this is my first graphic that uses that much of textures


>Observer_  (Bloober Team  2017)

On August 15th, the developers behind Layers of Fear will release their new game, >Observer_. Set in a dystopian cyberpunk world, you play as Dan Lazarski, a neural detective known as an Observer. With your augmentations, you can hack into peoples minds to solve crimes all while reliving some of their biggest fears and nightmares. One rainy night you get a call from your estranged son, seemingly in danger and asking for help. Once you trace that call to a decrepit apartment complex in the slums of Krakow, your investigation begins.

This game hit me just like Soma did. I wasn’t sure what to expect at first, but the environment immediately grabbed my attention and before long, i was immersed completely in the world and its characters. With a mix of Blade Runner, Midgar from Final Fantasy 7, the movie Brazil and the developers own unique touch, the gritty look, feel and atmosphere of Observer are pretty much perfect. We’re talking Rapture/Arkham Asylum/Tallon IV (Metroid Prime), level of detail and quality here. While most of the game takes place in and around a single apartment complex, its size and labyrinth like layout are deceiving. I was often reminded of how Stanley Kubrick purposely built the hotel in The Shining to be confusing and off-putting. You constantly feel a sense of unease at the multitude of tight hallways with rooms that are so close, or at such odd places, they couldn’t possibly fit inside the building. While the observing (hacking minds) parts are interesting, thrilling and a nice change of pace, the true star of the show in my opinion is the incredibly realized “real world” aspect of the game. Whether you’re going door to door learning about the residents, or finding rooms that are open/unlockable and searching them for clues, or simply just exploring this steamy, crumbling, wire-strewn slum, each aspect is immensely enjoyable and rewarding.

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heijou  asked:

please link those ttutorials lmao. I would love to learn

Some programs and tutorials that I’m going to recommend are paid, but ALL OF THEM can be found on torrent websites like  thepiratesbay (always click on a download link with a magnet and read comments) and rutracker (requires registration). 


  • The Sims 4 Studio (free);
  • Blender 2.78 (free);
  • Marvelous Designer (paid) - check system requirements, older versions are less demanding;
  • Zbrush (paid) - you’ll need it only for one feature;
  • optional Maya (trial and student versions are free) - check system requirements, older versions are less demanding. When it comes to making clothes, everything you might need it for can be done in Blender. For the future, if you’ll ever consider creating hair PLEASE DO IT IN  MAYA OR 3DS MAX IT’D BE MUCH EASIER AND LEARNING THEM WOULD BE TOTALLY WORTH YOUR TIME;
  • Graphic editor of your choice, preferably Photoshop.

Here is the order you need to follow for everything to work:

tip 1: First thing first, keep everything organized and give distinctive names - it is very important. Create a folder with your project name and subfolders “meshes”, “textures”, “preview”. If you’re using Maya, make sure there are no spaces, symbols or non-Latin letters in the ENTIRE path. This bitch will give you hell if there are.

tip 2: Create a “base models” folder with exported .blend (nude top, bottom, full body, feet) and .obj files (anything is fine) of all genders and age categories that you plan on making clothes for in the future. Put uv_0 and uv_1 templates there as well.

  1. Import nude .obj mesh in Marvelous Designer (in meters), make clothes, export as .obj (without avatar, thin, no internal lines or textures);
  2. To decrease the poly count without negatively affecting the topology and to have good edge flow I suggest you to do retopology. This is why you need Zbrush;
  3. Blender: open nude/reference .blend mesh, import .obj file, do uv_0, close holes, transfer uv_1 map, transfer weight, vertex-paint, remove doubles, split sharp edges, bake maps, remove covered parts of nude body, combine, set S4Studio  CAS Tools;
  4. The Sims 4 Studio: import lod0, change textures, change everything you need under Categories tab;
  5. Graphic editor: edit textures; 
  6. The Sims 4 Studio: re-import the textures, save the package, put it in the mods folder;
  7. Run the game and PRAY;
  8. Fix everything that is wrong, DON’T FORGET TO DO LODS (make them only after your lod0 is perfect), add swatches, make thumbnails if you want and you’ll be good.


Tutorial sources:

Problems you may run into and how to fix them:

  • Item shines too bright in game - problem with alpha layer of your specular map;
  • Entire mesh is flying - weight issue, you need to re-transfer weight;
  • Part of the mesh is flying -  weight issue. Go to Edit mode, select a vertex in problematic area, find a group that should not be there under Vertex Weight;
  • When you manually paint weight make sure the modifier Armature is applied and your rig is selected in Object drop down menu;    
  • Baggy mesh does not retain it’s original form and deforms weirdly - you need to fix your uv_1 map;
  • Weird shadow - clean you shadow map;
  • Weird shadow at the bottom, around sleeves or sharp corners - you need to split the edge loop;
  • Dark spots on ambient occlusion map - subdivide surface and re-bake;
  • Previous mesh is visible after uploading new lod-s - you need to start from a different item. One thing to note (it may be an issue with my program/game, but I’ll tell just in case it’s not). When you create your package from a nude bottom, accessories like pantyhose will overlay your item’s texture (I’m pretty sure this can be changed in Warehouse tab, but I’m too scared to even go there). When you start from nude top, every time any CAS part is removed, your item of clothes will be taken off as well. If you’ll run into the same problem start from underwear instead.
  • When vertex-painting, make sure the hex codes of colors are identical (if the same) or have a very smooth transition (if different). Use blur tool. Otherwise there may be a “split in mesh“;
  • When loading lods, nothing shows up - you forgot to set S4Studio CAS Tools;
  • Before merging packages into one, make sure you didn’t overwrite them in the past. There will be 2 or more pairs of them in game.

Endlessly grateful to all people who shared their knowledge on this subject. Thank you <3

Feel free to drop any questions related to creating The Sims 4 custom clothes (only clothes and shoes, I don’t know anything else yet).


Portraits of Halo

15 years ago today (Nov 15, 2001) Halo and the Xbox were released. At first, i didn’t pay the console, or the game, much mind. I had my doubts about Microsoft and this relatively unknown shooter brought over from the computer world, so i figured i’d give the system a pass for the time being. Over the next few months though, i kept hearing good things about Halo. It got rave reviews in the magazines and a few people i knew played it non stop. But still, i held off. Then one night, i stopped by my friends house to hang out for a bit. After a while, he asked if i wanted to play some games and suggested we dive into a few levels of Halo, Co-op.

We played the first 4-5 areas straight through and about 30 minutes in, i was completely hooked. I can’t overstate the amount of joy and fun i had. Headshotting grunts, driving the warthog off cliffs while blasting the horn, and watching groups of Covenant scatter and curse at me in their alien language as i chucked a grenade right in the middle of them, had me smiling from ear to ear. And playing it all with a friend, cooperatively (which was something i had never really done before), brought the experience to a completely new level. The controls were tight, the AI was fantastic and the levels were massive. I couldn’t ask for much more when it came to gameplay.  

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Today I took a really close look at some SM64 maps in an attempt to get a better understanding of how they were made and how I can avoid further mistakes when making my own maps for the engine. Perhaps it could prove useful for you too?

Let me first say that I’m pretty surprised at how inconsistent and sometimes downright lazy the mapping seems to have been done. Seeing as this was the first true 3D game on consoles, the tools available at the time may have had something to do with it.

Here are the things I discovered (long post!):


All holes for canons and rolling cannon balls, etc. seemed to have been simply cut out with boolean functions (placing a mesh through another and “cutting out” the shape”). This leads to a mess of triangles and very bad topology, so it’s not something anyone uses much anymore (it causes bad lighting when rendering and bad transformations when animating). However, it is very economic in terms of polygon usage, which makes sense when you consider how huge maps SM64 was able to use on the N64.


In fact, topology doesn’t seem to have been a concern at all. Here’s a clear example of how the creator has simply collapsed a bunch of edges to save polygons (all the lines bunched up in a single vertex). I have no idea how this works, as Mario simply clipped through the floor when I did something similar with my map. Perhaps it depends on how sharp the vertical angles are?


Extrusions also seem to have been done pretty haphazardly. This is particularly strange, because it creates more polygons, and doesn’t seem to have any sort of benefit. In the example below, you can see how an object has been placed on top of a flat surface, instead of having it extruded from it. Both seems to work just fine, so why extrude?


Often objects are placed on the ground like this. There doesn’t seem to be any problem with collision detection, even if two separate meshes are joined together this way. There are some peculiarities to consider, though: The edges on these objects are always marked sharp. I have no idea why. The edges also never clip through the surface. They’re placed PERFECTLY aligned with the ground, never going through it. This is strange, considering the example below:

Here, the plank is clearly clipping through the ground, but it doesn’t seem to be an issue. Why go through the trouble of aligning the edges in the previous example, if it doesn’t matter for collision detection? Perhaps it just doesn’t matter for the plank because it is a fully enclosed volume, with no open bottom?

Here’s a smart use of the same technique. The blue line shows that an edge is marked as “sharp” (like the bottom of the previous rocks). Here, it means that instead of having the ground be one continuous surface, a perfectly aligned incision has been made across the section where the bridge begins. This saves polygons, which would have had to be drawn from the corners of the bridge legs if the surfaces were connected.

The same sharp edge disconnection is used on the side of stairs throughout the other maps as well. But why go through the trouble of making such extreme polycount optimizations, and then waste a bunch of polygons on needless extrusions? A lot of things seem very inconsistent…


Another point of inconsistency is the texturing techniques used. Here’s a really clever example, where the artist has taken two surfaces and used flat projection to unwrap them as two UV islands, but still managed to align the texture seams. He has done this by letting both islands have one part each which is of equal size, and letting this part be exactly 1:1 with the texture map. Sadly though, someone has later come and adjusted one side of the bridge mesh and made it a slope, which sort of ruins the seam a little.

This technique isn’t very relevant today, as you can simply use a UV unwrapping function to equalize the sizes of several island groups simultaneously.

Here’s a very dumb example of UV unwrapping. The ground and side slopes here have been projected as one surface seen directly from above, which has lead to very badly stretched textures on the slopes (which have a much larger surface than what they’ve been allotted in the UVs). It’s easy to tell that this is what has happened, because of the 90 degrees angle on the corner in the UV map.

A final little thing I found a bit confusing is that the back faces of fences are rendered in this map. I was expecting to find “double” fences with one mesh for each side, since everything I’ve seen imported to SM64 has only been able to render the front of any object.

Another thing to note: Yes, walls have to be 100% flat for Mario to be able to wall-jump off them. Ledges can be grabbed if the wall below is completely 90 degrees, or if the angle of the wall is inverted (so the wall slopes inwards). All walls which are angled outwards, even by a single degree, will be counted as slopes by the engine. All walls that are angled inwards by a single degree will function more or less like walls, but Mario will play a sort of negative sound and fall off it immediately if you try to wall jump.

Hope this autistic write-up is of use to someone!


Star Boys ⭐ ~ step-by-step process of >this< piece (^   v ^) <3 click through for minor captions!

since Tumblr can only hold eight photos, here’s my process reduced to eight steps. there’s a lot more fussing and changing and adjusting that goes in, but this feels like a good overview.

and here’s some bonus back story! X3 hehe~ i was really frustrated with my work last week… i honestly felt like maybe it was just time to move on and do something totally different. like it was just time to pack in my character work and go back to being a graphic designer. i kept starting new things over and over and over again and throwing them away. i felt very defeated. i was drowning my sorrows in coke zero and k-pop videos when i decided to just draw some self indulgent garbage to make myself feel better, regardless of how it might turn out looking. and i had no idea that it’d turn into this! XD

so when you’re thinking~ “why Pidgy… why did you dress those beautiful boys so stupidly?!?!” (7O  [  ]O)7 it was the k-pop dood! i was under the influence! have you seen the ridiculous/awesome clothes they wear?!?!? it’s FABULOUS! and i didn’t start drawing this thinking that i’d ever post it! HAHAHA!!! but it just worked out so smoothly! (O  v O) <3 and i felt myself feeling again like i knew i could - and new i wanted to - improve! I AIN’T GIVING UP YET!!!! (>   A <)

so yeah… (^   v ^);;; it’s a bit silly, and very colorful! hahaha! but~ i really tried my best to do new things and put my best foot forward… so i hope some of you enjoy it! i still have so much more i want to do! (O    w O) <3 <3 <3

answering asks!

been a while since i answered some QUESTIONS so here we go

remember to check my faq before asking! thanks!

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PSG Roundtable #8: Altars & Shrines for Non-theistic Purposes

Want to make an altar or shrine to a principle, concept, or impersonal subject that isn’t a ‘conventional’ deity, complete with names and symbols and pre-defined rituals?

First, you need to know what its purpose is.  There’s no clear delineation and they often get combined in contemporary practice, but generally speaking, a shrine is a space for devotional offerings, meditation, and/or self-reflection whereas an altar tends to be more of a practical workspace.  Both shrines and altars act as a space in which you interact with the immaterial in some way.  They’re liminal.

Please note that everything I say here is opinion, and I invite you to accept or reject what you will according to your own beliefs, needs, and desires.  I’ll be using my devotion to Death as an example, but you should be able to extrapolate for the universe, moon, sun, nature, etc.  I’m going to stick to the word “altar” for simplicity’s sake.

  • What is your altar dedicated to?

Be as specific as possible.  This helps you know exactly what you’re wanting to deal with.

Ex: Death.  What part of death?  The whole cycle of life-death-rebirth?  Death as the ultimate symbol of transformation and impermanence?  For me, death is the greatest power, and I have an obsession with the concept of entropy.  (Asimov’s “The Last Question” and Arthur C. Clarke’s “The Nine Billion Names of God” are two of my favorite short stories.)  It is the concept by which we define our very nature and how we understand our existence, the source of our greatest fears and anxieties as a mortal species, and the one truly unifying experience for all humans.  And a lot more besides, but I could go on all day about death so I’ll stop here.

  • How do you want to engage with this concept/abstract?

Some common ideas:

  1. Reflection, meditation
  2. Devotionals, worship
  3. Spellcrafting and magic

How do you normally do your meditation or magic?  How can the materials, timing, and other components be adapted?

  • What associations and visuals do you have for this concept?

Consider all the senses: scents, tastes, textures, fabrics, sounds, colors, stones, herbs, numbers, symbols, words and phrases, music notes and songs, emotions, aspects of nature, etc.  Make lists.  Hell, make aesthetic posts.  These will help you choose what kinds of objects, tools, and materials to put on your altar to best facilitate the kind of meaningful experience you’re looking for. 

(Make sure you’re not appropriating anything from a closed or initiatory tradition.  There are usually about a hundred thousand alternatives for everything, so don’t go taking sacred things out of their proper context and using them in ways they weren’t intended to be used.)

Ex: my personal associations for death include black, white, and silver; camphor, menthol, the smell of wet dirt; quiet chill, both damp and dry; grief, dissociation, sarcasm and morbid humor, relief, freedom, truth, rebellion, empowerment, justice, existentialism; the numbers two, three, and seven; obsidian, jet; Southern Gothic folk rock (Jen Titus’ cover of the American folk classic “O Death,” anyone?); black mirrors, slim dark-handled knives, scalpels; images of space; “evanescent” (the SAT word, not the band), “fate,” “tradition,” “stories,” “power”; bleached bones, blood both old and fresh, winter, corvids, silhouettes of bare trees, white bedsheets, gauzy curtains, empty hospital beds, abandoned houses, sexuality, dried flowers, candles burning either singly or in the hundreds.  See, as silly as aesthetic posts can be, they really can be useful.

Now look at your own lists and see what underlying trends and themes there are.  For me, I see impermanence and unadorned realism.  (I left out the more graphic and triggering associations I have with death because I don’t want to distract from the purpose of this post.)  Someone making a list for the sun, on the other hand, may find ‘strength’ or ‘optimism’ is a common theme in their associations.  I find that understanding the themes in your associations helps you understand your own relationship with the concept itself and why you might feel drawn to it so strongly.  It may also help you choose in which direction you want to take your engagement with it.

  • Setting up the altar.

Do what you would do for a conventional altar: cleanse the space (or container, if you’re making your altar in a box, cupboard, drawer, or something similar) and everything you’ll be using on it.  If you don’t have a tradition that comes with a prescription for setting up an altar, you can look up how to cleanse and consecrate altar items in any number of ways and choose the method that’s most appropriate for you.  I do recommend using methods that reflect back to your concept.  For example, salt, as an agent for drying, preserving, and purifying, would be appropriate for death, as would frankincense, which in a multitude of cultures is a required component of funerals.  For something dedicated to the universe as a whole, I would probably incorporate sound into the cleansing, as sound is a wavelength and much of what we know about our universe (sound waves, radiation waves, gravitational fields, matter itself, etc) is based on those principles.

Ex: My altar is dedicated to death in the impersonal, entropic sense.  This means that anything personal goes to a different space set aside for my beloved dead and ancestors; this altar is for the vast, inhuman concept of “the end” that can be so oppressively terrifying or incredibly freeing.  The setup is based on a visual that came during a meditation: the altar cloth is black with a ring of alternating smooth and rough obsidian stones (which betrays my bias as an Irish polytheist) around a circular mirror in the center.  A small sphere of obsidian sits in the center of the mirror.  A black pillar candle stands tall behind it all.  The setup is designed to facilitate my journeyings by creating a symbolically liminal space represented by the ring, made of stones that naturally draw in power rather than reflect it.  The drawing in reflects my journeying technique as well as how I connect with the greater, impersonal energy of death and darkness and all those cheerful things, especially when I hold the obsidian sphere, so it works for me.  If I were doing ancestor or spiritwork I would probably use more white, which recalls a different aspect of “death” than black does to me.

The “nature worship” tag has additional commentary on non-theistic practices.

- mountain hound  

So, Hound covered more of the altar stuff. I’ll add my thoughts on shrines. for ease of reading, I’ll mimic the format starting with

  • What is your Shrine dedicated to?

I find a shrine is much more free form than an altar due to its fundamentally different nature. Whereas an altar is used for practice in spellcraft or meditation a shrine, in my opinion, is about devotion connection in a way that is different than an altar is used for. As such, while I see altars as something that needs to be more specific (as Hound mentioned above), I find shrines do not need to be so specific. For example, my shrine is to Nature, in all its forms. I do not emphasize more the harsh wilds or the tame fields but all its forms under the complete object. If you wish to emphasize one or the other, you can, I just do not find it as necessary to do as with an altar. 

My reasoning for such is (and feel free to disagree) an altar is used more in a practical sense for spellcraft and meditation and other uses that are generally to garner a result. As such being as specific as possible is advantageous as it leaves less room for error.  A shrine, however, is used for more abstract things such as offerings, self-reflection, etc. which are generally things that are not (though can be) used to garner some sort of result. For example, I will leave offerings at my shrine more as an act of devotion with no end goal as opposed to an offering I may give a spirit when requesting its services (which is a good example of an offering to garner some sort of result).

The rest of the points are very eloquently put and can be easily applied to both altars and shrines; the primary difference is the function of active vs passive respectively and how narrow and broad the scope respectively.


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The Halo 4 Autopsy

Halo 4 was released worldwide on November 6, 2012 for the Xbox 360 and was the first mainline Halo game to not be developed by Bungie, the original creators. Instead Halo 4 was developed by 343 Industries, a new in-house studio created by Microsoft to not only develop future Halo games but to also create other Halo multimedia properties, such as comics, novels, and web series.

While initial impressions pre-release for Halo 4 were positive, the reception of the game (and by proxy, 343i) amongst fans soured fast after release and marked what many considered to be the “beginning of the end” for the franchise.

I went into great detail not too long ago about what made the Bungie Halo games great and memorable, even for someone like myself with no prior experience with the series. I decided (against the wishes of my own friends) to continue down the series into Halo 4 to see and document where exactly the game went wrong and why it has the reputation it does.

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We’re 3 months away from this glitter-bomb and they gave us some stuff to scream about. I think I’ll do just that. I took my sweet time putting this together, I know, but there’s a fair bit to unpack and a lot to be excited about so, let’s go through it all!


Okay, so first things first: people are calling this a 2D movie and that’s not really that accurate.

It certainly has some 2D elements, like the backgrounds, but the style of animation only makes the characters look 2D, when in fact they’re 3D models.

You can tell in how they move. If I were to give you a still screen shot, you might guess that it was from a 2D animation, but in motion, you can tell what it actually is: cel-shading.

I had a hunch that’s what it was so I asked a storyboarder who worked on the MLP movie (and the show) if I was right and she said: 

The program they’re using is ToonBoom, which does rigs with 2D toon shaders, among other things!

You know, I don’t often call things, but I fucking called it. Let me have this. Just to give you a quick definition from Wikipedia:

“Cel shading or toon shading is a type of non-photorealistic rendering designed to make 3-D computer graphics appear to be flat by using less shading color instead of a shade gradient or tints and shades.”

3-dimensional figure with cel shading, has the effect of making it  look 2D. Typically seen with thick outlines on the outside and little to no outlines on the inside:

(Team Fortress 2 itself isn’t normally cel shaded, but that’s a great example a fan made of what cel shading usually looked like when I was growing up)

Cel shading without outlines, as seen in Wind Waker. 

  • Like I said, just seeing this still image, it looks 2D, but watching it move, you can tell there’s a 3rd dimension to the character with the features and lineart mapped out onto the models to make it look 2D
  • Which by the way, is really unique for a major release! I don’t know about anyone else, but I was excited that MLP: The Movie seemed to be 2-D since there hasn’t been a domestic 2-D animated movie since Winnie the Pooh in 2011. 6 damn years! While I maybe would’ve ideally liked a completely 2-D animated movie, the backgrounds and the cel shading works in really neat ways, and it will definitely make the movie stand out 
  • The purely 3-D objects seem unfinished at the moment (but that’s not out of the ordinary, CGI seems to be one of the last processes). It needs texture or shading or something, and I can tell because most of the ship looks too soft (too much like a model) to be metal. I really think this will be fixed for the final product, but that’s probably the most jarring part of the style at the moment
  • Not all of the 3-D looks unfinished, but the best looking parts are still the painterly, 2-D stuff (look at those towers; they’re really stylized, but you can tell they’re 3D in a more 2D environment)
  • The light effects are definitely 3-D in the fireworks and rainboom
  • Oh, and speaking lighting, so much of it looks so pretty! There are one or two times when the colours are slightly off, but the majority of the time it looks freaking gorgeous
  • You can kinda see by looking at Rarity that the shading is juuust slightly off here (kinda like they were for the teaser trailer), but then you look in the background and see this BEAUTIFUL background and Twilight all upset and worried about this invasion, and it feels like such a nitpick to worry about what will probably still be cleaned up before it hits theaters
  • We also get some really great expressions, so they’re not really limited by the 3D models underneath (if I’m right about that)
  • Also, just as one last little note here, the style is detailed enough to see little things about the characters we didn’t know up until now, like the fact that the spines on the side of Spike’s head are translucent, or that the colours of RD’s mane aren’t 100% perfectly separated
  • Overall with the animation, I’m so impressed not only by how gorgeous it is,but by how willing they were to take a risk and incorporate a 3D element in the form of  (I think) cel-shading. This only really matches the creative spirit of the MLP team, though. Whether or not you agree on how well they always execute everything, they always try to step up their game with every new season and push themselves to be and do better.
  • And while I will say that if some of the more 3D parts (yeah, I’m talking about the zeppelin/airships mostly) aren’t fixed for the final release, I would have a bone to pick with them, but I have faith that we’ll be seeing a much smoother integration of that 3D on the big screen.

Story and Character Details

I really appreciate that they didn’t outright spoil anything too big. It’s definitely a well-cut trailer! We basically only know about the same information we did before, with just a hint or two as to things like who the true villain is.

  • Just based on the focus given to these characters in the trailer (and what I know of the Storm King’s characterization in the first Movie Prequel comic that was just released), seems like he’s not as big of a threat as the commander of his fleet, Tempest. 
  • It’s a kind of villain we haven’t seen on the show or even in EQG, and not only that, but 
  • She’s got a fantastic voice actress behind her, so she can pull off the deliciously evil vibe well without, say, reminding us too much of Chrysalis or other powerful animated villains from Disney classics
  • Plus her design with the broken horn and her magic sparking up out of it is instantly intriguing to me: for such a powerful presence, it’s awesome to see her weakness (and most likely shady past) is always on display—especially for a commander character, that’s just really cool
  • Grubber seems to be pretty standard so far, nothing he’s done has really impressed me quite yet, but I’m hoping his best stuff is saved for the movie itself
  • The sky pirates (or skyrates) look like a lot of fun, and in context I can see how well the bipedal birb pirate blends with the universe (the bipedal designs were the ones I had the most trouble with)
  • On top of that, we have sea ponies at last! And they’re far more adorable than I ever could’ve hoped
  • The original sea pony designs from G1 looked a lot more like sea horses, with curling tails and fins on either side, but I think the meraid-ish look is both more marketable for Hasbro and more appealing to look at (the original sea ponies always seemed like a joke in the fandom to me, I admittedly never understood why people would actually want it in G4)
  • And a-ha! Good queens do exist! Poor Celestia and Luna. Always a princess, never a queen.
  • Oh, and Seaquestria? It’s freakin’ beautiful. I LOVE the rich blues and purples here. If you haven’t had a chance to check out the 360 image of the underwater palace complete with an excellent piece of background music, treat yourself.
  • The Mane 6′s sea pony designs are pretty dang adorable. I don’t have anything interesting to say, I just like the cute water horses, okay?

Minor Details and Incidentals

I’ll start out by saying Twilight’s narration in the trailer is pretty standard, but still heartwarming (mostly because I already know and love these characters though). It sort of reminds me of the bits of narration from the How to Train Your Dragon movies, although those had a bit more character to them. 

The what could possible go wrong? line, though. It just makes me laugh thinking of all the flashbacks we could have to the series. 

Originally posted by fisherpon

I guess she’s talking about that festival specifically that she’s organizing, and in that way it’s a show of character development (in a similar way to the character development on display in A Flurry of Emotions, where Twilight is told she’s late and doesn’t have a panic attack or worry about what could go wrong… too much), but it’s still hilarious to contrast the idea that nothing could go wrong in Equestria to… literally all of the show. 

  • AJ and RD protecting their friends even before the others have gotten over the shock of whatever they’re seeing tho
  • Starlight and Trixie get a bit of screen-time together and it’s adorable. Starlight might be stuck in Canterlot for the duration of the adventure, but I’m glad to see her included. Characters like Discord who might be too hard to explain to new audiences are understandable losses, but even if Starlight’s cameo is brief, it’s good to see her role acknowledged
  • In terms of music, Sia’s looking adorable so far, and Lukas Graham’s as of yet unreleased Off to See the World sounds pretty catchy (it’s the song at the end of the trailer), so they’ve got talent behind the vocals!
  • Jumping back to little details, it’s neat how sea pony magic has a very distinct look from unicorn/alicorn magic. Also, the bubbles are really cute
  • And, okay, I just wanted to take a minute to appreciate how serious this ponk is. Can we all just stop and take a look, because in this scene Twilight’s saying how she’s the one Tempest is after, and she should probably face this alone, which seems to be our Princess of Friendship’s big dilemma in this movie, and Pinkie’s clearly trying to tell her she’s crazy
  • Gotta love that they didn’t just go for hyperactive comic relief Pinkie Pie; they don’t seem to be boiling down these characters to just one trait (which is partially why I loved the moment where RD and AJ defend the girls; RD’s ego will no doubt be on display throughout the movie, but you’ll also see she’s ready to lay down her life for her friends)
  • And hey, lookie here! Canterlot got a make-over… and a contractor. There’s more pink than there typically is and it doesn’t necessarily match what we’ve seen of it in the show. Especially places like the throne room:
  • And you know, I’m a little torn on this detail? It’s beautiful, and I’m digging the starry night mosiac they’ve got going on back there, but it would’ve been nice to see the throne room we know and love rendered in this new style, you know? I’m gonna miss the deep magentas and the stain glass windows of the Mane 6′s accomplishments. I know that’s mostly the fangirl in me, but I like seeing continuity nods back to the show (like hey look: Cadence gets a cameo!)
  • Unless Canterlot gets destroyed and subsequently rebuilt in the season 7 finale, in which case I’ll shut my mouth
  • Speaking of which, I still have to wonder exactly when this will take place in the series, or if it exists slightly to the left of canon like the Equestria Girls movies (which, I mean, I consider canon, but still). I know there’s ties into the comics, but I wonder if/when the show will acknowledge the events of the movie… I guess only time will tell

And for now, I think that about wraps it up! All in all, I’m beyond excited to see this thing, as anyone could’ve guessed. 

It should also be noted that a lot of kids movie trailers focus on the fun, comedic portions of the movie, so while I do think it’s mostly going to feel like this, I’m also looking forward to the more character-driven feelsy parts. As we well know, you can never get the full scope of a movie from just the trailer, but it’s usually especially true for kids movies.

Even just from what we have seen, it looks like we’re in for a ride. Can’t wait to get on.

Hey, if you’d like more MLP stuff, you can click right here to see my editorials or here for episode reviews. And if those links don’t look pretty enough, have the last three things I’ve done right here:

Parental Glideance Review, Celestia/Daybreaker Editorial, and LGBT+ Editorial

Year of the Pony

anonymous asked:

Could you do a tutorial plsss? 😭😍❤️


i’m gonna show you how to make two of the variations i’ve posted and they’re actually pretty easy to create. and because they’re minimalistic designs you don’t require a lot of tools to make them. the way i’d describe it is you use a little and it still looks complete. i know at first glance some of the designs look complicated to recreate but here’s the (not so) secret!

it’s actually all about fonts. i’m a big fonts enthusiast so i have a collection of decorative fonts that i like to incorporate in my graphics and i’ll share some of those with you throughout this tutorial.

first and foremost i’ll be using photoshop cc! and the first design i’ll go over is this one

got to file > new and insert whatever dimensions you want, the dimensions i use for my wallpapers is 500 x 888

set a color for your background, it can be any color of your preference. i simply chose a light grey [#eeeeee] for a majority of my wallpapers because it’s less distracting

then create a new layer, i’ve highlighted the button for it right below

and find and click on your elliptical marquee tool, it’s this one

now you’re gonna create the circle outline. in order to do that, hover over your canvas, hold down shift and click and drag your mouse in a downwards motion so you can have an outline of a perfect circle. you can make it as little or as big as you want and you should have something that looks like this

it doesn’t have to be in the middle as you can align it to the center later on. but make sure you’re still using the elliptical marquee tool and right click, find the ‘stroke’ option and insert these settings, minus the color as you can use any color you want

hit ‘ok’ and you should now have an outline. click anywhere in your canvas to remove the marquee tool dashes and now you can align your circle in the center

the font i use for this design is ‘las enter’ which is a really nice underlined font

next click on your (horizontal) type tool and insert whatever color and size you want, it just depends on how big or small your circle is. and type whatever you want as well. it can be a club name, a motto, a phrase, etc.

i personally capitalize the first letter and size my text at a large number so that it’s longer than the width of the circle itself.

press control and c for windows or command and c for mac to activate the ‘transform controls’ which basically allows you to rotate or resize an object in ps

you’re gonna be using it to tilt the text so outside the rectangular box, hover near the bottom right side and you should see a little arrow that’s tilted counterclockwise. click and drag upwards until you tilt the text to it’s desired placement and hit enter on your keyboard

align your text to the center and head over to your layers to click on your circle layer you created with the elliptical marquee tool

you’re gonna erase the left and right end edges of the circle that under-lap with the text to make the design look more tied together

in my case i erased the parts in the circle that were crossing over my phrase ‘example’ and once i finished that, i’m done. i hope that wasn’t confusing!

but sharpen your image if you want and this first design is complete!


the second design i’ll go over is this one, the neon sign

there’s only one complicated thing about this one but it’s still pretty simple as the first one we just covered

so same start as the first, make a new canvas (file > new) and insert whatever dimensions you want, again i use 500 x 888 for my wallpapers

make the background any color you want, i used the the light grey [#eeeeee] for some wallpapers but i tried a grey toned black [#191919] and i actually prefer it more because the dark background makes the color in the neon text look more realistic and complete

the next step is writing your text and the font used for this graphic is ‘kabel

so using your (horizontal) type tool insert whatever size text you want but keep the text white and align it to the center

on your layers tab  hover over your text’s layer, right click and click the option on the very top that says ‘blending options’

a window should open up with a bunch of settings and options and this is where you insert specific settings to give the text the glowing appearance

on the left side of the window find ‘inner glow’ click it and apply these exact settings

next find ‘outer glow’ on the left side of the window and click it and apply these exact settings minus the color, which you can choose yourself, i personally chose a peachy color for this example. keep in mind that this is gonna be your main color, so you’re gonna be applying whatever color you choose here to all the other tabs in this window that we’re gonna edit

find ‘drop shadow’ on the left side of the window, click and apply these exact settings minus the color. but apply the same color here as the one you applied to the ‘outer glow’

now if you take a look at the drop shadow tab there’s a little plus sign with a square around it, click it and it should open a second drop shadow tab which you’re gonna edit next

make sure you’re clicked on the second drop shadow tab and apply these settings minus the color again (and apply your main color)

you’re gonna click on the plus sign next to the drop shadow tab again to open a third drop shadow, but no worries it’s the last setting and then you’ll be done

apply these exact settings to the third drop shadow tab but rather than inserting your main color, the color has to be black this time

then hit ‘ok’ and you’re done with the text

now comes the tricky part, which is the power cords that are placed underneath the text

i haven’t been able to find an overlay or a texture for this so what i had to do was find an image of a neon sign, i ended up finding one from pinterest with white cables and i erased the image with a soft round brush until i was left with only the chords which was a bit of work. but i think it’s worth it because it makes the text look more realistic

so you can either do what i did or just leave the text as it is which still looks fine either way

and that’s pretty much it for those two designs! i’d really appreciate it if you’d like or reblog if you found this helpful! thanks!

Action Figure Tutorial

requested by anonymous

This is a Photoshop tutorial for how to create action figures and their packaging like in the graphic above.

The action figure is taken from a pre-existing photo and the packaging can be made from scratch, no stock images needed.

If you have any questions, please don’t be afraid to ask. And if you found this post helpful, please like or reblog!

Keep reading

anonymous asked:

You've taken countless screenshots from a wide variety of games over the years. Some (like BioShock) you revisit consistently, others you explore for only a short while. What would you say are some qualities of the games you love returning to (besides the obvious answer of "rich graphics and atmospheric settings")? Are there certain elements (visual, narrative, or otherwise) that you really love seeing in games or actively look for in games? -Unownshipper

Like i mentioned in an earlier ask, the hurricane put me out of commission for a while, so apologies for the long delay in answering this Unown!

This is an interesting question since i can easily spend hundreds of hours on one game and only ten minutes on another, even though both have great qualities and both look very good. This is going to be a really long answer, so bear with me!

First and foremost, the initial decision begins with asking what kind of screenshotting tools are available for the title. Games that are easy to pick up and take shots of (Bioshocks, Dishonored, We happy few, Soma) are much more appealing than something with funky tools you have to fight with (Abzu, Tomb raider, Narcosis, Halos). There’s almost like this pre-production phase for me when it comes to screenshotting a game, where i have to find the right tools and experiment with how they work, mess with the graphic settings in the ini/cfg files, see what the highest resolution is i can push in addition to those settings, choose and configure mods, and then see if any console commands work and if so, which ones will benefit me. Finally, i usually play through the game once not only to just enjoy the gaming experience, but also to scout places/things that might be good for screenshots. This is a lot of time before i even take one shot, so when i have to fight with tools (sometimes multiple ones at once) after all that (which can often crash a game that’s already close to being unstable due the graphic/resolution settings i use) i tend to veer more towards the more approachable games first. 

After that, usually the first thing that pulls me towards a game is iconic architecture/visuals. Whether it’s the older Art deco/Neoclassical/Colonial look of the Bioshock games or the futuristic Renaissance look of Deus Ex, both keep me glued to the screen for hundreds of hours trying to capture it all in a screenshot.

From there, another one of the first things i look for is a game that’s filled with interesting stuff to look at in every corner, like clutter, foliage, or lots of environmental set dressing/storytelling. The Arkham series and games like Observer are great for this.

Because if you’re going to be taking environmental screenshots (which i love to do), you’re going to need lots of details to keep the images interesting (especially if you don’t have strong/famous architecture like Rapture or Columbia).

Next on my list are titles that are third person. Here you don’t need a game with the most iconic or cluttered visuals, just one with a great looking and/or interesting character in them. Preferably one you can pose or that has a few different animations. Adding a character to screenshot can bring drama, excitement, (or any kind of emotion really) and it’s always a ton of fun to compose a shot around them. Putting Lara in this image turns a pretty view into a dramatic and adventurous one and placing Boba Fett in this Battlefront shot puts a new spin on a classic movie moment.

However, the game doesn’t always have to be in third person, as long as you have another unique character with decent animations, like Hello Neighbor or Alien Isolation. The right character in the right place can turn a normally boring area into a funny or cinematic one.

I also like games that i can change visually to a decent degree, to give a somewhat fresh take on them, like Skyrim or Fallout (with mods), or Wind Waker, where i added Hypatia’s texture mod (plus switched costumes and hid the shield) along with some slight bloom, and ambient occlusion (this gave a flat cartoon looking game into an almost 3-d Paper Mario look, especially in the flames and the way Link’s hair and sword stand out from his body). 

But lets say a game doesn’t have tons of cluttered objects, or an easily accessible character to pose. Then i look for something with striking art direction like Dishonored or Mirror’s Edge (i seem to like plant and chair combos too).

Or one that has that, combined with immaculate attention to detail, like The Witness. Look at how perfect this thing looks even from way up in the sky. It feels like every blade of grass and pebble was specifically placed, which makes it a joy to screenshot.

There are also games i just click with that aren’t the most visually different/spectacular or filled to the brim with unique assets or characters, but have still managed to grab my attention completely. Usually this has to do with the setting or story (i will almost always love a game that’s set underwater, for instance). An example of this is the fantasy/dreamy feeling and enjoyable level design of The Old City Leviathan.

And the somber, crushing mood of Soma. Most people didn’t even try to take screenshots of this one, since it probably wasn’t that visually stimulating or exciting to them. For me though, i loved the game so much, i found stuff everywhere i wanted to take screenshots of, even if it was just a simple but imposing door (i moved the sign on the left there for a little added flair).

I also look for games that have great lighting. With the right lighting you can make even simple objects or places exciting to look at. The Outlast games do this perfectly, but they also add in high quality textures and wonderful level design. On top of that, i can use the headless protagonist to get even more unique images, making the game a fun and challenging one to screenshot.

Two other things i look for are games that have huge nostalgic value to me and titles that people don’t screenshot often (or at all). Halo has a few of the things i listed above in this reply (iconic visuals/architecture, neat looking characters, i really connected with it), plus these last two. I needed 4 different programs running to take shots of this one, but it was worth it since it’s so special to me.

anonymous asked:

What works do you consider your best and your worst? In term of techniques etc? Much love!!

Hi anon ^^

Thanks a lot for your question! Someone asked me a rather similar question 2 months ago so I’m gonna copy/paste it but I’m gonna change a couple of things though, because the other anon was asking about my most recent works. I’m gonna back to 2010, so…here we go!


The very first artwork I did for The Life of Bucky Barnes (Bucky Barnes) - It was the first one, I didn’t put a lot of effort into it and it really shows. Buck has no body hair on his arms, the background is a mess, the texture of the bear is a disaster. I wish I could redraw it and replace this version but it’s worthless because you can’t edit the artworks on Instagram and it was already reblogged quite a few times on Tumblr so, I just leave it as it is. (but I don’t wike it)

A face in the Crowd. (Bucky Barnes) - One word to describe this artwork: lazy. I took a pic of Sebastian at a fashion show and did a Bucky version. In other words, I just drew him with his hair longer and a metal hand. I don’t like it a lot because I find the composition horrible too. There were so many options and I went for this. I like his face and his hand but the rest is mew, particularly the background.

Summertime. (Dean and Castiel) - I wasn’t into “line arting + coloring” for a long time when I drew this one and it shows. I would have drawn it rather differently today. Not to mention that a part of the anatomy is off. Yup, not a huge fan.

You can add 50% or the artworks I published in my pig PDF, that is to say, my very first digital works. I mean, nothing surprising, I was a newbie, I had a shitty computer, a shitty graphic tablet. But also…HOLY ANATOMY BATMAN. What the fuck xD Sam has a horribly BIG hand in the last one xD

I could have fixed a good part of the mistakes, particularly anatomy mistakes but then I thought, “What the hell!” and 1) It can be “inspirational” (what a pompous word, whatever) for young artists who get into art. All these drawings with shitty textures and anatomy mistakes are here to prove Rome wasn’t build in one day. Kids, here is my shameful past. Take it as it is and you see, practice pays. Eventually. 2) Let’s face it I have a soft spot for all these drawings, they were my first steps in the Supernatural and Marvel fandoms, they are the reflection of so many good moments I had so, yeah, I’m keeping them as they are. I just changed the brightness/contrast of some of them because they were far too dark but otherwise, I didn’t touch a thing.



Divided We Fall. (Avengers, group picture) - This one took me ages. I don’t like it because I spent a lot of time on it but rather because I love the textures, very shinny and smooth. Also, I used this art as a playground to experiment tons of things when it came to textures and lights. A lot of fun!

Read my Skin. (Dean Winchester) - A Dean Winchester fan art I enjoy a lot. I love the tattoos particularly the one on his chest but also the textures of the whole artwork. Bonus point: Dean is hot in that one

Big Avengers Selfie (aka, one of my most reposted artworks without credit because, why bother! ^^) - This one was a lot of fun to work on because the pic is very crowded and the perspective was interesting to do. Too bad that I had no pics of Cumberbatch as Dr. Strange at the time because I would have added him somewhere at the back. I think it took me a whole week to complete T___T

You can add to the list THIS ONE and THIS ONE that I’m really proud of, because of the composition, THIS ONE because of the texture of the skin, THESE ONES because of the lighting and the texture work and the DOCTOR STRANGE ONE because the likeness and the lighting are good. (that was my “I’m happy with my art” moment, it will be over in 10 minutes)

Thanks a lot for your question ^^ Much love too ^^

anonymous asked:

omg can you make a tutorial on these graphics? they're so pretty post/153149331675/royalswan-you-chose-me

aw thank you so much! <3 + i’ll try to explain the best i can!

so, you can find the post here but i’ll try to show you how to make the first gif in the set; which is this one:

  • you’ll need at least knowledge of how to make a gif.
  • video timeline + frame animation timeline used.
  • like/reblog if you found this helpful.

the tutorial continues under the cut ~ (it’s quite long, sorry!)

Keep reading

manip tutorial.

hey guys so i’ve gotten a couple of messages about how i make my manips. the process is fairly simple but basic photoshop skills are required. i hope i did well in explaining how i do this. if not, feel free to message me with any questions or concerns. also, don’t expect to be a master at manips at your first shot of doing them. it takes time to really get a hang of it. heck, it took me a long while to get used to it. so, anyway, let’s get to it.

here’s an example:

Keep reading

boopymooplier  asked:

Okay so I'm interested where your art style came from? It's one of a kind, I've never seen one like that xD

My BIG inspiration in finding art style was traditional graphic, I had in college since first grade.  Etching and aquatint and this unique effect, which is really hard to immitate. But witchout specific conditions and supplies, you are unable to make Etching at home. And it is really difficult technique to be honest. 

(My first work [170x80 cm], that’s where my fascination began and I becam Cyan Deer)

(One from the works I’ve made on 2nd year) 

And important! When you are makeing traditional graphic like this, you should think in a little different way than normal. You need simple way to show mood and atmosphere. Go quickly to the point and not draw too much unnesesary details.

Those sketches for example. They are tiny 5x3cm, but every each of them ended as big 100x70 cm graphic. This is kind of thinking you need. 

Think simple.

(First mixed media illustration, where I tried imitate this effect)

That’s why I started useing so many textures in my artworks. To try get similar results.

Style is evolving!

And being honest. I always was this person who had troubles with drawing, no matter how hard I was trying. So why not make this my art style? Simple sketching lines and texture surface.

(Most recent attempt. My project for master degree)

(Poster from 5th year)

And of course FANART!

(You can see I discovered watercolours and markers haha)

Many people can tell, those look like made by someone who is just trying learn how to drawing. Yes, that’s true, but there is also so much thinking involve in process. It is not just an “happy accident”.   

Sometimes I am makeing traditional sketch, then scan and working with it on the computer. This year I am useing mostly digital media to create my art, because I want to learn how create similar artworks without traditional media and supplies.

This is how I am makeing my artworks, this is how I created this monstrosity I am calling my artstyle. Haha xD  

(As you said) you never saw something like this before. (Many illustartors are makeing something similar. You be suprised.)

I am talking too much as always haha.

I hope you got your answer. Somehow? :D


Look at this piece of…  something… from 2011. I was still in high school. Few long months before collage. I guess I always liked drawing this way.