hey nonny nonny @opheliasongs - Tumblr Blog

nothing hits like an exocentric verb-noun compound. scapegrace killjoy spitfire cutthroat dreadnought tattletale sellsword

ascendent

i could keep going they’re literally all that good

Category:English exocentric verb-noun compounds - Wiktionary, the free dictionary

ascendent

HANGDOG HEARTTHROB DAREDEVIL‼️

#language

spin-the-wheel-polls

you were almost turned into a vampire, but before you could be fully turned, the vampire was staked. This left you with a vampire weakness, while still being human.

Spin the wheel to find out your weakness!

How much does this effect you?

Nothing changes

It's inconvenient but I can deal with jty

It will be hard to adjust but I'll figure it out

I don't know if I'll be able to live like this

Maybe I can find another vampire to finish the turning?

I might just kill myself

Results/other

Remaining time: 5 days 11 hours

thanks @theemmjay for submitting this poll idea!! Seriously it's such a cool concept I love it so much

#you can’t survive a stake to the heart #ah well i wasn’t planning on surviving that anyway #vampires

hoot-alex

#loons #birds #art

minotauri

[louder than everyone] MAN I THINK IT DEPENDS!

is-this-fascism

its funny to me how warmups for instruments generally sound nice and pretty. like just basic scales or chords. the exercises i do on my guitar could be mistaken for actual music at times.

and then vocal warmups are shit like. bark like a seal. grunt like a thwomp from mario 64. now sing the melody but instead of the lyrics youre saying 'moo moo mee mee mah mah' even the scales you gotta moo mee mah through that shit and its just so goofy every time. and this is why im not a singer

is-this-fascism

see this is exactly what i mean. i thought someone was having a mental break of some kind in my notes until i remembered what i had posted last night

#many mumbling mice 🎵 are making midnight music in the moonlight 🎵 mighty nice

pocula-blog

dicentra spectabilis ‘alba’ - bleeding heart.

scientific fact

I like when Pheidole ants do the thing with the head

bloodandichorandmemes

I was curious about how accurate this is and am pleased to report it is extremely accurate

#fave #bugs #insects

witchrealms

(x)

#formative!#music #metric

calllynx

More experimental animation. All done on paper, oil pastel and alcohol marker.

calllynx

HOW I MADE THIS ANIMATION ON PAPER:

So to answer some questions, yeah this is all traditionally made! Its composited digitally and the two animations are layered on top of each other, but the individual frames are physical drawings. In fact, here the are!

I however did not make the animation rough traditionally. That I did on TVPaint, and then printed out. Luckily for me, my oil pastels were opaque enough to layer over the printed ink without letting any through. This is the original animation:

The frames themselves are rendered on A4 paper and are quite detailed.

Once I had finished all 27 frames, I scanned them, and put them back in TVPaint to align the animation (by using that little cross in the corner) and edit out some scanning errors as well as fill in the rest of the black for the background. I ended up with this:

THEN I decided that I wasn't satisfied yet, and wanted to try out some alcohol markers. This animation I made on paper first, before rendering with the markers.

This is a non comprehensive look at the frames. Alcohol marker stains through any paper it's placed on, so the pencil frames ended up getting marked, as you can see in the image to the right. I ended up duplicating and mirroring the animation, and got this:

Then I decided it might be cool to use the scan cleaner function to remove the white of the paper, and layer this animation over the other one. Which is how we ended up with this:

A realization.

All of this is pretty simple and easy to do so long as you have a printer/scanner, and even if you don't, all you need to do paper animation is a pegboard, ideally a light table, but in a pinch you can just hold your paper up to a window to see the frame behind it.

I'm really touched by everyone who's said they've been inspired to animate because of me, I encourage it!!! Animation can be fun and experimental and weird, and it's a deeply deeply rewarding artform. So please get out there and mess around with paper and make some animations. Compile your images on gif makers, or Firealpaca, you can do it even without fancy software too!

So good luck to all my fellow animators :D

#animation #art

cavriuola

Art Nouveau Colored Glass | International Art Glass Catalogue

#art #art nouveau

deep-space-lines

The Stained Glass Tutorial

Ok 'tutorial' might be a strong word, but I've been doing stained glass style digital art for a few years now and I think I've finally gotten confident enough about what I'm doing to write up some tips if anyone wants to try their own hand at it. I've gotten a few asks about this that have sat unanswered because it would've been really long, so consider this the definitive answer to all of those.

A good amount of this info is stuff I've only started really paying attention to recently and isn't reflected in my past art as much, but hey. I'm learning too!

Shapes

Here's a picture I took of a stained glass window (I believe it was originally from St. Wenceslas Cathedral but I am not 100% sure) side-by-side with my mockup of an unpainted version, with just the shapes of the glass panels. (I'll get to colors later.)

Note how many details are painted on rather than simply defined by the lead strips. Both hands are one piece. The hair and face are painted onto the same piece.

One of the biggest things I see people get wrong about replicating a stained glass style is in the shapes of individual glass pieces. The little bit of physical glass cutting I've done has given me a much better feel for what you can and can't make glass do.

Mistake #1: Using only straight lines or very geometric figures (like all triangles or something). I won't post examples of other people's art as 'bad' but I see this one a lot. There's nothing inherently wrong with this, there's definitely some stained glass windows with this look, but it sometimes feels less a stylistic choice as much as an artificial limitation people place on themselves.

So, for the record: glass can make curved shapes, you aren't limited to straight lines. However, there's a limit to how thin or concave these shapes can get. The picture probably shows it better than words, but if you're getting a very thin strip of glass between two larger chunks or a very thin, very curved piece, that's going to be a piece you want to break apart into two or more.

Mistake #2: Using glass pieces that are too small.

If you look at real stained glass windows, especially from the Gothic period onward, the individual glass pieces tend to be pretty large. This is because a lot of stained glass windows are painted, rather than simply using the thick lines of lead to differentiate every detail. The lead strips are used to separate colors, and only very sparingly to define details within a single color. If the pieces get too small it ends up resembling a mosaic rather than stained glass.

This is a counterexample of a window that uses a lot of tiny panels, but you have to be pretty intentional with this to keep it from looking very chaotic imo.

Color/Texture

First of all: I just use pictures of stained glass sheets to get a really nice digital stained glass effect. It's that easy. I have a collection of like, over 1000 pictures of different stained glass colors/textures. It's pretty easy to find them but I could be convinced to make a public Google Drive folder with them if people are interested. This is stupidly time-consuming though, especially if you're also wanting to paint on details, and not necessary to get the 'look' of stained glass if you don't want to put up with this.

Medieval stained glass pages were pretty much exclusively uniformly colored, with a limited color palette. You see a lot of white, reds/red-browns, bright greens, cobalt blues, and peachy/pink as actual glass colors, occasionally rich purple and yellow/orange. Additional color variation was added with black or brown paint, and bright yellows were created using silver stain. These windows are pretty good examples of the kind of colors you see most often, so if you want to be super authentic to the Medieval stained glass look, this is gonna be the colors you're using.

(Also: in the first image, take note of what edges are defined by lead strips, vs which ones are painted!)

More modern Tiffany glass, on the other hand- or stained glass in the same style- uses a much wider variety of colors and textures. This sort of style, from my understanding, wasn't developed until around 1880-1900; this is when you start to see opalescent (multi-colored streaks), favrile (iridescent), and various types of mottled/ripple/textured glass, as well as a much wider range of colors. This is used in conjunction with painting for ecclesiastical scenes, but a lot of natural scenery uses simply the texture of the glass itself, as in the last photo.

Painting

I kind of completely neglected this when I started out and it's really helped me make sense of how to get that medieval stained glass look. There's only so much you can do with glass shapes, especially if you're trying to make human faces or text. Almost all of the details in these pieces are painted.

Apart from just shading/rendering, you can use painting to get more complicated shapes/silhouettes than just the glass would allow, especially for small spaces. Try to keep the actual shapes of the glass simple.

You can see this better in this image, in the trees and the castles, where the actual solder lines are kind of blob-like and most of the shape definition comes from paint. The sky and trees here also show a scratch-away technique of painting the entire surface of the glass black (or dark brown) and scratching out the desired colored patterns. This technique was used a lot for backgrounds, foliage, and decorative elements.

(^ My own example of this.)

An important thing to remember: Glass is transparent. The point is to let light through. Adding any paint over top of this- even a lighter color- is going to darken the appearance of the glass when you shine light through it. Your glass must be the lightest color you want visible, with any additional details painted over it preferably with Multiply (with mostly black or brown if you want real historical accuracy). You cannot use paint to make glass look brighter/lighter. If you wanted a face to have white in the eyes, the entire piece of glass it was painted on had to be white. This doesn't really matter that much if you're doing it digitally but I find keeping this in mind helps it look a bit more authentic.

Slapping this here again: in my traced version on the right, a lot of the colors look much lighter than the actual window. This is because I color-picked the lightest parts of those areas; anything darker would've had to be painted on.

^ Another of my own examples. Most of the details are 'painted' in.

Perhaps most importantly, if you are really dedicated to making authentic-looking stained glass art:

Use references.

I have dozens upon dozens of references saved that I look at all the time for inspiration in decorative motifs, composition, etc. There's a pretty vast amount of stylistic difference in stained glass over the past thousand years and these people knew what they were doing way better than I do.

#yesssss #resources and reference #art

polarity-disturbed

Being able to draw older people as attractive without reducing or erasing the visual signs of aging, and in fact showing that they're attractive because of those signs, is an artistic skill that should be valued so much more. Honestly, it should earn you an immediate fortune because holy fuck is it a rare commodity. There are so many artists who seem to think attractiveness and aging exist in opposition to each other, so they smooth every wrinkle, erase every crease, and de-age the character until they're basically thirty with silver hair. But when an artist can look at crow's feet, smile lines, weathered skin, deep-set wrinkles, and all the little traces of a life well lived and say, "No, that's what makes them beautiful," that's a level of artistic observation and care I wish we celebrated more often.