
Jimmy Eat World

PR's Tumblrdome
macklin celebrini has autism
Game of Thrones Daily
Mike Driver
d e v o n
cherry valley forever

Kiana Khansmith
tumblr dot com
Cosimo Galluzzi
untitled
KIROKAZE
Cookie Run:Kingdom Official!

gracie abrams

titsay
Fieri Frames
Fai_Ryy

No title available

Love Begins
Today's Document
seen from Colombia
seen from Australia

seen from United States
seen from Spain

seen from United Kingdom
seen from Bangladesh

seen from United Kingdom
seen from United States
seen from United Kingdom
seen from Ecuador
seen from Mexico

seen from Mexico
seen from United Kingdom
seen from Ecuador

seen from United States
seen from Austria
seen from United States
seen from Ukraine

seen from Switzerland
seen from Türkiye
@sheinartons-blog
SENTO
Screencaps dont do scenes like this justice
Another sticker for myself! This time a chibi redraw of Nero’s promotional photo.
✧ redbubble ✧ society6 ✧
i know those buttons are there just for aesthetics but think about the possibilities
nero’s idle animations
Here we go again, i feel you pc users
Fallen cedar by Jorge Verdasca - youtube
Wolfman by Seunghee Lee
a quick grass tutorial
I’ve never really wrote a tutorial before so apologies if this is bad
1. okay first thing I do is pick three colors, a mid, dark, and light. I like to check the colors in greyscale to make sure there’s enough contrast between each one.
I then plop down a blob of whatever my middle tone color is.
2. next, I take my dark color and just sort of randomly place it around. I try to make sure there’s a good amount of both the mid and dark tones spread throughout. I personally like to keep it kinda messy. I also have pen pressure on for both brush size and opacity, so I can have some blending action going on.
3. for the next step I do the exact same thing as before, except with the light color.
4. aight this is where we start adding details. see how you just have a bunch of colors and edges where two colors meet? use the eyedropper and go to an area where two colors meet, eyedrop a color, and then use that color to draw in your grass blades. I do this at every point where colors meet. should note I personally like to use a square brush, but you can really just use anything.
5. you can technically stop at the last step if you’re going for a more simple look, but to add more details I go to the “empty” areas of solid color and just draw in random strokes using a color nearby. it’s just a way to fill up the empty space.
6. basically more of the same idea of eyedropping and drawing. for more variety so things look interesting, I like to add random plant shapes.
7. and so the grass doesn’t look too plain, I add random dots of color and pretend it’s flowers and stuff.
and there you have it, this is how I approach drawing grass.
More of the same ^_^
Fog in the Forest by Geoffrey Shuen
Here’s some more early character concept art by ctchrysler!
Here are some of our early concept art of Callum, Rayla, and Claudia by one of our artists, ctchrysler!
Tech Anim @ Jumpship
Hello again, Chris here.
So last week we talked about character creation, inspirations and readability. This week I’d like to go a little deeper into the technical side of character performance and what we’re aiming for.
In the early days I went for the traditional heavy asset approach. It gave me specific results quickly but it didn’t allow for flexibility down the line. Years of research later, GDC talks like Alexander Bereznyak’s “Procedural Pose Animation” and Blizzard’s Jesse Davis’ “The Animation Pipeline of Overwatch“, to name a couple, really enlightened me.
Last Guardian was a strong source of inspiration. A heady mix of what looked like physics joints, IK constraints and gorgeous keyframe anim. I became obsessed with the prospect of not just having smooth and responsive physicality but of ever changing emotional states layered on top.
Above is a rough test of the sum total of about 2 core animations worth of work, with a few pose tweak frames. The task - complete control of the flashlight whilst scaring John and no animation state changes.
The first aspect is switching our attention from environmental focus to player intent focus, in this case pointing the torch with my right stick. This is a simple IK weighting transfer of look direction and arm aim. All the head and partial chest movement is IK driven and separated (inspired by James Benson’s GDC Animation Bootcamp Tips)
Layered on top of that is our emotional states. These are just synced layers we surge with suitable curves for the performance, coupled with more rapid IK head movement and a wider range of randomised look positions. I also added an IK right hand grab of the torch once we reached peak frightened.
The end result requires polish but it’s reactive and varied every time, something that fills my mind with exciting potential. What if we could play a character who wears the emotional baggage you have accumulated playing as them?
Looking back on old animation cycles I now find myself in a frenzy over how much we could add with elegant technical solutions to convey internal emotion, history and subtext.
Good day.
This was so ridiculously drawn out and the conclusion was so obvious yet still I couldn’t tell where this was going
I spent too long on this