Revioli revioli, bring me the formuoli @revaroni - Tumblr Blog

And a some kind of an improvement post, i don't remember if i've shown them here before. The main reason why i started a remake - the redesigns which reflect the lore changes and remind me that i can really have a progress.

Ch.1 Main characters and side characters, mostly for finally find out how my snow elves should look :D

[Don't use/repost please. Reblogs/shares are appreciated. 🩵]

necromosss

my telenovela heart yearns for crownovela drama

Part II >>>

finnykin

this is how he listens to wol yelling profanities at him

necromosss

Reunions aren't without its drawbacks

bencata

boredth

Merry Christmas, ya filthy animal

badgertracksart

Portfolio advice, from a lead who hires Concept Artists

(This was originally a twitter thread I wrote before the site self imolated, hense it's strange structure.) I wrote this after a weekend of portfolio reviews - 1. Like a maths exam, please please show your working. I want to see thumbs options, mid options and of course a final design.

2. Arrange your portfolio, I don't want to bounce about between subject matter and pipeline. Your portfolio's narrative should be as strong as your work... 3. Please make worlds that excite the viewer, make them want to go in and explore them, explain to them the interesting parts of the town, or the way the character's hat unfolds. How will this draw the viewer in? 4. As I've said before the majority of your project work is explanatory not mood, make sure your portfolio contains explanatory work. Explained here -

5. A lot of beautiful post apocolyptic paintings, , but 80% of realistic games and film, we just give the environment artists photo ref, they are capable artists in their own right. Different work in stylised where you do need to create rules for how things can be translated. 6. Production art contains call out sheets, material references and flat graphics. This doesn't have to be your final image, but it should support it.

7. Design characters on a swatch(es) of the environment they will be viewed in. Not on white. I make swatch backgrounds from screenshots, it avoids assumptions that damage readability. 8. Reverse of this, put people in your environments, show me the scale.

9. It's not a deal breaker for a review, but if you intend to get a job, please show me your work on a screen larger than a smartphone (print outs probably the cheapest option with the best battery life). 10. Please have your contact details clearly visible, and by that I mean email address, I will not pass your social media contact on, I cannot input your form into my tracking system. EMAIL ADDRESS emblazoned and bake it in, sometimes recruiters do funky stuff to pdfs

11. Your portfolio will never feel done, not to you anyway. You will have learnt from your latest pieces and want to apply it to older work. But we know art is a journey. Send your portfolio anyway. I've been in the industry 10+ years and my portfolio is still not 'finished'. 12. If you are applying to an environment centric Concept Art position then please vary your times of day! Golden hour is cool but show me some happy sunny days, looming overcast days, what about at night? Vary your weather too! Sunny snowy day? Rainy Spring day? Stormy night?

13. If you are applying for a character centric Concept Art role then please ensure your portfolio shows a variety of body types and ethnicities. 14. Designing characters for games? Please show back views and feet (!) Many potfolios contain only front views. This is a problem because:

You haven't shown you are considering the design from all angles.

In many games rear view is the main view.

Stop cropping feet.

15. If you are entry / graduating and looking at Portfolios to compare content and standard of yr own work too, look at hired grad/junior artists as opposed to seniors Seniors and leads often have old or personal work in their portfolio which isnt representative of the day job. 16a. Show clearly the intended use case for your Concept Art. Mention the game type in the description. Are these player character designs for a 3rd person adventure game? Then more back views please. Bonus points for diagetic ways of showing health / equipment / role etc.

16b. Are these designs for an FPS? Then really the player view of the gun needs to sell the player style/ choices, in an FPS your weapons are almost your character. Are these world designs? What's the view distance? For an RTS your shapes need to read from above & a distance. 16c. The lack of clarification means I am judging the design in isolation, which both harms the design (you might be considering the backview of a char as the main adventure character.) Or an NPC, their waist up expressions may be important for conveying exposition and mechanics.

16d. Concept art is not separate from gameplay, great concept art serves the game team before it is a good illustration.

17. Play games. A variety of games. Think about them. IMO to be a good concept artist you need to understand the common language & references used by your peers. Also understand the principles and common language your audience are used to. FPS design rules are v.diff from RTS.

18. There are many skills that are needed in concept art, please show them. For example: Graphic design - logos, liveries, typographic use etc. VFX concepts - Abilities, Ambience, motion concepts. Architectural knowledge - How buildings are built! & more but I'm out of space :O

why-bless-your-heart

One of the things that sucks about being an animation nerd is having to live with the fact that, from a technical standpoint, the Hotel Transylvania movies are absolutely ground-breakingly staggeringly incredible.

avidamysterii-deactivated202311

As completely ignorant on animation, why is that? How is Hotel Transylvania any good??

why-bless-your-heart

The short version is that they’ve been figuring out how to plug the strengths of traditional animation into cg animation.

Longer version: cg animation is essentially puppet animation. You build a model, paint it and dress it up, and then move it around. That’s why Pixar’s first animated film was about toys, and their second one was about bugs: it’s much harder to make something look convincingly soft and fleshy than it is to work with something that’s supposed to be rigid.

Working inside this paradigm, the progression that makes sense is to work on developing more and more articulated puppets. Figure out how to add fur (Monsters, Inc.), move fish (Finding Nemo), get to the point where you can actually make human puppets who look appealing (The Incredibles.) In 2012 the big animated feature films showed off huge strides in particle physics (The Guardians), and hair (Tangled, Brave). Character effects and lighting were really hitting their stride, and the general movement was towards more detailed models, increased realism, richer and more intricate environments. The models only had so much range before they started to break, so squash & stretch was never going to be as pronounced as something from drawn animation could be. Hotel Transylvania challenged that.

As a show creator and director, Genndy Tartakovsky’s always shown a preference for stylization. He’s also got a reputation for incredible and deliberate timing, spectacular silhouettes, dramatic movement and clear staging, and just overall really good at directing animation. He wanted Tex Avery-type animation in CG and by golly, he did it.

Look at how exaggerated those shapes are, and how snappy, smooth, and fast the transitions between each one: that’s not something that was really being done. The motion-blurring alone was so defining that apparently Sony calls it a “Genndy blur.”

Animation is essentially the art of movement: the better the movement, the better the animation, and the Hotel Transylvania franchise has spectacular movement.

The model is actually being resculpted for maximum exaggeration, and the smears and blurs make the transitions between each pose fast, energetic, and snappy.

Like. Look at that movement. Look at how tightly he’s rooted while the follow through of his clothing sells the hard stop of each hip bump. Look at how sharp and deep his knees are bending, the way his weight shifts onto his heels and that tiny little side step at the very end, where he keeps his weight on his right foot for a split second before popping over to his new position. And he’s dancing the Macarena because he had to find the most brain-dominating, toe-tappingist song in the universe to win a DJ battle where a Kraken was being driven into a murderous rage by a mystical melody and it had to be counteracted by another song.

Yeah.

Somebody once described the Hotel Transylvania franchise as “like seeing Lamborghini making a clown car,” and honestly, that’s kind of what it’s like.

0operson

if hotel transylvania didnt exist we wouldnt have primal ( Tartakovsky’s passion project, essentially funded by the hotel transylvania franchise)

(tw for gore and a jump-scare/shock)

it could also be argued that the hotel transylvania series had direct influence on a lot of modern cgi movies, such as into the spider verse or puss in boots 2 (not that they wouldn’t of happened, or that they dont have other influences (such as the peanuts movie) but it probably would of taken longer for them to come about)

(i agreee about the lamborgini making a clown car statement)

delphinidin4

Tons more at the source!

beidak-art

If you're his guest, you better not walk around the palace at night in the dark.

evidmid

that's him

beidak-art

You're goddamn right

jorasdottir

i havent seen much of anyone actually drum up any sources on where you CAN read a bit more about the norn, so ive taken a second to drum up some of my favorite sources when it comes to norn lore for the folks who know diddly squat <3

a spirit of legend a short story written by ree soesbee that talks about how the norn individualistic culture is respected among the shaman and havrouns, as well as their culture

the movement of the world, norn has a small written essay about what the charr and norn relationship is like, as well as how the norn have fended off their invading forces. it also discusses how the norn let the charr forces through the shiverpeaks to kryta for the invasion of human settlements and their hunter to prey relationship they have with the dredge. this is a very important essay on what norn see the other races like.

PAX chat with jeff grubb and his real life references for norn and svanir. apparently, he’s written the norn politics to center around sturgis bike clubs! its a very interesting read <3

#reference