June in review

June was a strange month, it had so much good and bad. All in all it’s been pretty decent.

Health/Fitness:
Picked up Yoga again. Man, I’ve gotten tense and stiff in the last few years. Things that once were easy are now a struggle, there’s a metaphor in that.
And I Figured out that I am doing much better health wise on a low carb diet, but I’m struggling with that - I love my bread and pasta. We did however decide to get our groceries delivered as opposed to pick them up via public transport, which means much more fresh stuff to eat.
But the best thing for my health might be my new draw onto it screen - no more art pain!

Art:
I didn’t finish any art, but I finally have all my three galleries  (FA, weasyl and deviantART) up to date. All art I want public is public, yay! And while there’s bunch of illustrations in progress, but those don’t count until they’re finished.
I did manage to publish one ToC page, wich is… not as good as I hoped, but at least better than nothing.

Writing:
Such a mixed bag.
Most of my writing time in June had been at stuff I cannot show yet. I did background on Traces of Chaos and I’ve been hunting down plot holes I haven’t seen before - which explains the delay. I’ve also begun to prepping Nyx & Nyssa, which is a so much more simple story than ToC - a relief, I don’t have to track the positions of three different armies.  
I put out one blogpost and my dragon story is languishing, which needs to be fixed - but to be honest, both are so low priority, I have a tough time justifying the time spent on it to myself.

The Business of Art:
Decided to take commissions again in near future. Started writing a ToS, finished uploading my art - maybe I can start offering them in July. If people take me up to that offer, well, that’s an entirely different thing.

Social:
There’s a pen&paper RPG group shaping up, and I hope it’ll turn out well. I miss playing pen&paper. It will be the first group in English, though.
My brother is prepping to marry, and it reminded me that am still missing my family in Germany. It’s much easier to hop into a train than a plane, even if the travel time for the plane is shorter.
I’d like to spent more time socialising online, but currently have trouble finding communities in which I feel welcome and in which I am interesting. Twitter’s still fun though, even if a bit annoying sometimes.

Happiness
Some time ago I decided to keep my daily, handwritten diary deliberately focused on stuff that made me feel happy and successful. Mid June I had the opportunity to compare with my old „whine about what upsets me“ style, and the difference is light night and day. Not only does the diary itself tell a story of success as opposed to one of failure, nope, I feel much more balanced and pro-active myself. I get more stuff done.
And now I have to admit, as laughable as the „tip“ to focus on the good things seems, well… it really makes a difference.

Read more…, 2015There are Romance novels and then there are Romance novels. Nyssa seems to have reached the spot where the lonely, beautiful Queen is seducing the young, statuesque knight and they are fumbling over each others clothes.Nyssa likes her books.
Read more…, 2015There are Romance novels and then there are Romance novels. Nyssa seems to have reached the spot where the lonely, beautiful Queen is seducing the young, statuesque knight and they are fumbling over each others clothes.Nyssa likes her books.

Read more…, 2015

There are Romance novels and then there are Romance novels. Nyssa seems to have reached the spot where the lonely, beautiful Queen is seducing the young, statuesque knight and they are fumbling over each others clothes.

Nyssa likes her books.

Eight & Eye Post Processing for Emotion

redshoesnblueskies:

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In a conversation with schwarmerei1 over here, we got to discussing post-processing on eyes and I had this realization about some effects work and wanted to post more photos to demonstrate.  Also, to commemorate viewing 8.  Obsessed?  naaah.

Here is my comment on the other thread [just for clarity, I’m blathering for anyone listening in & interested - clearly schwarmerei1 needs not my lecture!rant :D]:

I just got back from viewing 8, during which (while luxuriating in this dear-friend-of-a-film) I was watching for some specific treatments - eyes and color timing specifically.  (just to eliminate the confusion of my in-camera/in-post mixing-and-matching of terminology, for ‘filter’ I definitely meant the color timing done in post rather than practical filters in-camera :).  The cool thing is, you can mostly use just one filter and get that ochre+teal combo out of earth and sky, plus the creamy skin tones of the actors.  

So with your previous comment about eyes, I tracked effects usage there and went…oh. my GOD!  Miller had Whipp do in post, exactly what I do in post processing photographs.  I’m practically obsessed with a trans-illuminated eye look, with heightened contrast, and filtering to pop color (bet you I can take a still of Charlize’s eyes and bring out exactly those colors :D), and unsharp mask to pop eye-lights/highlight. I’d spent the previous SEVEN VIEWINGS going, maaaan the eyes are amazing - were they using lighting magic or some damn thing??  Nope, they did exactly what I do to my professional shoots.  I had to stifle my shriek of realization in the theater.

And why do I do it?  Because you can read so much emotion in the eyes, but camera exposure has to choose balance based on the brightness of pale skin on pale skinned folk and reflecting highlights on dark skinned folk…meaning the eyes, forever in the shadow of the brow, are always under-exposed.  You can take a perfect photo that looks like… a perfect photo, do this specific subtle treatment on the eyes and suddenly the photo looks extraordinary - because it no longer looks like a photo, it looks the way our eye sees a human face/eye expression combination - because our eyes have so much better dynamic range than any sensor yet does.

My lid - it flipped.  And without your comment about his use of post effects, I would never have figured that one out, because I still consider cinematic post to be some mystical process, rather than remembering I’m pretty damn post-processing literate my own self :)  So thank you!  I loved having that realization - because their eyes are intrinsic to the subtlety of body language both Hardy and Theron brought to their acting and I knew I loved it, but didn’t know why it was so apparent.

(on the flip side, now that I knew what to look for I realized I was cranky about the over-smoothed skin textures on the wives in the first half of the film.  too plastic!  but, you know, different tastes.  The contrast to the lined, textured, gritty look of Furiosa and Max (and the clay textures & scarring on Nux as well) contrasted sharply with the overly smoothed textures on the women, and I’m sure that’s why the treatment on the skin was done.  I’d just…make it more natural.  Because I’m a picky bastard :P) (now I gotta go listen to that podcast - because, fun! thanks for the link!)

Now some photos!

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Mostly Lighting:  In this first gif, the lighting is only slightly center off his face, to give us the best natural view of all this emotion.  We need his eyes!  And he is lit for it, for sure; great lighting here, but even so, the contrast on the eyes is boosted a bit I’m betting.  His eye color is really evident and the whites are really bright (sclera & highlights).  If it’s there it’s very subtle, but brings out his crucial emotion in this scene even more.

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Help From Post: This one though - look at how shadowed his eyes should be - under the brow, with the light coming almost directly from his left.  I don’t think even lighting under him/a bounce board could have brought out the whites of his eye, and definitely not the eye lights.

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Totally Post:  This one - Furiosa’s face goes entirely into shadow, and her eyes especially her off eye stays completely lit?  Without her face being illuminated? Where is this magic light source exactly?  And if her eyes weren’t brought out in post, her fear here would be almost lost.  Max’s visible eye is brought out too - I mean, he’s lit from behind. Very nice.

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Post for Heartbreaker Connection:  In this shot his eyes should be almost obscured - he’s a mile away from the camera, no lighting at all!  And yet we can see the whites & highlights of his eyes clearly.

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Sharpening or Unsharp Mask, too: And in the companion photo, look how much sharper her eye is than the rest of her face - so not only higher contrast, sharpened as well.  It really stands out.

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For Sure No Post:  For contrast - here’s interview-decent lighting. Do either of her eyes pop the same way? Especially the eye in shadow? Can we see her eye color much? or whites?  No, nowhere near.

Going back through my tumblr to find these pics, I noticed that most of the Furiosa art totally over lights the eyes - capturing the visual style of the movie. 

Such cool stuff to realize and enjoy!  Movie magic makes me happy.

Oooh, eyes are important!


These are some nice tricks to make them stand out more.

Anonymous asked:
Stumbled across your art recently, and I totally admire your work! As a complete noob to the digital art scene, I'd just like to ask whether you have any tips on colour picking (like for skin tones, under varied/dramatic lighting and such!). I have a ton of other things I want to ask, but I'll limit myself to one question and then try to google the rest, haha/ Thanks for sharing your art with us! ^^

Imaginary Skies
soodyo answered:

ahh thank you so much! ♥ welcome to the digial art scene friend, i hope you enjoy your stay and ctrl + z

now onto your question! (if you don’t know what layer and layer modes are and how they generally work you should probably google that before you continue reading)

we all perceive colour differently (thx science) and i trust my intuition a lot when it comes to colour picking because of that, and also because i feel like you can make pretty much every colour combination work within the right context. context is key! but still, remember that all of this is about how i perceive colour, so you might not agree with everything i say.

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here’s a quick rundown of terms you’ll see around a lot in reference to colours and shading: the hue, which is the ‘colour’ itself, the saturation aka the intensity, and the brightness [or value] which describes how dark or bright we perceive a colour to be.

rule of thumb: when you shade don’t just add black (or white) to your base colours, that will make your drawings boring and lifeless. use different hues and saturation!

now first things first: which skin colour does the character have?

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you’ll mostly be navigating in the red to yellow spectrum for the skin tone. so when i pick the base colours i usually start with the skin and adjust the rest of the colours accordingly. if you’re not sure where to begin it might help if you first determine the values (brightness) of the base colours in grayscale.

and here are a few colour variations—i stuck to the approximate values but played around with a lot of different hues and levels of saturation.

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now compare 3 and 5: you’ll notice that 3 is very bright and leans towards orange hues, whereas 5 has a pinkish tint.

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on the left i gave 5 the hair colour of 3 and in my opinion the pink hue of the skin doesn’t go well with the orange undertone of the hair. you’ll have to experiment a lot to find out which combinations work for you.  

ctrl + u is your biggest friend (or image >> adjustments >> hue/saturation in photoshop, the shortcut works in sai and clip studio paint too). play with the sliders and see what happens. i do that a lot myself, because it’s easier to coordinate the colours like that afterwards instead of trying to manually pick perfectly matching ones right away.

for further adjustments i like to use an extra semi-transparent layer on top of everything with just a single colour to add atmospheric light. this unifies the colours and makes them more harmonious, if that’s what you’re looking for. this is about as far as i’d go if i didn’t want to shade the drawing.

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if i do want to shade, especially with high contrasts and dramatic light, i darken the base by just adding an additional black layer, here set to 40% opacity. of course you could add a colour layer like the ones i mentioned previously too.

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to create an impression of dramatic light you need a high contrast between light and dark areas (1). if i want additional visual intrest i often add secondary light which falls onto the main shadow areas. here i picked a faint greenish blue to balance out the yellow (2). and since light is at least partially reflected when it hits a surface you should add a faint glow that goes across the shadow/light border (3).

for this shading style i like to use the layer mode colour dodge with lowered opacity + fill settings. for some layer modes opacity and fill do the exact same thing (e.g. for multiply or screen). however for colour dodge there’s a big difference:

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a lowered opacity merely alters the transparency of the entire layer. that looks pretty awful sometimes, because the bright orange affects the dark of the hair much more intensely than the already brighter skin. but when you lower the fill percentage you primarily lower the amount of light that falls onto darker colours. so the layer’s opacity setting treats every colour equally whereas the fill setting takes their values into consideration. it might be hard to understand if you don’t try it out yourself, so just play around to get a feel for how it works!

and to summarise, here’s a process gif:

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colour is an extremely big topic and i’ve only barely scratched the surface but i hope that still helped you out a little! the fastest way to learn is always to try things yourself, so grab a sketch and experiment. 👍


Colours! I’ve been trying to learn how to do this particular style.

mulattafury:

i just found myself using this random trick that one of my art professors taught me and i thought other people might like it!

other tips:
-at rest, the elbow hits the bottom of the ribcage, and the wrist hits the bottom of the crotch
-the distance from your inner elbow to your wrist is about the same length as your foot
-the length of your hand (from wrist to the tip of your middle finger) is about the same length as the distance between the bottom of your chin and your hairline

so, if you have a feeling that proportions are wrong on something, those work as quick gauges. like, if a character’s forearm looks too long, try to visualize their foot being the same size and see if that works. if the hands look too big, look at their size in relation to the face.

hope this helps someone!

This is one of those genuinely helpful tricks where I facepalm that I did NOT THINK OF IT MYSELF.

Core Values

thecharactercomma:

Core values shape our decision-making. They’re our own moral compass, and each person’s core values are specific to them. That said, there’s no such thing as a “wrong” core value! Maybe it’s something you don’t value, but that doesn’t make it any less important to someone else. Similarly, just because it’s not a core value doesn’t mean you don’t give a shit about it. Just because integrity isn’t a core value doesn’t mean you’re going to cheat on tests and lie to friends or whatever. Just because friendship isn’t a core value doesn’t mean you are and want to be always alone and friendless.

You should do this exercise for your entire main and support character cast. Protagonists, villains, everyone—except maybe George at the cash register. Maybe you can if you want, though. They say you should write every character as if they think the story is about them. Finding their core values will help them make choices that reflect their own beliefs, not just decisions contrived to make a point, further the plot, or support the MC. Take your time. Do it for yourself, too, if that helps you get into it. Reflect on whether or not they’re your values. Just because you were raised in a competitive family doesn’t mean you have to value it like you’re expected to.

Preferably, you’ll print this list out. Read through all of them. Then read through again, and checkmark 10 values that matter to you. Finally, on a third read through, place a second checkmark next to five of them. These five are your core values.

Achievement (sense of accomplishment by means of skills, practice, perseverance, or exertion.)

Advancement (moving forward in your career through promotions)

Adventure (work which frequently involves risk taking or travel)

Aesthetic (involved in studying or appreciated the beauty of ideas, things, etc)

Autonomy (work independently, determine the nature of your work without significant direction from others)

Caring (love, affection)

Challenge (stimulates full use of your potential)

Change & Variety (varied, frequently changing work responsibilities and/or work settings)

Competition (your abilities against others where there is a clear win/lose outcome)

Cooperation (opportunity to work as a team towards common goals.)

Creativity (being imaginative, innovative, coming up with ideas)

Economic security (having enough money)

Excitement (experience a high degree of, or frequent excitement in your work)

Family happiness (being able to spend quality time and develop relationships and family)

Friendship (develop close personal relationships)

Health (physical and psychological well-being)

Help others (be involved in helping people in a direct way, individually or in a group)

Help society (do something to contribute to improve the world)

Inner harmony (being at peace with oneself)

Integrity (sincerity and honesty)

Intellectual status (be regarded as an expert in your field, thought of as smart

Knowledge (understanding gained through study and experience)

Leadership (influence over others, rather lead than follow)

Leisure (have time for hobbies, sports, activities, and interests)

Location (live somewhere that will fit your lifestyle and allow you to do the things you enjoy most)

Loyalty (steadfastness and allegiance)

Pleasure (enjoyment)

Power (authority, control)

Precision (work in situations where there is little tolerance for error)

Responsibility (being accountable for results)

Recognition (getting acknowledged for your contribution)

Stability (work routine and have largely predictable duties, not likely to change over a long period of time)

Spirituality (religion, faith)

Time freedom (flexible work schedule, no specific work hours required)

Wealth (profit, gain, make a lot of money)

Wisdom (accumulation of knowledge)

(you aren’t limited by the values on this list, by the way)

This sort of guideline should lean your character’s choices one way or another. That said, it’s not at all meant to be seen as constraints for your characters. Core values can be a tremendous amount of stress to your character. They bring out what I’ve mentioned before—how people at times seem like paradoxes (remember this post?! Told you it was a topic I’d bring up a lot).

Think about this scenario. Two of your core values are friendship and integrity. Your best friend is going to fail their math class if you don’t help them with the homework! And it’s more than just “helping”… they’re so far behind that they want you to actually do some of their homework for them. Helping them would be friendship. But helping them also goes against integrity. How do you decide? How can you justify putting one value over another? If you choose friendship and help her, you’ll get that knot in your stomach. You know it’s not right to cheat like this, and it stresses you out. If you refuse to help, same thing: you’re feeling terrible for not helping. Friends should always help each other, and you’re letting your own morals damage a friendship that you really value.

In this way, sometimes a character with integrity will make a choice that’s not all that honest. Is it out of character? Paradoxical? From a surface view, yes. But they haven’t abandoned their integrity. In fact, they’re feeling miserable about putting integrity on a back burner. And they’ll continue to feel miserable about it until they find a balance.

Closing thought—core values give your character dimension and depth. A character that values integrity and always, every time without fail chooses to follow the road of integrity is often flat and predictable. So make your character uncomfortable! Make them stress over their decisions. Make them miserable. Only then will they be miserably human like the rest of us.

–E

This ain’t just useful for writing - an interesting thought experiment is to figure out what your own core values are!

artofkevinoneill:

Brief rundown on basic perspective concepts and a few applications. All except the first image is animated.

Enjoying Each OtherThe times they are off-shift together are precious.(And usually start with them mock-fighting over who’s in charge this time. Sometimes Antonius wins, sometimes Leona does. She tends to cheat though)——I do love creating artwork like this - there’s something really nice about a couple just being into each other, you know? I’m not very much interested in drawing what happens in ten minutes or so, but this was really enjoyable.
Enjoying Each OtherThe times they are off-shift together are precious.(And usually start with them mock-fighting over who’s in charge this time. Sometimes Antonius wins, sometimes Leona does. She tends to cheat though)——I do love creating artwork like this - there’s something really nice about a couple just being into each other, you know? I’m not very much interested in drawing what happens in ten minutes or so, but this was really enjoyable.

Enjoying Each Other

The times they are off-shift together are precious.

(And usually start with them mock-fighting over who’s in charge this time. Sometimes Antonius wins, sometimes Leona does. She tends to cheat though)

——

I do love creating artwork like this - there’s something really nice about a couple just being into each other, you know? I’m not very much interested in drawing what happens in ten minutes or so, but this was really enjoyable.

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