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Posts tagged with "Ref"

May 1
painted-bees:

jeanox:

51 Things Every Game Student Should Know
Holy crap, THIS. This entire document. Read it, it’s funny and true. I nabbed this specific slide because this is something people need to freaking get in their heads. Having to pitch games on the fly in a short amount of time, people tend to do this. They don’t think about the mechanic. They don’t take the time to really nail down just what makes the game fun/compelling. If you’re going into game design take the time to really understand this (and all the other points made of course).

Haha A+! Story comes way after game mechanic. If you make a game with a great story, stunning visuals, and crappy, boring, non-fun core mechanics, you’re a crappy game designer. Try writing graphic novels instead.
“My character runs around a vast world map and experiences random encounters and carries out random quest related tasks” is, generally speaking, a boring, shabby, lazy mechanic, just fyi.
The rest of this slide show is awesome too hahaha jeeze.

painted-bees:

jeanox:

51 Things Every Game Student Should Know

Holy crap, THIS. This entire document. Read it, it’s funny and true. I nabbed this specific slide because this is something people need to freaking get in their heads. Having to pitch games on the fly in a short amount of time, people tend to do this. They don’t think about the mechanic. They don’t take the time to really nail down just what makes the game fun/compelling. If you’re going into game design take the time to really understand this (and all the other points made of course).

Haha A+! Story comes way after game mechanic. If you make a game with a great story, stunning visuals, and crappy, boring, non-fun core mechanics, you’re a crappy game designer. Try writing graphic novels instead.

“My character runs around a vast world map and experiences random encounters and carries out random quest related tasks” is, generally speaking, a boring, shabby, lazy mechanic, just fyi.

The rest of this slide show is awesome too hahaha jeeze.

ceruleancynic:

roachpatrol:

therivanqueen:

white-eyed:

lava poured over ice

This is a preposterous amount of lava. 

“what did you do today?”

“made lava and poured it on ice for science”

365daysofhorror:

jexislulzington:

HEY ALL YOU PEOPLE WHO LIKE OFF AND YUME NIKKI AND STUFF, I’M GOING TO TELL YOU ABOUT A GAME CALLED OUTCRY

LISTEN HERE KIDDOS BECAUSE YOU’LL APPRECIATE THIS AMAZING GEM OF A GAME

So Outcry is this PC point and click adventure game made in 2008 by a small Russian game company, and the premise is that your brother has gone missing after doing some unknown experiments. You investigate his home and eventually recreate his experiment to figure out what happened to him, and then things become… well, you can see what it’s like above. 

This game is a beautiful surreal adventure that employs dream logic and intense imagery to create a somber, uncomfortable, and ambiguous atmosphere. The story is relatively open ended and free to interpretation, with the gameplay being illogically thematic (seriously though, don’t even play this without a guide). There’s never real danger, but you’ll find yourself nervous and unsettled by the sights and sounds around you. I wouldn’t describe it as horror, but more as… suspense.

ALSO THE GAME IS GODDAMN PRETTY SO THAT’S A PLUS TOO

IF YOU LIKE INDIE ABSTRACT/HORROR GAMES, YOU’LL LOVE OUTCRY. PLAY IT.

Hrmmmmm now I want to play this…

(Source: jexislexington)

Apr 9
Apr 9

hearditbothways:

I am probably not the best person to be asking since I am still learning myself, so take this with a grain of salt. Your best bet is just to observe metal objects in real life or find references. But I hope this at least points you in the right direction!!

3spookei:

mrsalt:

reference, muscles

HAHAHAHA I AM ACTUALLY STUDYING THIS EXACT THING RIGHT NOW IN THE BOOK RIGHT IN FRONT OF ME OH MY GOD THIS IS REALLY HELPFUL A+++++

(Source: chicagofitfreak)

fyeah-seacreatures:

Bell Jellyfish

fyeah-seacreatures:

Bell Jellyfish

Gesture Drawing for Animation

ryan-c-cole:

fyeaharttips:

This is really long, but it’s very inspirational and has really sound advice http://www.floobynooby.com/pdfs/gesturedrawingforanimation.pdf

Thank you co-mod sadistickitty for submitting this!

There’s so much of this in these notes. It’s great.

bonkalore:

happyd00dle:

wannabeanimator:

Some tips from Directing Animation on working at home. Even if you’re not employed yet, these tips could help you with any art you’re making at home.

I need this

wow yes

moesuckra:

paranormal-blacktivity:

ATTENTION PEOPLE WITH ONLINE FRIENDS AND/OR IN LDR’S

There’s this kick ass site called Synaptop. And it’s perrrrfect for a person like you! Wanna know why???

  • It’s not something you download (NO DOWNLOAD DID U HEAR ME???)  this is all on your browser so it doesn’t take up a shit ton of space
  • You can stream music/use the music they’ve already provided there to listen to with your friend and or lover (ohhh la la)
  • Video calling is a thing here
  • You can leave video messages (how cute tho)
  • THEY HAVE AN APP WHERE YOU CAN DRAW TOGETHER SO U CAN LIKE DRAW LITTLE PENISES ON THE SCREEN AND LAUGH ABOUT IT AND STUFF
  • You can stream and or watch movies together with the FULL, FREE movies that they have, or you can upload your own.
  • Plus you can share photos and presentations and yadda yadda

The site is here. I have date night with my boyfriend in PA here all the time and it’s amazing. Check it outttttt.

ALRIGHT THAT IS IT

WHO IS DOING THIS WITH ME

tasmanienerin:

I gave a friend a Companion Cube made of gingerbread for Christmas a couple of years ago - it took several batches of gingerbread, and a lot of time, and a hell of a lot of icing, and a certain amount of on-the-spot learning.

In the last picture one can see the first stages of the demolishing (which was pretty difficult, given I’d built it not to break), and to the right, the box I put inside with the rest of her present inside (it was also very useful for added structural integrity during construction).

I might post more pictures later.

This looks so great! I wonder if I could cut a cake into a square and use sugar cookies instead…
Mar 8

rubitrightintomyeyes:

Indistinguishable From Magic: Costumes: the Wearable Dialog

dresdencodak:

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I mentioned before some of my favorite character designs in the world of comics and have been meaning to tackle this subject again.  I came to realize, however, that “character design” is itself a fairly massive subject, and that it would be best to break the topic down into separate installments.  Today, true believers, we’re going to talk about outfits and costumes, which are often a pivotal part of a character’s design.

3 Essential Questions

Clothing can convey quite a bit of conscious and unconscious information to the reader, but it should never be doing 100% of the legwork.  Body language, shape and overall behavior all come into play when building a character, and the trick is to figure out what clothing can do that these other elements can’t.  To get started, it’s important to ask some basic questions about your character before jumping into costume design.

1) Costume Hierarchy

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How often does this character appear?  Is it a main character or a side one? Primary characters have more complex needs than side characters, which is to say that the more information you have about your character, the more that can be conveyed in their appearance.  Additionally, the more frequent the character appears, the more versatile the design needs to be.

2) Environmental Relationship

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If it’s a side character that only ever appears in one setting, for example, you need only design the outfit to fit in that environment.  If they are a main character, though, chances are you’ll need the outfit to mesh with more than one setting.  

3) The Naked Test

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Is your character recognizable without any clothes on?  Body types, especially those of the main cast, should be distinctive even without the help of any outfits.  The naked form is the foundation of all character design.  Before you start dressing your body, make sure it’s a body worth dressing.

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Once you’ve sufficiently answered these questions, it’s time to jump into the actual design phase!

Shape

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Every character, no matter how complex, should be designed around an overal unique visual shape.  This theme should not repeat in any other character.  This shape should be readable enough that if you were to shrink all your characters into a super-simplified cartoony state, they should still be distinguishable.  Character designs follow a hierarchy: you grab the reader’s attention with the most essential information and then invite them to investigate the details.  If important elements of your design are only evident in the details, then it needs to be reworked.  If your character is not completely distinguishable in silhouette, it needs to be reworked.  Detail should always radiate from the core theme.

Kim and Vonnie stay distinct in a few ways.  

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The primary difference in shape between the above two characters is one of curves versus triangles.  Vonnie is very angular, and her clothing’s angles mimic the scaffolding of an art deco building to emphasize her height and posture.  Kim’s outfit makes her look shorter, but jaunty.  There are a lot of soft curves going on there to make her seem younger and more innocent.

Action

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What does your character do?  In what way would their clothing reasonably convey how they spend their time?  This is an easy question if it’s a uniformed occupation, but it certainly doesn’t stop there.  A more bookish or socially inept character is often prone to mismatched clothing, while a person of a very high social status is often wearing clothing that is physically less practical than those of the working class.

How does your character move?  What are their default postures and body language?  A good outfit should accentuate the body movements that you deem most important.  If a character stoops and hunches a lot, their clothes can augment that behavior.  For example, Kim is frequently hunched over, so I tend to dress her with a hood that’s shaped to go with poor posture, as well as a repeating “arch” shape to suggest this basic form.

Communication

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How much does the character wish to communicate with their clothing?  Not everyone wears their personality on their sleeve, nor is everyone especially fashion-conscious.  Nothing’s worse than having a cast where everyone is immaculately dressed and overdesigned.  A more outgoing character might be more aware of their appearance, while a more introverted one may be less concerned.  To add another layer, a character may dress a certain way to disguise something they don’t want to show to others, just as someone might act overconfidently to hide their insecurities.  You can tell your audience a lot about your character through what that character chooses to display to others.

Repetition

Core shapes and patterns should repeat on the outfit.  The entire design should exhibit some bilateral cohesion, which is to say if you were to cut the character in half horizontally or vertically, each part should look like it belongs to the other.  

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As mentioned, Kim has a lot of solid colors and arch shapes which are broken up by fabric and metal seams, with very few sharp edges.  

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Vonnie, on the other hand, is structured almost like a building, with vertical lines and triangles that take the shape of supporting beams on the surface of her outfit.  Her triangles and broad horizontal planes repeat throughout her outfit, including her glasses.

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This extends to multiple costumes worn by the same character.  Even if a particular character changes clothes, the core shapes should still be evident.  Scott Pilgrim is a good example of this.  Most of the cast change clothes frequently, but in each scene it’s generally easy to recognize the characters by the “type” of clothing they choose.  The details change, but the essential shapes do not.

Color and Contrast

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Different colors can imply different moods.  ”Winter” colors like cooler blues and purples can suggest an introspective or reserved personality, while warmer colors like yellow or red can imply a more energetic attitude.  If your character only ever interacts in one type of setting, you only have to worry about how those colors will fit in one environmental color palette.  If, however, your character needs to mesh well with more than one environment (as is usually the case with protagonists), you have to make sure your character’s colors will fit with multiple settings.

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Also, don’t be fooled by superhero comics: it’s generally bad form to have two dominant colors in a single costume.  My personal rule of thumb is to have no more than one prime color in an outfit design, followed by a secondary and then supporting colors.  

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In the case of Kim’s outfit in Dark Science, the primary color is black, with the secondary being off-white.  These are then supported by the muted blue and silver accents that appear in both her prosthetics and clothing.  Color and value contrast is very important, especially for a main character, which is why Kim’s basic palette can be reduced to black and white without losing any essential information.  

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Vonnie’s outfit is more colorful, but less contrasted as a whole.  Green dominates and is blocked in by a secondary, warmer black.  Green is the complementary color of red, and so her clothes naturally bring attention to her hair and reddish skin tone, inherently highlighting more sexual elements than Kim (whose black outfit essentially matches her hair).  White is also present, but it’s only a supporting color here.

Simplicity

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Above all else, keep it simple.  Comic characters are not pin-ups or other illustrations; you have to draw them over and over again, from various angles.  If you pile on too much detail, you’ll wear yourself out slogging through all the bits every time you have to draw them.  

If you follow all these rules, good costume design should create this basic pattern when presented to a reader:

  1. Read:  Silhouettes and essential shapes should be instantly recognizable
  2. Inform:  The costume should then tell the reader essential things about the character
  3. Compel:  The costume should then invite the reader to learn more about the character
  4. Move:  The costume should never impede the flow of action within the comic

If you stick to these basic guidelines, you’ll never fail.  Next up on character design: bodies and faces!

Mar 4

shoresoftheshadowlands:

bokiteshit:

deathcomes4u:

Need more of this for animation purposes, these are fantastic motion references.

the first thing I thought of were Warriors fighting moves

ahh my childhood

suddenly some of those battle moves in the books don’t seem so far fetched

(Source: eduardolion)

Mar 3

cynicalsleeper:

zombiehunterdg:

3D paper diamonds

I think you mean Chaos emeralds

The first thing I thought were these were Chaos Emeralds

Mar 2
nooby-banana:

kastiakbc:

jammareduke:

Over the Shoulder Tutorial by ~DerSketchie

THIS IS A LITERAL GODSEND
BACKS AND SHOULDERS HAVE ALWAYS BEEN HELL

GOD BLESS

nooby-banana:

kastiakbc:

jammareduke:

Over the Shoulder Tutorial by ~DerSketchie

THIS IS A LITERAL GODSEND

BACKS AND SHOULDERS HAVE ALWAYS BEEN HELL

GOD BLESS

(Source: martin-van-gurren)