h
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let's talk about Bridgerton tea, my ask is open
d e v o n
KIROKAZE
The Stonewall Inn
if i look back, i am lost
Cosimo Galluzzi
🩵 avery cochrane 🩵
Game Changer & Make Some Noise
One Nice Bug Per Day
Product Placement
cherry valley forever
Keni
macklin celebrini has autism
tumblr dot com
noise dept.
shark vs the universe
Sweet Seals For You, Always
art blog(derogatory)
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@larrynerds
ENGRAVED ENTOMOLOGY Art Director and Creative 3D Designer BILLY BOGIATZOGLOU
[ previously here: GOLDEN SKULLSÂ ]
I’m just gonna casually tag @larrydrawsrobots because this reminds me of her bug/insect drawings and her bugformers
Been meaning to finish this since #voltronlegendarydefender season 1 dropped. Better late than never.
Margarita Kareva bringing Russian fairy tales to life. Â Follow her mesmerizing work here.Â
@longfieldsofbarleyandofrye @peachesandcocks
rapidpunches:
SHORT STORY/ONE-SHOT/ONE CHAPTER/COMICS 101 CRASH COURSE RAPIDPUNCHES’ STYLE
I’m NOT an expert but I have some working experience I can share. You need experience to become great. Here is my set of instructions, tips, and notes towards making a 12-page comic.
My method is to work backwards. Personally I work “backwards” because the end is the only wholly necessary page or set of panels in the story. Everything in between is open to editing and hacking as the most important moments are emphasized and chosen.
I even plan/draw the end page first. The end is the last page a reader sees- so spend your freshest energies on making it as epic, memorable, poignant, and beautiful as #$%^&.
If you draw the pages from 1 to 12 sequentially you run the risk of fresh to burnt out- an uneven distribution of drawing skill. (treat the first page and the 2-page splash as you would the last).
Roughly… the steps to making your comic is
WRITE
PLAN THUMBNAILS
DRAW
…BEGIN THE WRITING (DO NOT SKIP NO MATTER WHAT) like this, in this order:
How does it end?
Does the protag succeed or fail?
What is the turning point of their story?
What the protag do that led them there?
Where does it start?
Who is this protag?
EXAMPLE:
Guy gets mauled by a bear.
This is a fail on the guy’s half.
The bear must eat something or he’ll starve to death.
It’s the guy’s fault the bear can’t find other food. He caused the avalanche that buried all the cabins.
The guy is yodeling in an avalanche zone.
The guy is some guy.
CREATING “THE BEAT SHEET” Take the above stuff and reorder it to make sense.
This guy yodels.
Echoes roll.
Snow slides down.
Avalanche buries the mountain.
Cabins are engulfed.
This bear has no access to cabin food and garbage.
Bear eats this guy.
Expand. Blow up important beats for emphasis. Keep less important beats brief.
This guy is hiking in the snowy mountains.
He comes across an avalanche warning sign.
There is nobody around but him.
A dumb expression forms over his face and he yodels.
Echoes roll but nothing nearby is moved.
At the top of the mountain the snow drifts twitch.
Guy, satisfied, hikes away from there still yodeling.
Frozen snow cracks.
Snow puffs billow and great slabs of ice crash down the mountain side.
Guy sees this and hightails it to safer ground.
Animals, people, are all panicking and getting pushed over by the rushing snow.
Cabins are destroyed.
The guy takes cover by an outcropping of rocks, fastens himself securely to the rock face, and waits for the avalanche to die down.
Avalanche dies down.
A lone bear shambles over from the other side of the mountain.
The bear goes to where a cabin used to be (only roof tiles are left). Bear sniffs a dish satellite.
Bear forlornly eats a food wrapper.
Bear tries to dig.
Guy comes down from the rocks he as climbing and sees bear.
Bear stops digging and sees him.
Guy runs.
Bear chases him down.
Bear eats the guy.
BEAT SHEET COMPLETED!!!
After the beat sheet, write up all the sound effects and speech bubbles and conversation/dialogue you want to be in your comic.
Since comics are a visual medium, highest priority is given to the beats. If a story can’t be told with the art without the dialogue– you messed up and it’s time to rethink your life choices.
Try to keep all your text chunks as short as a tweet. Professionally you don’t want more than 25 words per speech bubble and no more than 250 words per page.
Next is translating the beats to pages…
STRUCTURE OVERVIEW:
[1] point of entry, in media res, hero intro
[2][3] conflict. establish conflict, setting, and mood by the third page. [4][5] rising action/false resolution to conflict/investigation
[6][7] turning point/plot twist/epiphany (this one epic image, to page spread is pivotal, spend a lot of effort into creating this)
[8][9] aftermath/“darkness before dawn”/struggle [10][11] recovery/“rise and conquer”/“fall”
[12] resolution/final end/cliffhanger
[front cover][interior] [interior][back cover]
——————–
My maximum per page is nine panels but I’ve seen pages that have way more. I like to have about 3 to 4 panels per row or less but I’ve seen the “rules” broken before. Advanced comic book artists manipulate time with the number of panels and the size of each panel.
remember, DIAGONALS!!! open up an issue of batman, superman, spider man, deadpool or whatever youre reading theyre everywhere.
———-
…DRAW IN THIS ORDER:
Page 12,
Page 6 and 7 (this is typically one large image that takes up the space of two pages),
Page 1,
and then the rest.
ONLY “DEVIATION” ALLOWED:
Page 12 and 1*
Page 6 and 7,
and then the rest.
*Draw the first and last page as a spread in situations where the beginning of the story mirrors the end of the story.
Cover is dead last.
———-
(If at the very end you find out you need more pages and it’s absolutely unavoidable and totally necessary you have to add them in fours. Try to stick to 12 pages for this crash course.)
——————–
FURTHER NOTES:
Plan and draw the pages in spreads (the twos) since this is how it will appear in print and when you submit them to an editor for review guess what, the pages with an exception to the first and last will be reviewed as spreads.
You at most only need one establishing panel of the setting and environment (scene) per page.
Forget “true to life” perspective outside of the establishing panel). Practice diagonal composition of objects and subjects within panels. For dynamism.
You don’t have to present the text all in one go (one paragraph or bubble). You can and should break up paragraphs, sentences, and if you need to single out words– to make smaller, more easily managed bubbles to scatter through the panel.
Less important moments have smaller panels and or lesser detail. More details (or more word bubbles) slow down time. More drawn detail also creates a concentration of values (it’s darker and sometimes combines together as one shape or mass)
Know your light sources. Control the blacks. Control the values.
TIPS | COFFEE? :3 | dA | IG | ♡ |  ❤ | ⋆
(more coming soon 11/22/2016)
Old man zooming at 70mph.
What is one common food that you absolutely will not eat?
I wonder what the most common first impression people have of me is
bonus: hello? can you see me?
*CRIES AN OCEAN* SHE CARES SO MUCH SHE LOVES THEEEEM
when ur friend thinks their art is bad but its actually really good
when they keep disagreeing
do british people have a special ÂŁ key on their keyboards
how do you hashtag ??????
hashtag is over by the enter key don’t you worry your lil butt
wait
what… what do American keyboards look like then?
@adhesivesandscrap
I’m kinda intrigued, how do keyboards look in other countries?? Mine’s like
What are y'all allergic to I’m really curious
yummy
Submitted by spirited-astray
Many classic horror icons and other disturbing creatures share common characteristics. Pale skin, dark, sunken eyes, elongated faces, sharp teeth, and the like. These images inspire horror and revulsion in many, and with good reason. The characteristics shared by these faces are imprinted in the human mind.
Many things frighten humans instinctively. The fear is natural, and does not need to be reinforced in order to terrify. The fears are species-wide, stemming from dark times in the past when lightning could mean the burning of your tree home, predators could be hiding in the dark, heights could make poor footing lethal, and a spider or snake bite could mean certain death.
The question you have to ask yourself is this:
What happened, deep in the hidden eras before history began, that could effect the entire human race so evenly as to give the entire species a deep, instinctual, and lasting fear of pale beings with dark, sunken eyes, razor sharp teeth, and elongated faces?
… Just be careful out there.
This is one of the coolest things I have ever read on tumblr.
Well shit. This has got to b inebof the most interesting and mind blowing things I’ve read. Like wow. Ik I’ve posted this before but everytime I read it im just still shocked that people haven’t come to this conclusion before. It’s rather creepy lol
This is an interesting viewpoint on fear, our instinctual history, and the human mind in general. I too, am a bit surprised I haven’t read/thought of something similar. I would like to look into this seriously sometime. I have read somewhere that humans are more instinctually afraid of/wary of/intimidated by characters with very angular faces and/or pointy chins that resemble upside down triangles from certain angles.Â
“Warwick University researchers found a downward pointing triangle can make us feel threatened in the same way as an angry face.” [x]
Congratulations on your naturally-terrifying face, Tom.
triangle? white? black eyes and sharp theeth? tbh all I can think of are goddam sharks
Necrobotany is such a cool idea like:
druidic nature magic + necromancy
undead skeletons being supported by plant fibers to make up for missing muscles and ligaments so they can run instead of shamble
turning said skeletons into multi limbed monstrosities with vine arms
or piecing together bones and limbs with vines to make fleshier monsters
adding thorns or huge venus fly traps or poison onto minions
undead exploding into petals and leaves like a smokescreen, or infecting opponents with disease from pollen
suffocating opponents from the stench of rotten minions and corpse flowers
@stilkens you may like the sound of this.
The only way to log out is to beat the game. And if you die in the game you die for real.
