Hiii hello I went down a rabbit role and now I made a guide of (almost) all the fonts used in the game, here's the link for the drive I put them all in:
A couple months ago, a couple of buddies and I got together to give ourselves a bit of a challenge. We decided to give ourselves a little self-study, and challenge ourselves to create fan art pieces inspired by and in the technique/style of classical art eras. Each of us had an individual era to learn from, and we opted to all draw from Twisted Wonderland to keep it in theme. To be completely honest, I couldn't be more proud of all of us and what we all accomplished. And we hope you enjoy it too!
Each painting will have a link to a personal post, where the artist can talk about what they learned, what they enjoyed, and about the process they had in making their piece.
RENAISSANCE
"Inversion of Genesis" by @chryseas
NEOCLASSICAL
"Knight's Blessing" by @ramshacklerumble
ROMANTIC
"Oasis" by @tixdixl
"Meet in a Dream" by @tixdixl
IMPRESSIONISTIC
"Reluctant Dancers at the Barre" by @twstinginthewind
This particular scene is meant to be a romantic reimagining of Kalim using Oasis Maker in the desert during Book 4.
Originally, I hadn't intended to paint this scene. I had a few different ideas that felt appropriate for the Romantic Era - though not initially this. But after doing a number of painting studies, the idea to recreate this scene hit me like a truck. The Romantic Era truly focused on evoking an emotion and showcasing pastoral imagery, of which I felt this scene in Book 4 - the shock of Kalim being able to just create a solution out of thin air and in a desert no less- really demonstrated with ease.
I'll break down each piece I studied; the notes I made; what I noticed about the themes and motifs of the era; and how we got to this final piece under the cut.
The first piece I examined was "the Lady of Shalott" by John William Waterhouse. (If you look it up without my notes and scribblings all over it, you'll find it's a PHENOMENAL piece.) I actually spent a lot of time with this piece - a whopping 45 minutes when I was live on stream. You can see here in my notes, I examined his usage of the rule of 3rds; when he used thick brush strokes; how he used light to draw our attention to the woman in the boat; and of course the usage of warm and cool tones contrasted with lights and shadows. And you'll actually find that all of these things are motifs throughout almost every Romantic era painting that I studied prior to doing this piece. The cool shadows are used in such a way that they almost frame the warm oranges and pure white of the woman on the boat. It really draws your eye into its off-center, focusing almost solely on the woman. But as you look out beyond her, hidden in the shadow, there is so much detail. And I really tried to capture that in this painting with Kalim.
The next painting I examined was "the Bard" by John Martin. Here again, we see the usage of the rule of thirds, but we especially see a fibonacci spiral here dictating the movement of the piece. Our eye is drawn first from the vibrant sun, down to the lamenting bard, all while the shadows again frame the man and bring him into focus. We again see an image where there is a MYRIAD of detail hidden in the landscape. And both of these elements, I tried to intentionally capture in the piece above. I also especially loved the whimsical oranges and yellows captured in the sky here, especially as they contrast with the darkness off to the right. Though my painting in particular doesn't have much in the way of light, I tried to use this color theme to create the illusion of an oncoming rainstorm.
The last and most messy of my study notes comes from the painting "The Voyage of Life" by Thomas Cole. If you were to look at the actual painting, you would once again notice the angelic, all white figure in the boat, framed by shadows as light pierces over the mountain tops. Once again, we have the fibonacci spiral directing our line of focus, and the rule of thirds indicating the placement of our subject.
In all three pieces, we see a lot of the same placement, coloration, and movement, of which I tried to evoke in my depiction of Kalim. And here is a comparison of my thumbnail, mapping out my painting versus the final once again:
I'm not going to lie, I found this collab and this self-study to be extremely enriching as an artist. And I genuinely feel as though I have grown so much from it. I hope you enjoy! And if you made it this far, thanks for reading!
my daring sea biscuit ( @tixdixl ) hosted a twst art gallery collab - to which i sniped art nouveau bc i loooove alphonse mucha's work.
below you can view my thoughts and process if you so desire.
i took inspiration from the following pieces ; " the seasons : spring " - 1896. " feather " - 1899. " the precious stones : topaz " - 1900.
the style was already in my wheelhouse when it came to linework, there wasn't much adjusting there i needed to do. if anything, the real curve for me was the shading/clothing folds. i normally do nawt shade with this level of detail in terms of the such defined, crisp shapes, but hey - it taught me something new despite being my biggest opp ever.
i think i could have done better on the color palette, but oh well - it's done now. it's more saturated than i'd like and i think mucha's work is more muted? idk, maybe it's my monitor.
my other biggest problem was.... the embellishments. frames are hard to make look nice y'all - especially when you're cranky and running out of steam. still, not bad for doing what i could with what i had. i also really did enjoy shading it all. <3
