Half As Long, Twice As Bright @giveawaysoul - Tumblr Blog

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method actor this method actor that. toshiro mifune played a guy getting shot at by arrows by getting shot at by arrows

and yeah i believe it. ^ this is the face of a guy getting shot at by arrows

lysenkoite

weaselle

abz-j-harding

i can't cope

rlyonsconceptart

Uncharted - The Lost Legacy. Asav costume design.

maxbegone

Uncharted 4: A Thief's End (2016)

fionastaples

70-minute Bizarro Sephiroth

I drew this Bizarro Sephiroth (from the boss battle in Final Fantasy VII, you remember) in Sketchbook Pro 6, it was about 70 minutes. Here’s a sped-up video of the process!

Afterwards I added some quick colour overlays in Photoshop and drew a hint of his other arm in there.

I’ve been using a couple of Sketchbook Pro brushes by one of my favourite concept artists, the amazing Calum Alexander Watt. You can download the same set and watch some of his process here. I feel like I learn so much just from looking at his work, and especially from watching his videos. So that kind of inspired me to post my own video, even though I’m just beginning to learn this program!

I didn’t want to do a voiceover (my dental hygienist yesterday said I was “nasally”) so here are some notes about what I’m doing:

- This was just a sketch with no background or action, and I didn’t even get creative with the pose. Pretty simple stuff… so I didn’t mess around too much with creating a composition. I just started! If this was “for” something, like a cover, I’d do a fairly precise drawing first.

- Here’s the reference I was using:

- I love digital painting because you can paint dark on light OR light on dark with equal ease. Meaning you can start with a dark form and build up the highlights, then put more shadows on, then put more highlights on, then put more shadows on, etc… it means you can go in without a plan of action, haha.

- I only used one brush for this- a big soft watercolour brush with a lot of pressure sensitivity, so I can generally enlarge it just by pressing harder instead of messing with the brush controls.

- The button on my Cintiq pen is set to bring up the eyedropper, and I’m using that to pick up the colours I want. I’m choosing colours from the painting itself rather than from the colour wheel/palette.

- I don’t use a ton of layers. On my layers palette to the right, you can see the main painting on the bottom, and the layer that I’m using on top of it. I create a new layer for each bit that I paint, and merge it down when I feel confident about it.

- at 4:04 I’m flipping the image to make sure everything on the face is aligned okay

- at 4:53 I’m selecting his head, copying it to a new layer, and shrinking it to the size I want. I like to do this as a new layer so the background is still behind it, filling in any gaps left behind after shrinking the shape. It’s easier to blend in the new small head now. Although I forgot to blend in the line where it joins his neck. That’s ok, it’s a tendon or whatever.

- around 6:05 I’m painting the “Jenova hat” on a new layer, then I make that layer invisible so I can fix the horn underneath it. Then I go back to the Jenova Hat, complete it, and erase the bit that was covering the horn.

- Bright white highlights are a nice finishing touch! Don’t use them everywhere, though!

jesawyer

Hi Josh. I love New Vegas and played it for countless hours on Steam. Some fans would argue If Obsidian were to somehow able to make the next fallout installment, it would be radically different from the New Vegas that we know and love. As fans would say its due to a shift in management. I don't know how valid that point is, but I thought I would get your opinion on it.

I don’t know what changes people think have been made in management that would result in such a shift. I’d say it’s more likely that changes in staff (i.e., the development team as a whole) would be likely to result in a shift – but I don’t even think that would be likely.

I guess it depends on what decisions on F:NV you consider to be integral to its character, who made those decisions, and if that individual would make similar decisions on a future Fallout project.

I had, by far, more authority on Fallout: New Vegas than on any project I’ve worked on before or since. I exerted more dictatorial control over individual elements on F:NV than I have on any other project. Were I to direct a future Fallout title, I would make similar decisions in terms of both broad strokes and details.

I did not pick New Vegas as a location, but I framed the entirety of the base game’s world, mapped out every region on paper (world builders like ScottE, Sydney Wolfram, and Denise McMurry did all in-game mapping), and wrote every Region Design Constraint doc (RDC), naming, describing, and overall defining the major locations in the game (everything marked with a star in this map, which I created):

Would I change how I approached this? Probably. I would start the character somewhere farther away from the edge of the world and probably farther away from New Vegas. I would also loosen up a bit on real-world map accuracy and insist that the world builders use as few invisible walls as possible – only to prevent them from falling and getting stuck, never out of a concern about sight lines and LoDs, especially since I/we understand how LoDs work in the engine much better now. Otherwise, I think this process worked well.

For better or worse, I conceived and designed the character arcs for every base game companion (though they were further fleshed out and entirely written by different designers, save Arcade Gannon). Time permitting, I would be more likely to work with writers to conceive companions collaboratively, as we did on Deadfire. Otherwise, I think the process and overall quality of the companions was terrific thanks to the efforts of the writers. I wouldn’t change the process or focus for a theoretical future title.

I defined the open nature of the critical path and insisted on certain elements, such as ending with the battle for Hoover Dam, allowing any non-child character to be killed, and allowing the player to skip any/every step of the critical path prior to meeting Benny in The Tops with the story still making sense. John Gonzalez (our lead creative designer) defined the major characters of the critical path, the Strip’s houses, and the details of the critical path, but I see no reason why we would (now) design something that feels fundamentally different from what John did.

I was the only system designer on the project, excepting the work Frank Kowalkowski did on Challenges (he designed pretty much everything about them and implemented them all). I made all of the SPECIAL revisions, skill system revisions, Perk and Trait revisions/additions. I also designed, implemented, and tuned every weapon in the game. Overall, I’m happier with the system design in F:NV than any other game I’ve worked on. If you want to know what I’d change about what I did, look at the JSawyer mod.

I also designed Caravan (with Jesse Farrell, but please hold me responsible for its shortcomings). Yeah, that was a bridge too far. That and scheduling the Legion territories and supplemental quests too late in development.

The team as a whole defined the character of Fallout: New Vegas’ quests and the writing of individual characters. I can’t really take much directorial credit for this other than telling designers when I think they were doing a good job, offering suggestions/feedback, and generally staying out of their way unless I thought they were making something players weren’t going to enjoy. If we were to make another Fallout game, I would absolutely have all of the designers look at what the team did on F:NV. New Vegas is what it is because of their work. All the high-level planning and directing in the world will fall flat if the moment to moment conversations, quests, and environments don’t move something in you. That takes a team of people making good decisions and doing good work and there’s no way around that.

It’s been 8 years, so a lot of the staff have moved on from Obsidian, but many members of the original F:NV team are still here. I still think we could make a fantastic Fallout game with the character of Fallout: New Vegas. I don’t think I will ever get the chance to, but I’m grateful both to the original team and to the fans for making F:NV the best game I’ve had the good fortune to be involved with.

serviceweapon

Return ALAN WAKE II, OCTOBER 27 2023

rasputinaillyanna

In a horror story, there are only victims, and monsters. And the trick is not to end up as either.

Spacesuit explosion ❌

#my art #digital sketch #sketch #spacesuit #starfield #explosion #procreate #procreateart

zachbiller

ruffboi-mags

I was gonna say “what you think he had insurance???” but 1) at least in the early aughts to mid-teens, NY was one of the less excruciating states to get medicaid in, and 2) he was a minor and it’s a LOT easier to get medicaid for a minor, especially when said minor’s legal guardians are retirees on fixed incomes I’d wager.

So yeah they’re all just fuckin dumbasses! I love them.

absolxguardian

This is why I think it would be peak comedy for the radioactive spider to be of a non-venomous species and for there to be a scene of a new Peter Parker/Spiderperson looking up the spider’s features or posting a photo to an identification subbredit before being informed of the fact that nothing will happen

ruffboi-mags

entemologist reddit: oh yeah, that one’s venom isn’t strong enough to cause anything other than a bit of localized pain at the bite site, no worries.

Peter Parker the next morning, stuck to his ceiling: Well someone fucking LIED!!!!

Hellboy sketch. A HellWIP, if you will.

#my art #hellboy #Hellboy art #fan art #sketch #digital sketch #procreate

samdotexe

ＡＬＬＧＬＯＲＹＴＯＴＨＥＨＯＵＳＥ

succubusboyfriend

being a self-taught artist with no formal training is having done art seriously since you were a young teenager and only finding out that you’re supposed to do warm up sketches every time you’re about to work on serious art when you’re fuckin twenty-five

succubusboyfriend

someone: oh yeah, do this exercise during your warm ups! it’ll help

me: my what

suave-eddboy

thepioden

What’s up I have an actual college degree in art and I was never ONCE taught to do warm ups.

sparksel

when i was in undergrad, it was kind of mentioned in and offhand way that we should do warmups, but we were never shown what that meant. And, y’know, we were young so it didn’t matter so much.

Being older now and having an art job it’s…kind of essential.

So: a quick primer for those of you who are like ‘ok but how do i actually go about doing this warmup thing.’

1) you may be tempted to do ‘a warmup drawing’ which is just a drawing that will take longer than it needed to and probably be frustrating and kind of bad because you didn’t warm up first. It’s tempting but always a trick your brain is playing on you! Do not trust!

2) warmups will vary based on what feels good to you/what task you’re about to do/what motor skills you want to practice. That being said, some good standbys:

a) circles. Just a whole page of circles on whatever drawing surface you’re going to be using, whether that’s your tablet or your sketchbook or a drawing pad on an easel. For these circles you should make sure that you’re drawing from your shoulder and not your wrist. In fact, you want to be drawing from your shoulder rather than your wrist most of the time! forever! your wrist is delicate please preserve it!

In order to ensure that you’re drawing from your shoulder, when you’re holding your pencil or whatever drawing tool you’re using, the only part of your hand that should be touching the drawing surface is part of the last two fingers–some people prefer the finger tips, but I tend to favor the first knuckles. Either way, the fingers should really be ghosting over the surface, providing guidance rather than support.

I usually start with big circles and then go to smaller circles and lines of ellipses, and then try to fit circles and ellipses inside other shapes i’ve already drawn as a precision exercise, but i don’t do that unless i’m feeling loose

b) spirals! i don’t always do spirals, but if i’m stiff and the circles just aren’t cutting it, spirals are a good fall back. I start from the center and work outward, going both clockwise and counterclockwise until i feel comfortable with the whole range of motion. Some people really care about getting perfect spirals but for me it’s all about making sure i’m comfortable with how i’m moving so who really even cares about how the spirals look. Not me!

c) lines! straight lines! in parallel! i do a mix of vertical, horizontal, and diagonal. These are often more from the elbow than the shoulder, especially if I’m working on a smaller surface. For this exercise, I recommend holding the drawing tool perpendicular with the surface

d) connect the dots. This is a precision and accuracy exercise and takes two forms. The first is to draw two dots and then draw a straight line between them. The second is to draw three dots and draw the curve that connects them. This sounds a lot simpler than it is in practice. Take time to ghost over the line you plan to draw before actually committing to your line. (I don’t always remember where I picked up my warm up exercises, but I’m pretty sure I got this one from Scott Robertson. His how to draw and how to render books are very technical but also accessible and worth checking out)

e) cubes, spheres, cones, and cylinders. These help get your brain into a more volumetric space. I draw multiples of each, rotating the forms around, and I’ll often take the time to do some rough shading on at least a few of them

f) spidermans! This one is really good if you’re going to be storyboarding or working on dynamic poses. Just fill a page full of spidermans doing all sorts of acrobatics.

g) beans. I don’t do beans too much anymore, but I know a lot of people like it so I’m mentioning it here. Fill an area with different size bean shapes without lifting your pencil off the paper.

h) short medium and long line repetition. draw a short, medium, and long line on your page, and then draw directly on top of them 8 to 12 times, doing your best to exactly trace what you’ve already drawing. Repeat with a wavy line. I’m bad at this one, which means I probably need to do it more.

And there are lots more options too! Hit up youtube to see what other people recommend, put together your own go-to list, mix it up when you’re getting bored, etc.

This is a long list, I know, but I usually don’t take more than 10 to 15 minutes to warm up, and I can warm up one handed while I’m drinking coffee, so, multitasking hurrah.

Sometimes I’ll advance to a precision warmup and find that I haven’t loosened up enough yet; it’s totally ok to go back to an earlier exercise! Also, all of this has the added benefit of kind of ritualistically getting you into the drawing mode so even if I’m not feeling it before I start, by the time I’ve gotten to the end I’m usually Ready For Drawin’. Brain hacks.

so, yeah! that’s a lot of words, but! Warmups are important! Save your joints, take less advil, do better drawings!