the legs to see how the poses would look.

Normally you should have all the poses figured out as you’re keyframing, but again, not a professional here.

Step 3: Adding Details

With the motion looking good, I started adding in the details. I thought about delaying the ears a frame to make them more of a secondary action. But I was worried that it would make it a little too busy compared to the arms and tails.

Step 4: More Details

Since the faces just stayed inside the circles that make up the heads, I held off on adding the faces until everything else was done. 

One thing that I wish I had done differently though was have the facial expressions facing the center of the screen instead of away. With the expressions on the outside, I feel it takes more time for people to notice they’re making expressions to begin with.

Step 5: White Borders and Drop Shadows

With the animation itself done, I squished all the layers together and used the Ink Bottle tool in Adobe Animate to create the white border and gave it a drop shadow to help make it a little more visually interesting. I probably shouldn’t have used pitch black for the shadow however. It’s pretty harsh compared to the rest of the colors used.

Anyway, I hope the was helpful to you in some way. I know this isn’t how most animators would do this sort of thing. But hopefully it helps paint a clearer picture on the processes of animation!

Have fun animating!

anonymous asked:

what would a Slytherin movie evening include?

  • Spy movies
    • Any James Bond movie, Kingsman, The Man from U.N.C.L.E, The Bourne movies, Tinker Tailor Soldier Spy
  • The more innovative/creative horror movies or psychological horrors
    • The Blair Witch Project, The Shining, It Follows,  The Babadook, The Cabin in the Woods, Triangle, The Others
    • This isn’t innovative or psychological, but I think Slytherins would get a kick out of Jennifer’s Body
  • Clever parody/genre-deconstruction movies
    • The Truman Show, The Cornetto trilogy, Funny Games, Eternal Sunshine of the Spotless Mind, Scream, The Cabin in the Woods
  • Vampire movies
    • Nosferatu, Let the Right One In, Blade, The Lost Boys, 
      Interview with the Vampire, Bram Stoker’s Dracula, I Am Legend
  • Getting personally offended when a character makes a bad choice in a horror movie
  • Slytherins love a good plot twist, especially if they predict it before anyone else in the room
  • Appreciating the aesthetic of highly stylised movies - any movie that goes to the effort of having a distinct visual style and interesting cinematography 
  • Taking the best/comfiest seat in the house 
  • Not talking much during the movies because you’re concentrating on the film, getting annoyed when people talk over it
  • Having a low tolerance for bad movies, terrible writing and horrible acting

Originally posted by thejeykey

Involves Masterlist: (x)


kireiwei  asked:

hello!! im an animation student and i just found your work (its so lovely and serene!) i was wondering if you could give me some advice in regards to backgrounds and layout. for my final project im going to be doing a fullcolor animation (set on a farm) but im primarily a character animator and havent really practiced much with backgrounds and perspectives and i find myself increasingly frustrated trying to deal with the layout. do you have any tips on making simple but succinct backgrounds?

I apologize for answering this super late! I’m not entirely sure whether this post will provide any help at this point; I’m sure you figured everything out okay! But having the backbone of a story to build off of is incredibly helpful in directing layouts/backgrounds. Knowing what you need to convey in a scene at any given point makes it a lot easier to figure out the essentials vs what you can cut out for lack of time, difficulty, or for proving too obfuscating.

Artistic techniques/ fundamentals are all just tools in facilitating communication and there are no set rules in how they can be used. Perspective, when used to frame a shot from below, has been used to convey height, a sense of powerlessness, portray a child’s point of view, what have you. Different context provides different meaning. Distinct choices can be used to bring direct attention and reinforce emotion; it’s when the combination of these choices are used to supplement the creator’s message that a background successful.

Check out this sequence of transitions + accompanying explanation from the Prince of Egypt, for example. With the repeat cutting, you not only get an understanding of the passage of time and distance traveled and the comparative hardship in each environment, but focus on the most significant point of change, which is the diminishing size of character. Moses also travels across the screen at a simple diagonal- using drastically different/dynamic perspectives- although individually visually interesting, would have actually been detrimental in this case. This is just one example- you can read up on a lot of film analysis that consider how directors have used color theory (use of magenta, bright to desaturated in Up), lighting and perspective (Feast, SU), and other deliberate choices to convey emotion subconsciously. There’s no one way to successfully pull it off, which gives you a lot of freedom and pretty large margin for error. Try thumbnailing to quickly explore different ways you can exhibit a scene.

If you’re having trouble with the background design itself, you can think of the environment as a character- the same rules apply. Shape language, scale, color, lighting, etc can be used to build a scene that has a discernable personality.

Barebones, just focus on what emotion/action you want to highlight in a given scene and use whatever techniques to clearly communicate that moment of the story. Establish enough of a scene that your audience will be able to identify where your characters are positioned in space relative to the story, whether it’s changing, and how they’re moving through it. Everything else is extra.


Gillian Anderson: I think I had suggested a hug at the end because it seemed like, if the final shot was going to be a crane shot from up above, that it might be a more interesting visual to have us embraced than having Mulder standing with his arms outstretched and me looking at him like <confused expression>, “what are… what’re you doing”? I think that was more my thinking at the time, and less to do with wanting to wrap up or show a certain degree of intimacy. The fact that we’re walking and holding hands and having a pretty intense conversation while strolling casually in a field is in and of itself, pretty intimate compared to what else we’ve done as a team or duo in the rest of this series so far.  I mean, I have a feeling that there’s a lot going on between the two of them that goes on in the way they communicate that will be evident; that’s not necessarily overtly relationship-oriented or romantic-oriented but that exemplifies their feelings for each other.

anonymous asked:

As a full time professional artist are you ever unhappy with your work? How often fo you toss a picture? Are there down days where you can't create? Or are you at a level where you are able to turn out a steady stream of work daily without having to think about failure? A lot of artists don't talk about the ups and downs of the artistic process. I'd love to hear your experience with making art

In the last 4-ish years of my career it’s been quite a process learning how to deal with the “down days” or days when the art just isn’t coming out quite right. I think realistically no one can be at the tip-top of their game 100% of the time. But when you have fast-approaching deadlines, you of course still need to do the work even on those days when you don’t feel inspired or when you don’t love the work.

I’ve learned on those days to rely on the fundamentals instead of inspiration or passion. I let go of the desire to love or even like the art I’m working on. Instead, I look at it from an art directors point of view… is it clear? Does it read well? Is the value structure solid? Is the color balanced evenly? Does it reflect a mood or emotion, if it needs to? Does it have visual interest? Is the anatomy accurate? Does it match the style? If I can check off these boxes (and fix any that need fixing) then the project can be a success regardless of how I’m feeling about the artwork. It takes a lot of pressure off to realize you don’t need to love everything you do, especially if you’re churning out 2 or 3 paintings a day! 

If the project isn’t under NDA, it’s also often really helpful to get feedback from friends or peers. Often I’ve found those “down days” are the product of sleep deprivation and exhaustion, and you’d be surprised how quickly a fresh eye can catch the mistakes of a tired artist. 


LSD Dream Emulator, Playstation 1, 1998

Under many acronyms “In the Life Sensuous Dream” “In Limbo the Silent Dream” LSD Dream Emulator never actually directly nods its head to the drug it is popularly associated with. Created in 1998 by Japanese digital artist Osamu Sato under the publisher Asmik Ace entertainment, LSD gained a surprisingly cult following due to the game’s eccentric nature of content and gameplay.

Being an adventure game created in a time of early 3d polygonal graphics, LSD’s “gameplay” consists of walking and and exploring dreamscapes designed and created by Sato based heavily on the dreams he and his friends would have.

 Where this game is most interesting isn’t necessarily through its visual presentation (as fascinating as it may be) but through the gameplay loops provided to the player. The game is set up as a cycle of ‘days’, each finished dream completes the day. Dreams tend to consist of you waking up in the same spot and transporting to different worlds (all of which have thousands of variants in textures and soundtrack) by walking into walls and objects, after around 10 transportation or events that cause the dreamer to “die” the dream ends. At the end of each dream the player is ranked in a graph, the Y axis being “upper” or “downer” and the X axis being “static” or “dynamic”. There inn’t a designated point of preference in the graph or even an explanation directly in game as to how to achieve each and what even each of the points in the graph mean. The general consensus is amongst its online cult following that upper tends to be more cliche “dream like” events with pink skies and castles, whereas downer dreams tend to be gloomy and scarier. Static dreams tend to be plain and repetitive whereas Dynamic are varied and filled with multiple events and interactions.

So the goal (or for me seemed to be the goal) was to achieve the most dynamic dream possible which amounted to tremendous failure. Upon further research online I found out something truly fascinating and rather postmodern for its time about this adventure game. It truly tracks your subconcous and rewards those most willing to “feel” the game and “experience” it as opposed to just “playing the game given”. If one walks around looking for bright interactive elements, walking into them in hope of finding an exciting dream you are met with mixed results. Sometimes just ambling into the nearest wall because it “feels right” leads you to the greatest success.

The game encourages this by being filled with an array of subliminal messages. Be it through small arrows, shaped textures and contrasts in colour, the game wants you to truly experience the dreams in the way a dreamer would, subconsciously urging you to do how you feel not not discover the basic challenge to reward gameplay loop that every other video game provides one with.

To me this vastly postmodern approach to videogame development is truly inspirational. Although unsure as to how interactive I intend my media to be, I can certainly see that playing with expectations that previous contributions to the media prior has created causes your media to have head turning effects.

Making a succulent garden from scratch! 

Over the past year my windowsill has slowly been filling up with more and more house plants, the majority of which are Cacti and other succulents. Looking after plants is extremely rewarding, however, I got to the point that I could no longer fit any more pots on the window and the succulent’s growth was being stunted due to their small pots… 

So I decided it was time to move some into one larger pot, to allow them to grow and be happy! And you guys can learn how too with this tutorial! 

Step 1:

Pick your plants! I chose 4 succulents that have contrasting colours and textures to make the garden more visually interesting, also make sure that all the plants you pick can live in harmony together and don’t need different environments.

Step 2:

Drainage! It’s really important that succulents have proper drainage, otherwise their roots can become too saturated, resulting in root rot. Adding potting gravel to your pot allows water to drain away properly. Also using a ceramic pot allows for water to evaporate easily. Wash the gravel in a sieve before filling one third of your pot with it.

Step 3:

Compost! Fill the rest of your pot with desert cacti and bonsai soil. This type of soil is extremely important as it is a mixture compost and sand, meaning there are nutrients for the plants and it’s loose enough to let water drain through without becoming waterlogged.

Step 4:

Planting! Decide where you want to place your plants, taking into consideration that they will grow larger and possibly produce smaller baby plants at their base. Place any plants that may become hanging plants nearer the edge of the pot but not flush against the side. Snip off any dead leaves on your plants now to encourage new growth. Using your fingers, dig a small hole for your plant, placing it inside and pushing the soil back into place, don’t worry if your plant sits slightly higher than the soil, you can always add more after or leave it to reduce the risk of rotting.

Step 5:

Surface Drainage! Once your plants are in, add some more gravel to the top, just to make sure that the pot has proper drainage. You can use the same gravel that you put in the bottom or use a more decorative style like I did, I personally like a contrasting colour of gravel for the top.

You’re done! 

Once you’ve given it a good water, you now have a beautiful succulent garden! Depending on your plants, you can keep this indoors, outdoors, in full sun light or partial. Add decorations as you please (I added a little totoro in mine). And now you know how to plant your succulents! Don’t worry if it looks a little sparse, succulents are fast growers, they’ll fill out in no time! 

I hope this helps anyone new to the world of succulents and gives you the confidence to go ahead and make your own garden! Tag me if anyone tries this out, I’d love to see your gardens!

The flowers blooming from Sans’ left socket  are called Aster flowers and are symbolic of patience. As you may already know, Sans’ eye flashes blue (the colour of patience) and yellow (the colour of justice), however I couldn’t find a flower symbolic of justice so, um yeah. 

I kind of wanted to have the flowers wilting and their petals falling off because in ‘human culture’ I feel like skeletons are very much connoted with ‘death’ as much as they have a strong relationship to the concept of ‘life’. I feel like there is also a great contrast between the theme of mortality that Sans, being a skeleton, represents and the theme of vitality portrayed through flowers, things that grow and flourish with time. 

Then I tried to make the image more visually interesting by having outlines of empty, transparent Aster petals falling down further, kind of mimicking how skeletons are empty since they are what is left after the fleshy body decays. Also, for those of you asking “why is Sans blushing if he’s upset?” it’s because when you cry blood rushes to your face, blushing isn’t only for feelings of love.

I think I may have gone a bit overboard with trying to squeeze meanings into this but it was fun to make, that’s all that really matters. Thanks Team and hope you enjoyed~♫

My overall feelings regarding TAAO #12 are very dependent on what interpretation is applied to what went down. Interpreted in the most literal sense it falls pretty flat for me for a few reasons, most importantly because it’s contrary to the anti-functionalist message that has been so important in the other books which asserts that a bot’s “natural” form isn’t necessarily the form that best matches who they want to be. However, if we’re meant to instead interpret the story on an additional, more metaphorical level, then those problems disappear for me. The reference to Starscream’s cold construction may be intended to show that Starscream not only had a body picked out for him, but also an entire identity that he was expected to conform to, the first instance in a life where he’s constantly been forced into certain roles. Furthermore, his reforged self may be intended to represent who he could have been not just in body but as a person overall if he’d been free to realise his full potential without others holding him down or forcing him into roles that suit themselves. The fact that Windblade was able to reforge him into that form may be intended to indicate that he still has that potential within him. If this interpretation is applied then I think the story explored themes that have been building up for a while in an original and visually interesting way. 

While I think the literal interpretation is probably the more immediately obvious one, I think that the metaphorical one makes more sense in the context of the series overall, plus the issue takes place in a mindscape, where everything tends to be a metaphor. Since I feel as though I’ve got pretty good justification for applying the metaphorical interpretation I’m ultimately quite happy with the issue. 


Concept vs Production: How it can all go wrong..

2012 Geneva Auto Show - Bentley EXP 9 F Concept.

+Interior. Simply stunning level of craft and luxury.

+Details - Exterior & Interior. Build quality second to none.

+Colour and materials. Whilst not my cup of tea, you can’t argue that they work. Really well.

-Exterior. What the…?! Massive, building-like, no drama, recycling of parts bin for a completely expected design proposition. Very off brand.

After much negative feedback from the press, back to the drawing board. Although the design team clearly didn’t have long - only 3 years between concept and production launch. Which means massively reduced time for exterior creation in the studio. Which explains the Bentayga.

+Interior. Again stunning.

+Details - Interior. Again quality.

+Colour and materials. Again refined.

-Exterior. Unresolved, badly proportioned, hot mess. Parts bin. Off brand.

-Details - Exterior. A product of a rushed exterior.

Look at the initial sketches (gold, purple) against the ‘production sketch’ (grey). How the character has been lost; all dynamic qualities gone. Visual interest nil.

Such a shame you have to look at the exterior before you get to experience the interior.

A quick and easy way to do a sword-slash effect in GameMaker!

When my enemy parent object gets hit (all enemies are children of this object, so any enemy that gets hit basically), first check to see if a hit alarm has already been set. If not, go ahead and set it for 1/10th of a second, play a sound, and call instance_create_depth to create the slashEffect_obj. Note the x and y positions–we’re adding a random number from -4 to 4 to x and to y. This is so the slash object is not always created in the exact center of the enemy object.

The slashEffect_obj’s Create Event then picks an angle using “image_angle = choose(90, 180, 270, 360)”. We could include more or less angles in the choose function here, but this works pretty well. This, combined with a bit of randomness to the x & y coordinates of the object, helps the slash effect look a little different each time.

The image_speed of the animation is also set (I’m setting image_index = 0 here for some reason, but it’s totally not necessary). The only other event is Animation End, which calls instance_destroy() to kill the effect object.

(Oh, and back on the enemy object, when the alarm hits 0, it will set “isHit” back to false and the enemy can be hit again.)

EDIT: I have this working in game, but it’s not yet ready to show what this looks like. Keep an eye out–should be ready next week, I think! In the future, I’ll try to show code of stuff that I’ve already shown you guys. :)

Let me know if you have any questions!

I don’t always have something visually interesting to show for #screenshotsaturday, so I set up a poll to see if people were interested in seeing screenshots of code (people have requested this before, but I couldn’t tell if they were serious or joking!).

Turns out 80% so far are actually interested, so here ya go, lol. This is kind of nice for me because working on a game isn’t always working on the glamorous visuals. I spend most of my time here in the code!

Yeesh haven’t drawn or colored a thing in years and then I go and do it first thing digitally with a mouse of all things like a fool

Anyway, if y’all have been around awhile then you know that I am strangely addicted to visual novels and dating sims. So I did a fan art and I’m forcing myself to get over my embarrassment and post it here. Because what’s the point in having made it if I don’t share it, right? Screw artistic talent or lack thereof.

She’s my interpretation of the MC from @thearcanagame. And by “my interpretation” I mean essentially just a fictional version of me because I tend to just play as myself in these kinds of games (though she def looks nothing like me apart from hair, eye, and skin color). Self insert, no shame.

If the text in the image is hard to read, her name is Tabitha, Astrological Sign Cancer, pronouns are she/her, Height is 4′10 (148 cm), Fav. Food is freshly baked bread, Fav. Drink is honey whiskey, and Fav. Flower is Nigella/Love in a mist. She looks much more timid than she actually is; attention just embarrasses her. She is but a tiny bab getting swept up in a bunch of nonsense by several people who are all very pretty. Sigh.

If you’re wondering what the hell is going on with her jewelry, I would also like know that. My canon for the bottom right piece is that she found it, thought it looked really weird and fell in love with it, because that’s just the sort of thing I would do (and have done several times).

Anyway, I think The Arcana is pretty nifty, so if you feel so inclined and have any interest in visual novels/dating sims then go check it out.