Hey, look! I actually posted something! A Christian gal who likes exploring brand new worlds in video games, literature, and animation!
A big fan of all things cute! 💖
🚂Currently on the Submas fandom train✨
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(I feel like this should be a given, but I guess I should put this here just in case: I don't support blankshipping or any other strange shipping weirdness like that! That's a big nope from me!)
ouhhhh what the Leader looked like when he was young???
Tumblr sexy man-- *gets shot*
Though seriously, I love how you took inspiration from the few old photos found in the game
I have been chewing over what his past could've been. I think he was more innocent once, or at least a tad nicer. I think one of the Phonopolis creators posed that he might've been "well intentioned" at first.
I might post my musings on that at some point... 👀
Anyway: Ugh. He looks so...soft and nice here. 🥲 Your art style is so pretty...
Satire is dead, you say? Well not anymore, Phonopolis effortlessly resurrects it!
The whole game is just full of what I can only describe as ludosensory puns and ironic jabs that are told purely through sound, colors and interaction
My favorite example is the Phonobureau, where Felix is abstracted to a tiny vaguely human shape in an endlessly moving line of other tiny grey shapes on a set of TV screens, and you have to pick between Yellow, Blue and Red buttons that switch color-coded passages across all the screens to completely arbitrarily feel your way through disjointed, meaninglessly ordered segments of an absurdly cyclical bureacratic maze viewed through narrow windows of distant camera eyes
This joke is completely wordless, completely told through gameplay, and it works SO WELL. And it's just one of DOZENS
Like the family whose gender roles get swapped because the propaganda loudspeaker malfunctions, or the entrace of an empty women's toilet dodging Felix by rotating away from him to the point of literally unscrewing the building from the ground
yoooo cool depiction of Felix here! Real fun idea to interpret his round eyes as glasses instead
(also nice irony with how he looks like he's doing a sound check, but is actually trying to block sound out. Wonder what happened to his headphones here uh oh. dont listen to the speakers, Felix!!)
oh my gosh there's already tumblr sexyman fanart for Phonopolis 😂
I mean that extremely fondly - I love the interpretation of the Leader here. What a great art style!!
dang it also how did you wind up making this raspy-smoked-few-too-many-cigarettes- egomaniac of a dictator with anger issues cute. look at him in the apron. how
Now that I've got your attention!: This isn't Sept-Ingo related, but I was wondering if any kind soul(s) out there would be willing to give me some art advice!
Interested? More under the cut
I'm currently working on an animation project starring the lovely smiley choo-choo man himself, Emmet! I don't want to share more since I'd like it to be a surprise, but I'm looking forward to pushing myself to learn After Effects while doing this.
However, still being an art noob of sorts here, I am feeling some indecision about how to do things, lol. Mainly, I am trying to figure out what kind of placement/composition to go for...I'm horribly indecisive, so an outside opinion from more seasoned artists than me would be wonderful!
I have a few options here. You can see my mockups in the Imgur link here (as silly as it sounds, I don't want my cruddy sketches here to clog up my blog feed): https://imgur.com/a/mBRQIr7
I suppose I will have to spill some beans on what I'm planning here: I want to make flowers bloom onto the trees as Emmet's expression changes. I'm stuck on whether I want to put more attention on his face or the trees (i.e., should Emmet be the focus and ergo, bigger...or smaller as we want to focus on the trees?). I also don't know if his placement looks awkward or not (following the rule of thirds or something idk???).
I'm leaning toward making his face the focus, but I would like to hear what others have to say! Thank you!!
hello :DDD, first i just wanna add i'm still learning and what i'm telling you is what i learned from last month art class :")) and i'm an architecture student so my technique regrading composition can be very different and like not that optimal for drawing background for animation :")))
and also, when i'm writing this, i didn't keep in mind my tone so if when you read it and found it a bit off at point, i'm sorry :")))
(your intention: **I want to make flowers bloom onto the trees as Emmet's expression changes. I'm stuck on whether I want to put more attention on his face or the trees (i.e., should Emmet be the focus and ergo, bigger…or smaller as we want to focus on the trees?). I also don't know if his placement looks awkward or not (following the rule of thirds or something idk???).)
the three steps when drawing scenery is
observes: ----- how much you want to draw? what part do you want to draw? (if you want to draw part of the sky put the horizon line lower. if you want to draw more people/ more of the ground, put the horizon line higher.? (to find it, i was teached to find the line where everyone's head aligned. => generally the eye lie, because people wear hats and it messed up the measurement and from afar, all you could see is their head))----- is it longer then it is wide? the ratio between length/height.----- where are the vanishing points?
set-up: you set up your 3/3/3 grid (the default composition type i learned, there are many!) and begin to put the info you got into the page.
details: you add in the little bits, the engraving, the people, the branches etc. etc.
(i'll just use only the 1st pic)
our subject is emmet. current, emmet's eye line is horizontal to the part where the branches started on the tree. with the horizonn line being high, you would instinctively feel like there should be more of the floor, or like the thought is "you are looking down more so why are you seeing so much of the branches?"
with your intention being to make the flowers bloom as emmet chances expression => you want to have more of the upper half => your horizon line needs to be lower => lower emmet. but i propose 2 solution.
1. solution 1: keep emmet as is => make the tree smaller.
this is a more spacious type of background. the tree are more spaced. an establishing shot maybe, to show the view where he is. you could use this pic first then jump to the pic below.
2. solution 2: keept the trees => lower emmet.
lowering emmet meaning bring him closer to the camera and so he becomes bigger :)) the trees in turn are smaller smaller as they get further from emmet and us. (big smile so happy (omg looking at him smiling makes me smile also :"))) ) )
yeah that's it. i don't have much else to say. i hope this can help you well. again, I'm still learning and practicing so comments and reblogs with thoughts. let's learn together >:DDD
i forgot to talk about the composition :")) so how is play into drawing is to help you set your horizon line,
you want to have more of the sky? set it in the bottom row so that the subject can be in the top 2.
you wan to have more people/plant/etc? set it in the top row so that the subjects can be in the bottom 2.
in your pic, i put it in the middle row but lining toward top/ bottom because i think you would want emmet to be looking at us from the generally center point.
Thank you so much for this wonderfully educational reply!! It was so kind of you to take the time to share art advice and even make some amazing, useful mock-ups! You really went above and beyond, and these tips are exactly what I’m looking for as an artist noob!
Also: I apologize for not replying sooner! I’ve gotten distracted by some life happenings, and I also wanted to have a good moment to sit down and digest all the good advice you gave me. (I also need to get better at dealing with choice-paralysis! It’s so silly since this is just a goofy little project I’m doing, but I still have to grapple with my perfectionism – I tend to put off stupidly simple choices… :,D Art projects like this though will hopefully help me overcome this!).
With your advice in mind, I have some ideas on what to do next with the scene!
I’m very tempted to follow your “zoom in” idea - I love the way the multiple trees look, and it creates a great sense of depth!. (In fact, I’m now entertaining am alternate idea where its reversed: we zoom out from a close shot of his face!) But as I am unsure exactly how to do this in After Effects yet, I might stick with my simple “two trees; static shot” composition first. Once I feel confident, I might use that as a base to create the “zoom in” effect!
(I think it could be as simple as changing the scale of Emmet AND the background, but I have a feeling messing around with AE’s camera tool might be useful if I want to make a cooler “3D-depth” effect with the tree background you proposed).
I also made some more mock-ups, moving Emmet to be placed around the lower horizon line to place more attention on the trees. Am I understanding and incorporating what I learned well? I’m always open to further critique!: Imgur Gallery of my Edits
Also, if you (or anyone else!) would find it useful, below the cut I included a big summary of what I’ve learned so far about horizon/eye lines and composition from your tips and in looking at other resources. I am unsure if I got everything right -- If you (or anyone else!) are willing, I’d love to know if there are any poor assumptions I’m making or if there might be some other tips I should know regarding composition.
Again, thank you so much for taking the time to help me! It was super kind of you to go out of your way to make an in-depth post, and it’s also fun to be able to interact like this with a fellow SubMas fan. (P.S. I’m super happy to hear my drawing of Emmet made you smile! ^w^).
I was first confused on the concepts of the horizon line and eye level/line. I wasn’t sure if there were two different things, and I wanted to understand better on what it meant to place a person’s face relatively around this point. So, I did a little more research.
THE BASIC CONCEPTS – WHAT IS THE HORIZON LINE AND EYE LEVEL?
From what I understand, the Horizon line and Eye Level are two different concepts, but closely related to each other on the topic of perspective in an art piece
Horizon line: where sky separates from land or water
Eye level: the actual height of the viewer’s eyes when looking at an object, interior scene, or an exterior scene
Usually the horizon line and eye line are on the same level as each other, and so the terms are often used synonymously.
The former term usually refers to drawings that are outdoors, while the latter is used for drawings that are indoors (since you can’t usually see the horizon when inside a room!). When drawing complex perspectives, you might have the horizon line at a different level than the eye level, but for the most part, they are the same.
As this redditor named FieldWizard noted: “The horizon line is always at the viewers eye level. Unless you are doing some weird drawing 100 miles above the surface of the planet. Then the horizon line is sort of abstract. The eye line is perpendicular to the picture plane. The eye line does not necessarily intersect the horizon”.
(I also noted that the eye level is also referred to as the eye line by most people I’ve run across online…I don’t think it’s a different thing entirely, but If I’m wrong, anyone can feel free to correct me!)
Other useful notes:
The Horizon Line moves up or down to adjust for your Eye Level (FieldWizard).
As a reminder: Vanishing points are basically than the center of the viewer’s vision (i.e. where your eyes are looking); they determine the orientation of the Picture Plane and the Ground Line.
Vanishing points don’t always converge on the horizon/eye line: The vanishing points of objects parallel to the ground converge to the horizon/eye line, but you might have cases where you want to depict a titled object. This object’s vanishing point could be above or below the horizon/eye line, depending on how it is titled. – LoveLifeDrawing shared this neat explanation (and has other useful notes on horizon/eye lines).
APPLYING THESE CONCEPTS TO ART COMPOSITION -- CREATING A SENSE OF PERSPECTIVE AND DETERMINING THE BEST PLACEMENT OF SUBJECTS IN AN ART PIECE
Now that I know what these concepts are, I can better understand how they can define the depiction of perspective and subjects in an art piece.
How perspective is created by the placement of the horizon line/eye level in an art piece:
“If the horizon is at the vertical center of your canvas, that means you're looking straight ahead, and vertical lines in the scene (perpendicular to the ground) aren't converging to viewpoints, assuming the image isn't cropped.
If your horizon is below the page center, you're looking up, and vertical lines are converging to a viewpoints above the page.
If your horizon is above the page center, you're looking down, and vertical lines are converging to a vp below the page.”
Source – Redditor “Averagetrailertrash”
The rule of thumb for placing people (& people’s heads/faces) in an art piece:
Generally, a good composition rule of thumb is to place people’s heads near the horizon line/eye line, specifically placing them in a way where their eyes line up with the horizon line. (It’s not a hard rule—you can subvert it—but it usually looks nice like this).
With all that said, the rule of thumb of where to place the horizon line, a piece’s subjects, and overall, decide the composition of a piece:
A rule-of-thirds grid can be very useful to setting a horizon line.
If you want to have more focus on the sky (the upper part of the rule-of-thirds grid), set the horizon line in (or near) the bottom row of the grid, with the subject of the sky being placed in the upper two rows.
If you want to have the focus on subjects near the ground (people, plants, etc.), place the horizon line in (or near) the top row of the grid so that the viewer’s eye is drawn to the subjects in the top two rows.
You can place subjects in the middle row too, but can place them in the upper or lower part of that row based on the ideas above
For further reading: This blog has a nice article explaining using Rule of Thirds Grids and The Golden Ratio in art pieces
Here is my belated submission for the Sept-Ingo prompt GHOST! I was inspired by Hisuian Typhlosian's Pokedex description -- it states that the species benevolently eats lost spirits to help guide them to the afterlife. Additionally, Ingo strikes me as a "ghost" in a poetic sense, in that he is someone displaced in time, a "ghost" of the future, so to speak.
With all that said, I thought it'd be kind of funny for a Hisui Typhlosion to get a bit confused, lol. Although realistically, it would probably tell Ingo is a living person, I'm conjecturing here that Ingo gives off enough vibes similar to lost spirits (forgotten memories, a lonely aura, a sense of being displaced in time/space, etc.) to make it second-guess itself!
btw i hate having to say this but the weirdness of the internet gives me paranoia: Akari's Typhlosion is being motherly here! please don't tag as a ship i beg of you
More comments under the cut
This Typhlosion is Akari's, and she is a very nurturing, motherly type—a bit like a sweet grandma, lol. Hisuian Typhlosions strike me as gentle and kind despite being a little eerie and mysterious. They are friendly psychopomps, after all!!
Although Akari helps her understand that Ingo is indeed not a ghost to be eaten, I imagine she still goes out of her way to dote on Ingo (probably as much as she does so for Akari!). She does not see age -- everyone is a potential child to her lollll.
Ingo is not sure how to feel about this. After almost losing his beloved hat, he probably is a little wary of her at first (I think losing his hat is one way to make the composed man panic! It is one of his very few beloved possessions, and it holds strong meaning to him, even though he doesn't remember why completely). It doesn't take very long for him to warm up to the silly team mom fire badger, however. :)
Hmm, I need to come up with a name for her! You guys have any ideas? >0>
You know, what I think bothers me the most about media depictions of Christianity is how everyone thinks good actions are what get you into Heaven. From modern Simpsons episodes to Hazbin Hotel, there's this weird de-Jesusifying of Christianity where you just have to be a good person who didn't do anything bad.
In reality, you don't "earn" your way to Heaven by doing good things. Ephesians 2:8-9 is pretty clear about it; "For it is by grace you have been saved, through faith—and this is not from yourselves, it is the gift of God— not by works, so that no one can boast."
There's a lot of minutae about how having faith and genuinely following Christ will change your behavior and faith without works is dead, yadda yadda, but you literally cannot go to Heaven EXCEPT through belief in Jesus. It's just weird when things talking about Christianity specifically get that very basic thing wrong.
You really need to make non-tragic past for your characters, significant people and events that impacted their lives, non-dramatic mundane moments that shaped them, happy memories, bitter memories, embarrassing memories.
Like yes the space princess lost her whole civilization, but did she have friends before that? Favorite place? Does she miss the sound of her favorite music she use to listen to?
Have you ever cried over the death of a fictional character?
Yes
No
Voting ended onSep 25, 2024
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