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olderthannetfic · 4 years

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Vidding absolutely counts as a fandom, and Escapade is key to the history of vidding.

Notice how the terminology shifts over the course of Escapade: The first year, it’s ‘songtapes’ being shown, then ‘songvid’ or ‘song video’ predominates for much of the 90s, and then we move on to ‘vidding’ and ‘vids’.

The vidshow moves from being more of a curated presentation of old favorites to having a lot of premieres. It goes from just one night to two, then back to one. Vidshow panels where you just watch vids for a whole panel slot come and go. In 1998, vid review starts up: This is a Sunday morning panel for in-depth critique of the vids shown the previous night and is a famously contentious part of the con. And then there was this:

2002, Friday, 6pm - VividCon Discussion (Come discuss the proposed VividCon, tentative time/location, August/Chicago.)

Yep. Escapade was where Vividcon was born!

By 2008, people were talking about how vidding had moved on from Escapade. In 2011 a vidshow retrospective was added to try to counter the lack of vidding-centric programming. There was a big resurgence for a few years, including such hard-hitting topics as:

2016 - Vidding Aesthetics (”Why is there so much show audio in this vid?", "Why didn't that cut hit on the beat?", "What do you mean 'Cheesy?' She's Celine Dion!" and other immortal questions of vidding aesthetics. If you've ever watched a vid, we want your opinions.)

Why yes, it was my panel. Why do you ask?

There were rounds of warnings wank, caused by Oz vids and by that time Absolute Destiny sent a vid of a violent coming of age film.

Check out this 1994 panel description from Fanlore:

"[The technology in fandom panel] included several things that people can now do in-home that they couldn't do five years ago: cutting and splicing songs on Macintosh computers (to remove inappropriate choruses, verses, or the word "girl"); the soon-to-be-easier ability to select different people from different clips and combine them onto a new background (also for songtapes); printing vhs video frames directly to computer screens, printers and/or color copiers (for fun); and zines and/or libraries on disk. Most of the new technology possibilities were followed by comments that the actual work we can do is illegal [...]. Which comments were followed by the statements that seventeen years ago, writing and publishing a slash fanzine was illegal.... [...] a few people [...], talked to me at different times throughout the con about getting accounts or modems [...]”

This is interesting not just technologically but aesthetically. Is the word ‘girl’ bad in a slashvid? Different communities have disagreed.

Conversations about digital vidding and digital vs. VCR really heated up around 2001, much later than you might expect if you’re coming out of an AMV background. While most of Youtube vids on Sony Vegas--a Windows-only program--at Escapade, Mac has been the norm.

The topics that have remained big are vidding aesthetics, including things like how to make an effective pimp vid, discussions of hosting options and where the community is hanging out now, and how-tos for people who want to get into vidding.

(And before anyone asks, the answer is that you should download DaVinci Resolve because it’s free and cross-platform. And you should encode with h.264 because it’s widely compatible.)

The 2020 vidding panels are:

Vidding 101: The Vid Bunny Farm So you’ve had an idea, and it’s gnawing on your leg? Or maybe you have too many vid ideas and can’t choose? Or you want to make a vid but don’t know where to even start? Aspiring fan vidders, unsure-vidders-to-be, and experienced vidders welcome alike to share vid bunnies, brainstorm together, and talk about the processes of conceptualizing a vid.

Vidding Genres Then & Now We’ve come a long way from “living room vids” vs ‚”con vids‚” or have we? Let’s talk about evolving fanvid genres, from ship vids to AU vids to multivids, from character vids to fake trailers, from genre-bending vids to long form vids to cosplay music videos, and more. Let’s talk about all the genres of fan videos floating around YouTube, Billibilli, AO3 and beyond, and also consider if the old school genre terms still apply.

Escapade has had many, many vidding panels. So many that even I feel the need for a readmore. I’ve pulled out the meta ones and left off some single-fandom vidshows and whatnot. Sorry for the wonky formatting, but Tumblr, in its infinite wisdom, seems to have removed the horizontal rule feature.

1991 - "Classic" songtapes were shown at 9:00 on Friday.

1994 - Song Video Roundtable (Bring works in progress or finished works you're having difficulty with for a quick jump-start. Open to anyone who enjoys videos as well as the people who make them.)

1994 - Songvid Editing (Authors get edited and usually have to do at least one rewrite of a story. Artists have erasers. What stops songvid makers from doing drafts and re-edits of their work? Let's talk about editing style (what cuts to use for best emphasis) and technique (how to physically do the inserts.)) [Notice how much of an issue editing is. These are VCR vids, edited in order, so insert edits are a gigantic pain.]

1995 - Techno Vids—Media Cannibals, (What's available with the new computer hardware and software? Can have Bodie & Doyle screwing on screen if we apply the right touches. Should we? How and when?) [Yes. Sweatily. Always.]

1995 - Video Workshop (video makers & watchers discuss the art.)

1996 - Music Video Critique and Workshop (Roundtable critique of videos, how to tell/recognize story, POV, rhythm. Also, tricks of the trade.)

1997 - Music Choice for Song Vidding (Finding the right song for the fandom is almost as great a challenge as finding the right clips for the song. Discussing what to look for in music choice.)

1997 - Songvid Critique (An exploration of different elements of media vids, with an emphasis on aesthetics. We'll look at segments of different songs to see how the images were used in conjunction with the varied rhythms of the music, and to enhance the mood.)

1998 - Media Cannibals Self-Indulgence Hour (Stunned to look back on vidding effort, MC plans to show -- and talk about -- some of their best and worst vids, pointing out some happy accidents and some annoying f*ckups. This is a great panel for people who want to learn about vid-making, the work that goes into them, and what to look for when watching them.)

1998 - Con Vids vs Living Room Vids (What are the elements that make a music vid accessible to a large crown, or more appropriate to an intimate setting?)

1998 - Music Video Show Review (Selected vids from Saturday's show will be replayed and discussed for their aesthetic, technical and musical choices. Open to all, for feedback and fun.) [Perhaps the start of the Sunday vidshow critique, which was also such a feature of Vividcon?]

1999 - Songvid Aesthetics (An exploration of theme, color, mood, and rhythm. Choosing clips to relate to the music and convey your message to the viewer.)

1999 - Sunday Morning Vid Review (Selected vids from Saturday's show will be replayed and discussed for the aesthetic, technical and musical choices. Open to all, for feedback and fun.)

2000 - Vidding Basics (Or "you want to learn how to make a music vid, huh?"—Carol and Stacy will take a group of novice vidders from the basics of what you need on your VCR, to all your hardware set ups, thru the selection of music, to actually doing some hands-on putting a dip (or two) into a music vid. So if you're interested in music videos and you want to try your hand at making one... you know what panel you need to go to.)

2000 - Songvid Appreciation 101 (Remember Art Appreciation? "Why is this painting good?" Well, we're doing the same for vids, using examples from the ESCAPADE Video Show. Let's take advantage of the fact that we've all just seen these vids, and use them to illustrate how to do cool things in a vid. We'll look at clever POV changes, appropriate choice of music to theme, skillful uses of musical changes within a vid, storytelling techniques, changes of mood, cutting on the beat vs. cutting on the lyric line, the different approaches to serious and humorous vids, or single fandom vs. multiple fandom vids, and more.)

2001 - Vidding Workshop (2 hours) (This workshop will cover: a comparison between digital and analog vidding; a how-to for analog vidding; a how-to for digital vidding; and a discussion of the artistic side of vidding, including song and clip choices, and techniques to avoid.)

2001 - Impact of Computer Tools on Vidding (Vidding used to be push-and-pause between 2 vers, and a LOT of patience. Now with I-movie and Final Cut and Macintosh G4's, the technological leap is here and it isn't going anywhere. Are vids better for the technology available to them?)

2001 - Songvid Appreciation (2 hours) (Comments and feedback on vids you saw last night, Escapade style.)

2002 - Art Manipulation Using Photoshop (A how-to overview, with demonstrations in Photoshop, and more detailed techniques for creating photo manipulations, web graphics, and zine graphics. Depending on interest, creation of vid titles and overlay vid graphics may be included.)

2002 - Digital Vidding (An overview of the digital vidding process, including some advice on the hardware and software you need to get started. Learn the basics of editing with Premiere and similar programs, and get an overview of some of the fun options you have when using a computer to vid.)

2002 - Vidding Workshop: Art After Craft (What is the Art of Vidding?)

2002 - Vid Revision (The art and craft of revising vids—how you get from a song in your heart and a bunch of clips on your hard drive to the final product. We'll show multiple versions of a few vids, critique them, and talk about what improves a vid. No technical knowledge needed; come whether you make vids or just like watching them.)

2002 - Vids: Pro vs Fan Editing (A long time fan vidder and a professional editor discuss techniques.)

2002 - Sunday Morning Vid Review

2002 - VividCon Discussion (Come discuss the proposed VividCon, tentative time/location, August/Chicago.) [VVC started 6 months later, in August 2002, and ran until 2018]

2003 - How to Vid on the Computer (A brief intra vidding on computers. It will touch on hardware requirements, software options, and basic concepts of non-linear editing and what makes for a good vid, and, time and tech permitting, it may also include a demonstration of some of the editing basics. There will be handouts.)

2003 - Vid Show Review (A discussion (and literal re-viewing in some cases) of some of the vids from the Saturday night show.)

2003 - Also Premiering Vid Show (The "Also Premiering..." vid show is for vids premiered in the last year that aren't going to be shown in the Friday or Saturday shows. This will be an informal setting and we'll go by participant preference — if folks want to see a vid a second time, or want some time to chat about it, or if a vidder wants some feedback on it, we can decide to do that on-the-fly. If you'd like to show any vids in this show, just bring them to the show itself. There are no hard-and-fast limits on number of vids; we'll just go with what shows up and take turns until we run out of time. Afterwards, consider going out to lunch with other participants to talk about the vids!)

2004 - I want to vid! (But I don't know how) (Introduction to vidding hardware, software and maybe some concepts if we have the time.)

2004 - Made On a Mac: The MacFen Symposium (So you're a slasher and a Mac user. Come and share your tips and tricks for HTML coding, photo editing, website management and vidding on a Mac, Share the programs that have and haven't worked for you and hear some helpful tips from the front lines.)

2004 - Vidding: Creating Mood (Why do rapid cuts of short clips create tension? What does a wipe *feel* iike? A vidder's toolbox Includes more and more options, but how do we know what emotional effect each technical effect will produce? Leave the music at the door; this one's about the visuals.)

2004 - Editing Techniques and Vidding (How can you edit together clips from widely different episodes and movies into a seamless whole? A familiarity with concepts in filmmaking can help you achieve the results you're aiming for. A look at some of the common rules of continuity editing and how they relate to vids.)

2004 - The changing face of vids (How has increasingly cheap technology, wider highspeed access and the new flood of vidders changed vidding? What should we rejoice about and what should we worry about? How do we help make it a winning situation for all?)

2004 - Vid Review (A retrospective on the Saturday night show.)

2005 - Vidding: Let the Lyrics Help You (How to look at lyrics to add depth and structure to your vid. or why top 40 songs usually make you do all the work.)

2005 - Vid Review (A Sunday morning tradition at Escapade, and a chance to discuss those great vids.) [See how it’s a “tradition” by this time.]

2006 - The Changing Vid Audience (The move to digital vidding, the availability of vid source and software, and the expectation of online distribution have all radically affected audience desires and expectations. What do audiences want from vids now? Vidders, share your historical perspectives. Vid fans, this is your chance to tell vidders what you want.)

2006 - Defining the Character Study Vid (We love character study vids, so how do you go about making a good one? What's the difference between a vid about a character, a vid about a universe, and a vid about seeing the universe through the eyes of a character?)

2006 - Marketing Your Vid (How can you stand out among the swelling ranks of vidders? What's the best way to present yourself, and to draw attention to your work? We'll focus on knowing your audience, timing your release, pimp communities, etc.)

2006 - Vid Review (Like Ebert and Roper, but much better looking.)

2007 - Ulead Media Studio Pro 8 and Why It's Better Than the Rest (A compare and contrast of the semi-professional video editing software programs with a strong emphasis on Ulead Media Studio Pro 8. If you are new to vidding, or interested in upgrading your video editing software, this panel should help you make an informed choice.)

2007 - Mac Workshop (The ins and outs of vidding on a Mac.)

2007 - Vid Show Review (Take apart what worked and what was missing from selected vids in the Saturday show. Audience participation at its finest.)

2008 - Ulead Video Editing Introduction (Intro to Ulead Video Studio/Media Studio Pro for those who are interested in vidding but don't have a clue as to where to start. or wouldn't mind a refresher course.)

2008 - Vid Review (Last night was for watching, today is for analyzing. What worked, what didn't, and why?)

2009 - Fannish Aesthetics: Extrapolation v. Subversion (How do we as writers (and especially as vidders) interact with the source material? Is that relationship evolving? What can we say about where we've been and where we're headed?)

2009 - Vid Review (Last night was for watching, today is for analyzing. What worked, what didn't, and why?)

2010 - 2010: A Vidding Odyssey (Current trends in vidding, including what's changed and what's remaind the same when it comes to slash, vidding in particular. We will show some examples of "classic" slash as well as some of the newer develpoments in constructed reality.)

2010 - Vid Review

2011 - Escapade Songvid Retrospective (A trip back to the days of yesteryear, when vids were made on VCRs and Escapade was the place for vids and vid programming. Compiled by Kandy Fong, this show will survey vids from a variety of vidders and shows, covering Escapade 1992-2001 in a fun, informal environment.)

2011 - Decoding Vid Meaning (How do you read a vid? Clip choice, lyrics, structure, symbols or the tone of the music— vids offer plenty of clues, and we decipher them as we see fit. Come watch a vid (or two!) and discuss how we get meaning from what we see and hear to develop a deeper understand of what's going on in the vid. Multiple viewings are required!)

2011 - Vid Review (Flash all the way back to Saturday night to dissect our favorite (or not) vids from the show.)

2011 - The Vidding Explosion (1985-1990) (Who taught whom. The growth of storytelling, technique, and sophistication. Includes vid show and presentation.)

2012 - Vidwatching 101 (Vids have their own language and their own framework for discussion. It can be tough to translate vids into words, but if we have the same language, vid discussion can be wonderfully rewarding for both vidder and viewer. This panel is a primer to get us all on the same page.)

2012 - The State of Vidding Fandom (Ten years of VividCon and roughly the same years vids have been distributed online, let's talk about the state of vidding and the community of vidders. Is there one? Where is it? How do vidders fit in with fandom at large? What are the different options for watching/releasing vids, and how do they stack up for vidders and viewers? If you love vids, join us—whether you vid or not.)

2012 - Festivids Review (Festivids is a fannish vid exchange inspired by the Yuletide fic exchange. This will be a vid review-style panel where we show clips from some of this year's highlight vids and talk about the challenge.)

2012 - MVD Vid Retrospective Show (Sometimes the oldies really are the goodies. Mary Van Duesen has made songvids since the 1980s, working in a range of fandoms. She has also remastered many old vids, and they look better now than they ever did. Come see some old favorites, or find some new ones.)

2012 - Vid Show Review

2012 - Nearly New Vids (So many wonderful vids were submitted for the Escapade show that we couldn’t fit them all in the early show. Here’s your chance to see the rest in the daylight hours (replay of the late-show vids).

2013 - Mac Vidders Roundtable (What’s the best way to vid on a Mac? Our vidding options have changed a lot in the last few years, and it’s been a while since we had a roundtable to discuss and compare our tips, tricks, and processes. This panel is for all of the above.)

2013 - The Art of the Pimp Vid (What makes a pimp vid so addictive one hit will get you hooked? Let’s talk vids for people outside of your fandom. Plot arc vids, character vids, pairing vids: How do you grab a new audience hard and never let them go? Hey there, little fangirl, the first taste is free!)

2013 - The Bestivids of Festivids (This year’s Festivids featured everything from incest testtube babies to care bear Avengers to a surprisingly large amount of kickass femslash. Let’s watch and discuss some favorites from Festivids 2012.)

2013 - So You Want To Be A Vidder (Nobody vidding your OTP anymore? Sad that vidders haven’t discovered your new favorite show? Why not vid it yourself? Come learn the very basics, from choosing programs in your price range to dos and don’ts if you’re planning to submit to cons.)

2013 - How Do Vids Work? (Let's talk about the techniques (not just the feelings!) that make a slash vid work. What makes for a vid that we watch over and over and that sticks with us long- term? We'll talk about these things with reference to a couple of specific vids, see what strategies, commonalities, and differences we can identify, and then open up discussion to additional favorites from the audience.)

2013 - Vidding Aesthetics (Vidders and vid watchers: let’s talk vidding aesthetics. How have styles changed over time? What makes a good vid and what’s just a matter of personal taste? What do you want to BURN WITH FIRE? Let’s get this cage match... err... discussion going.)

2013 - Vid Review (Flash all the way back to Saturday night to dissect our favorite vids (or not) vids from the show.)

2014 - Vidding 101 (Never edited before? Haven't made a vid since the VCR went the way of the dodo? Come learn how to turn those vidbunnies into reality!)

2014 - Vids for the Viewer (We often discuss writing from the perspective of a reader, but vidding from the perspective of vid-watchers not so much. Let's talk about how to read a vid, different vidding aesthetics and how accessible or popular they are with viewers vs. vidders, and impostor syndrome in vid review.)

2014 - Vid Review (Flash all the way back to Saturday night to dissect our favorite (or not) vids from the show.)

2015 - Best of Festivids. From the slashy to the merely sublime, what tickled our fancy in this year’s Festivids?

2015 - The Perfect Slash Vid. What makes the perfect slash vid? Is it the song choice? The point of view? The abs? (Okay, you got me: it’s the abs.)

2015 - So You Wanna Be A Vidder. Bring your laptop or at least a pen and paper and find out how to get started in vidding.

2015 - Vid Review: Flash all the way back to Saturday night to dissect our favorite (or not) vids from the show.

2016 - The State of *Vidding Fandom. Sunday, Noon, San Diego 2. What's going on in vidding fandom today? Where are people hosting and posting? What's next?

2016 - Vid Review. Flash all the way back to Saturday night to dissect our favorite (or not) vids from the show.

2017 - Vidding 101 - Have you dreamed of making a vid but just aren’t sure where to start? We’ll go step by step, talk finding your source(s), choosing music, finding your way with non overwhelming tech-tools, brainstorming ideas, finding collaborators, and learning by doing. Already a vidder? Come and help new vidders find their way, find new collaborators, and make new ideas happen.

2017 - Let’s Collab! New Forms of Collective Fan Creativity , Newport Changing technologies mean that we collaborate with each other in ever-evolving ways when we create fic and vids. What are the possibilities for collaborating beyond geographic boundaries with digital technologies? How are you collaborating with fellow writers and vidders these days? Are you interested in finding new collaborators and new ways to connect? And are these new forms of collaboration creating new forms of creative fan work?

2017 - Vid Review, Marina del Rey On Saturday night, we watched the vid show. On Sunday morning, we talk about it. Join Rache to discuss the good, the better, and the great of the show, including techniques and all of the reasons Charlotte doesn’t vid anymore and never will again.

2018 - Noon (Vids from the Vault, Part One Kandy Fong Newport A curated retrospective of vids from early Escapades.

2018 - Fanvid Feels (What vids do you return to again and again because they just make you *feel* things, thrill you, or fill you with joy, or even sadness? Maybe a vid introduced you to a pairing, or a fandom, or perhaps you love it even though you’re not really that into the source? Let’s look at some of our/your favorite vids and think about what makes them tick. Come with vids you want to talk about in mind, or just come to watch and talk about vids that make us feel stuff.)

2018 - Vid Review (Flash all the way back to Saturday night to dissect our favorite (or not) vids from the show.)

2019 - 3-Minute Pimp Vid (Forget telling: Show us your canon with a vid or clip! (3-5 minutes each.))

2019 - Lend Me Your Ears: Vids and Music (Have you ever discovered a song or musician because of a fanvid? Do you have thoughts on what music works and doesn't with fan vids? Let's talk about all the ways in which different types of music can work in vids, and look at some vids that work with music in awesome or surprising ways. Plus maybe there will be a little singing along...)

2019 - AO3 But For Fanart and Fanvids (AO3 has been great for fic, we need safe harbors for art and vids too. Let's talk about it!)

2019 - Pitch a Vid Bunny, Find a Vid Beta (Have an idea for a fanvid you'd love to see happen? Come with concept, song, source ideas, characters--share your bunnies, find some cheerleaders, brainstorm together. For newbie & experienced vidders alike, all welcome!)

2019 - Vid Review (Rehash the Saturday night vid show with a room full of fans.)

#escapade 2020 #escapade con #fandom history #vidding #vividcon

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gallantgautier · 4 years

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String Theory (April Fools!)

Art by Twitter user @Eleror and used with their permission. Please do not repost. (Also check them out they’re so good and so very kind to let me use their work for this)

It’s a beautiful, sun-kissed morning rare for this time of year. There’s little in the way of warmth from the light that creeps past his curtains, but that suits Sylvain just fine. His home territory is cold, and being as fuzzy as he is, heat is just unbearable.

Wiggling his way out of his too-big bed – can’t be helped, they’re standard issue – Sylvain shuffles around on his wonderfully clean floor – dust in his fur? No thank you – and considers how he’s going to go about his day. Climbing up onto his desk is tricky business, it involves a lot of curling and coiling and wriggling, and then a mighty leap to get his long yet miniscule body up onto it. Again, standard issue, but this one is significantly less forgivable than his bed.

Coiled up comfortable and safe in a clean, empty teacup kept for this exact purpose his head curled over the rim, Sylvain takes stock. He could hang out in one of the gardens, climb a trellis and curl around a flower out of the way of clumsy feet who won’t notice a tiny, fuzzy orange worm on the ground. Maybe he could even hitch a ride in someone’s hood or upon their shoulder! That could be fun. Or, perhaps he could-

Wait.

No.

Frantic, Sylvain squirms his way out of the cup and around his desk, eyes darting this way and that as he searches and searches and searches and- It’s gone! The String of Ruin is missing!

No no no no no! This can’t be real. Who knows what will happen if the String falls into the wrong hands! Sylvain throws himself off his desk, zigzagging his way across the floor to squeeze through the gap under his door. He has to find it! But oh, if only he could move faster, if only someone could help him!

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Hello everyone! And welcome to my very silly April Fools! This is entirely Lily’s fault for suggesting that I could, indeed, actually RP Sylworm, even if it’s only for the day.

So, would you like to participate in some short, semi-rapid-fire threads with Sylworm? Well, now you can! The premise is simple: our dear fuzzy worm seems to have misplaced the String of Ruin, and grave misfortune could befall the people of Fodlan should it fall into the wrong hands; Those Who Silther In The Dark! (heh.)

But, alas, he is a very tiny fuzzy worm (think the size of actual worms on strings) and not only will getting around take a very long time for him, but his mission is fraught with danger! What if he gets stepped on? What if someone thinks he’s fishing bait? What if an owl tries to eat him? What if one of the monastery cats thinks he’s a toy? Won’t someone help him?

If you would like to help One Fuzzy Friend, all you need to do is send me an IC ask telling me how your muse happens upon Sylworm, I’ll answer, and we’ll go from there.

Rules!

- These are intended to be semi rapid fire, you only need a couple of lines of dialogue and a little action. This is only happening for a day after all.

- This is most definitely not canon. I hesitate to call it “Not IC” as, personality wise, Sylworm is as much the same as Sylvain as he can be. (I will, however, be tagging threads as “not IC”) Even though I’ll be writing in as serious a manner as I’m capable of when RPing a worm, this is intended for comedic effect. As this isn’t canon to Toa, no one will be able to reference these happenings in other threads.

- Due to these interactions not being canon to ToA, threads won’t count for activity/mastery. (Unless the mods say otherwise.)

- Speaking of activity/mastery, as this is intended to be rapid fire(ish), it’s unlikely that the word count will be high enough for these threads to count anyway.

- Sylworm has no idea of his life as a person. He hasn’t lost his memory, he just thinks it all happened as a worm. (Don’t think about it too much.) He knows who you all are.

- Sylworm has not always been a worm. Be as confused (or not!) as you like! (Really, don’t think about it too much.)

- On account that he is a worm, Sylworm cannot speak. He is, however, very expressive. (Really really don’t think about it.) I’ll always include what he tries to convey in his expressions, it’s entirely at the mun’s discretion how much they understand.

- He can, however, squeak.

- Above all, be creative, and have fun!

- Lastly, for the love of all that’s good in the world, please look at my blog theme. @Eleror was kind enough to allow me to use their art there too and I’m very proud of my amazing terrible photoshop skills!

#April Fools!#so very NOT IC #It's worm time baybeeee #UK timezone privileges letting me post this now #huehuehue

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ryanflintfmp2 · 4 years

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Editing photos in Photoshop

For this edit I decided to dive deeper into the photos from my previous test shoot. This time I edited the photos in photoshop compared to lightroom. This was a big leap for me as I rarely use PhotoShop, this gave me a chance to build up my photoshop skills. I went onto YouTube and followed a tutorial on how to create this effect. I decided to do this VHS effect because it appealed to me and I thought it would dive in deeper with my images. For instance, I feel as if this edit has made it seem as if someone from above is filming and watching me from above, whilst I spend time in my room. It’s something little like that, which adds more dimension into the image. Overall I am rather happy with the results of this edit and I can see myself doing more edits like this in photoshop as I rather enjoyed it.

1. Add stock image of grain & dust into project.

2. Then import chosen image into project and resize to ideal size.

3. Move chosen photo to top of layers then click blend mode- Screen

4. Add stock image of VHS interface into project, choose blend mode ( Linear dodge 45%)

5. Merge all layers together into 1 layer, then duplicate base layer

6.right click on top layer, untick R on blending options

7. Press CRLT, T and move image slightly

8. Duplicate layer again, click on new layer and right click. Then go into blending options and un-check G

9.Then merge all layers together.

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comicteaparty · 4 years

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February 29th-March 6th, 2020 Creator Babble Archive

The archive for the Creator Babble chat that occurred from February 29th, 2020 to March 6th, 2020. The chat focused on the following question:

What is the thing you’re proudest about regarding your story?

Deo101 [Millennium]

I hope saying "That I'm actually doing it, and that I'm still doing it and loving every minute of it" Is an okay answer ^^ there is a lot that I am very proud of myself for with regards to this comic, but I think I take the most pride in actually sticking with something for this long.

carcarchu

I agree with deo, sticking with it is what i'm most proud of and it's probably one of the hardest things to do

Capitania do Azar

Hah I can't say I'm proud of everything, right?

It's hard to put it in words but I really enjoy the comic making process and I'm proud of what I'm accomplishing with it, both in terms of writing and of art. And I think it's rather visible that I put a ton of effort into it

Spring-heeled Jack

I am proud that I prepped ahead of time because the last two times I tried, I didn't. Both times I got about 10 pages in and quit because I felt overwhelmed. With the story itself, I think I'm proud of my characters. Characters are the easiest part for me (plot and central conflict I always flounder on) but I'm still so pleased with them.(edited)

Tuyetnhi (Only In Your Dreams!)

For me, it's just getting the work out there. Actually finishing chapters. compared to the first comic story I want to put out, this story I know for sure where its going and gives me a sense of ease? There's some days when I feel i'm slumping along but in the end, I'm pretty happy how it turned out. Pretty much what Deo and carcarchu said lol: my story is long but not super long, but I'm glad I'm still working on it among my other stories I want to share (edited)

Ash🦀

For me, what I'm most proud of is my artist, Katie. We're a collaborative team, I'm just the writer so I don't do much. And she takes my words and just... adds so much life to them. Seeing every page she makes is so amazing. Every time she's growing in her style in leaps and bounds, and seeing her push her lighting, expressions, and unusual panel styles, ugh, it's just so cool seeing her grow. I am so proud of her and what she's done, she's a total rockstar and I love her. I couldn't have done this without her, and every day I'm more grateful to her.

DanitheCarutor

That is a really good question, I don't really show pride in stuff I do usually. I guess the closest to being proud was either when my new comic passed the stopping mark for my old comic, which was discontinued at chapter 3, or when I got chapter 1 rescanned for print recently. The latter was kinda challenging because I rebubbled the whole chapter, and how I rebubbled was a little... awkward, pasting over the old bubbles in photoshop afterward.

Sorry! Apparently the image file was weird.

keii’ii (Heart of Keol)

I actually semi-recently wrote a raving tweet thread relevant to this topic. Basically, for years and years, I did not know what it meant to be proud of your work. I've been happy with my work, both the process and the result. But was "proud of my work" completely synonymous with "happy with my work"? I legit did not know. Even asked a former English teacher friend, who's very good at explaining this sorta things, and I still didn't get it. Then as I made progress through the most recent chapter, I noticed this brand new, strange feeling welling up in me. Yep, you guessed it. For the first time ever after starting this comic, I was proud of what I was making. Not just happy with it, but proud of it. Took me a while to realize, oh, this is proud. Afterward, something happened IRL that temporarily borked my sense of time (one specific week felt like months). So because it felt like it had been months since I made it, I got to experience the last couple pages of the chapter as a reader, not its creator. And I gotta say, thank you past me, you've made something truly heartfelt, and you had every reason to be proud of this. In short: I'm proud of how my comic is an honest reflection of what my heart wants to see, what I want to read. And I'm proud of my most recent chapter being the pinnacle of that. I hope to make more, higher pinnacles down the road, as I continue my way through this story.

spacerocketbunny

I'm proud of how me and @FeatherNotes(Krispy) have shaped our characters and fleshed them out! I'm also super proud of our team dynamic and how if something didn't feel right in the story or art etc., we've always challenged it and come up with something better and stronger! Because we've been so thorough and willing to reconsider, I'm always perfectly comfortable to stand by what we've put out there, even if we've had to go back and fix past mistakes!

Mei

Hoh boy, the thing I'm proudest about in My Husband is a Cultist is the audience interaction. I've been told the comic is funny, and that makes me immensely chuffed, because it means I'm doing something right. I'm always so nervous when putting my work out there with how it's going to be received. That seeing people engage with the story and find it funny and liking the characters... it just warms my heart so much, and it makes me truly feel like I'm on the right path. I'm also pretty proud of the stuff I've written that's not been featured in the comic yet. I look forward to developing those and making them come to life, and I hope people enjoy the grittier parts of this strange comedy as much as I do! And mostly I'm proud that I'm still doing it and haven't given up yet. My lord, I just don't know how it's gonna keep going! but hopefully just onwards and upwards!

eli [a winged tale]

Reading through all of these and I’m so touched. Super proud of you all!

I’m most proud in finally chasing my dreams. Life threw me a bunch of curveballs and creating this comic is a reflection of how I dealt with things and at the same time be thankful for what I have. When I reread my comic I can see mistakes but I also see parts of myself that are genuine. I can’t wait to continue on the story and let the comic be part of my life moving forwards

LadyLazuli (Phantomarine)

My comic went on so long behind the scenes before I was comfortable enough to share it, so I tend to think of my past self quite differently than my current self. So, I'm very proud of 'past me!' She started the project completely unaware of how long it would last or what it would become - just a few characters and story threads and a whoooole lot of ambition - and my present self has had the pleasure of weaving those threads into a project I'm truly proud of. The comic has brought me so much joy - much of it delayed, like a ticking time bomb - and it's all thanks to my younger self. She wasn't sure of what she was doing - but now I know she made some excellent decisions in the beginning. I'm very grateful she started all of this. It's made my life all the more joyful

chalcara [Nyx+Nyssa]

I got a BUFFER. My first non-fancomic died because of work-comittments and lack of buffer, but on Nyx+Nyssa I manage to work ahead. More than anything I am proud of the discipline I developed to allow for that.

FeatheryJustice

I'm proud of almost completing Teasday. I had some long hiatuses but I will finish the story for now. Also proud of where I grown from the beginning of that story to now. The time and effort shows that I did do a lot, which makes me really happy to know.

Nutty (Court of Roses)

I'm proud of a lot of the work that goes into my comic, but what I'm most proud of was this page. I wanted this to be grand and a pivotal moment if what the comic was about. I don't think even a couple years I could've done anything at this scale, but I split the areas into chunks that I completed over the span of two weeks. Always look upon this page fondly.

eli [a winged tale]

That is gorgeous!

Spring-heeled Jack

Impressive!

snuffysam (Super Galaxy Knights)

I can point out four moments in Super Galaxy Knights http://sgkdr.thecomicseries.com/comics/ that I'm the most proud of - 1. The end of Book 1 Chapter 4. Chapter 4 was intended to be a big "growing the beard" moment for the comic's action setpieces - the first three chapters were more about introducing characters and plot elements than actual action, so I consider chapter 4 to be the first "real" fight of the comic. The way the action was presented in chapter 4 would go on to represent how action would be presented throughout the rest of the comic, and IMO I pulled it off fantastically. 2. The end of Book 1. Kinda self-explanatory, but Book 1 was the first major story arc of the comic - the fact that I managed to pull together a satisfying conclusion, something that I theoretically could have ended the comic on, was super satisfying to me. 3. This page: http://sgkdr.thecomicseries.com/images/comics/160/30997a1543363807f2141157006.gif . When I wrote in my Book 2 script "they fight for a bit in a big looping animation" back in 2016 I was hoping my animation skills would advance to the point where I could pull it off. And it turns out, they did. 4. Well... today. Ever since starting the comic back on leap day 2016, I knew today would be a big milestone, and I'm proud of myself for sticking with this project long enough to get to this four year mark.

Eightfish (Puppeteer)

oh my god, that looks incredible and I've never seen a page like that before!

Cronaj (Whispers of the Past)

I am not very far into my comic, but when I try to think about what I am most proud of in my work, it is definitely all the behind-the-scenes work I have put into the comic. The world-building. The map-making, language developing, culture exploring, building a political structure, writing histories, character work, etc. All this time and energy I devoted to something that wouldn't be seen by others for many years to come. It is only now starting to come to fruition, despite technically having been working on this project since 2014, with the first scripts, the first character designs, and the first paragraphs about the world of Whispers of the Past. All this work that nobody will ever see. I am proud of sticking with it and putting my heart and soul into it despite the lack of return for so long. I have given up my adolescence to this project, and I am giving up the rest of my youth. But when I think about it, there is no worthier recipient. Because without this story, I feel like a large part of my identity would be gone.

snuffysam (Super Galaxy Knights)

Thank you @Eightfish (Puppeteer) ! The storyboarding alone for that animation took a week so I'm glad you like it!

eli [a winged tale]

I totally get you Cronaj! So much goes behind the scenes but that creates the world’s depths and it will resonate with readers! continues dedicating the rest of my life to comics

SL Black

@Cronaj (Whispers of the Past) yes! There is so much prep work involved. I have three full scripts for UO that will never see the light of day (mostly because they are terrible). Comics are such a marathon. All that hard work will be appreciated so much by your readers!

Cronaj (Whispers of the Past)

@SL Black Man... That sounds like me. I myself went through at least 3 scripts too. I'm glad I'm not the only one who feels this way about the BTS work

Desnik

I'm proud that I'm putting myself out there with a WIP comic script and learning how to not only write, but collaborate with other writers.

renieplayerone

Im really proud that i started a comic and have stuck with it for a year and just how much ive learned by making it^^

Eightfish (Puppeteer)

I'm proud that even after 70 pages I've never missed a scheduled update!(edited)

Tuyetnhi (Only In Your Dreams!)

Awe yeee thats always good to have a streak like that!

eli [a winged tale]

That is #goals!

Cronaj (Whispers of the Past)

Agreed!

#ctparchive #comics #webcomics #indie comics #comic chat #comic discussion #comic tea party #ctp #creator interview #comic creator interview #creator babble

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houseofvans · 6 years

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ART SCHOOL | Q&A with SARA M. LYONS

Influenced by the works by the likes of designer Lisa Frank and Saturday morning cartoons, artist Sara M. Lyons’s illustrations are colorfully eye-catching, vibrant, and filled with fun! Not only ONE thing, Sara also runs an online shop filled with her awesome creations from patches, pins to an upcoming Tarot card deck she’s creating. We’re stoked to chat with Sara and learn about her process, her favorite artists to follow, and about her local art scene in this week’s Art School w/ Sara M. Lyons. Make the leap!

Photographs courtesy of the artist

Hi Sara!, Could you tell us a little about yourself ? For sure! I’m Sara M. Lyons, and I’m an artist, illustrator, muralist and product designer living and working in Orange County, CA!

When did you first get into drawing? Was it a hobby turned career or something you knew from the start that you’d eventually wanna do for a living? I’ve been drawing since before I can remember, and it’s always been something I did for fun, but I never really considered that it could be a career until I suddenly found myself in the middle of it. I didn’t start leaning into this as a living until I was in my late twenties (I’m 32 now), so I feel like I’m still learning the best ways to navigate everything.

Who were some of your early artistic influences? Art mentors? I was born in ’85, so I was surrounded by Lisa Frank and Saturday morning cartoons, and I think a lot of that spirit is present in my work. I also grew up reading Betty & Veronica obsessively, so Archie comics and the drawing style of Dan DeCarlo in particular was what I started emulating as a kid when I was teaching myself to draw. In high school that developed into an interest in indie comics, and I was really inspired by Los Bros Hernandez. I think you can really still see the influences of both of those comics in my character drawings.

You make some much fun and colorful things, for a lack of a better word, from pins to patches to just about everything? What’s some of the stuff that’s in the works now? I love making small pieces of art that are accessible and affordable, and that’s always been my thought process when designing products like pins and patches. I think I’ll always be doing stuff like that, but this year I hope to try some new things too. I’m working on a deck of Tarot cards right now (I released a Lenormand fortune telling deck in 2016), and it’s really exciting to create a bunch of highly detailed illustrations in that context - knowing that when I’m done with these 78 drawings, they won’t be just one-offs going on a wall somewhere, but that they’ll be accessible to anyone who is interested.

Do you keep a sketchbook or work your ideas as you go along? Organized, Sort of, or Complete Chaos? What’s your process for new ideas like? I’d say I exist in a constant state of Organized Chaos. My ideas, sketches, and concepts are spread all over the place - I’m usually bouncing between my planner, my journal, my phone, my sketchbook, my iPad Pro, and my desktop computer, and that’s probably the approximate order of where ideas get parsed out as well. When I’m working for a client, I move really quick, but with my personal stuff I’m a slow starter - I’m both heavy on self doubt and a perfectionist, so there’s often a LOOOOOOONG stretch of time between conception and completion of any given concept. I’m not one of those artists who can sit down and knock out two or three completed drawings in a day. Sometimes I’ll have a sketch on a Post-It in my office or an idea in a note on my phone for over a year before I even start to develop it. But once I really get going on something that I believe in, I get laser-focused.

What mediums do you love to work with? What are your essential art tools? My favorite medium right now is a huge wall - I’ve been working on murals since late 2016 and it’s so much fun and such a complete departure from my usual artistic process!

But my most comfortable, well-loved mediums are digital and plain old pen and paper. Drawing digitally, I used to work mostly in Photoshop on my desktop using an ancient Wacom tablet, but these days I spend a lot more time drawing in Procreate on my 10.5” iPad Pro (rose gold, obvi!). I know they’re not for everyone, but the iPad and Pencil have been a game changer for me creatively - I love being able to sit on the couch watching trashy reality TV while I work on fully layered digital pieces.

But still, sometimes nothing beats the classics. I pretty much exclusively use Canson Mixed Media XL sketchbooks, any size, because I like the heavy paper, spiral binding, and turquoise blue covers. I’ll draw with any old pencil - I mostly hoard and use ones I take from hotels when I’m in on trips - and Microns are my favorite drawing pens.

Who are some rad artists you think folks should definitely check out and follow? I love Jenee Larson’s super distinct style and sassy digital illustrations of petulant ladies - @bobbypinss Bianca Xunise makes the most poignant, funny, personal, emotional diary comics - @biancaxunise Ayaka Sakuranbo is a Tokyo-based artist and I’m obsessed with her whimsical paintings and incredible color palette - @ayakasakuranbo Ashley Lukashevsy makes powerful illustrations with a focus on intersectional feminism and anti-racism - @ashlukadraws Ms. Wearer based in the UK does amazing rainbow-drenched pop art - @ms_wearer Lilly Friedeberg in Dusseldorf is one of my favorite graphic designers; I love her clean, fun sensibility - @elfriede_s Yoko Honda’s work makes me want to transport myself INSIDE the beautiful world she’s created and live there forever - @yokopium

What’s a common misconception about what you do? There’s a lot more “boring office stuff” to my job than most people think. I wish I was drawing and painting and creating all day every day, but in truth I spend like half my time answering emails, fulfilling orders, taking inventory, going to the post office, keeping the online shop up to date, managing all manner of legal nonsense, staying on top of social media, hustling for new work, and so on.

What do you do to take a break from art life and just the day-to-day hustle of running a shop? Drawing is still a release for me, and my husband (@therealjoshr) is an artist too, so it’s not uncommon for us both to still want to be making stuff in our “off” time. When we’re not doing that, we like to do a lot of really grown up stuff like going to theme parks, arcades, swapmeets, and toy stores. We also like taking weekend trips, and I really love being in the desert, so we try to get out to Palm Springs and Joshua Tree as much as we can too.

What can you tell us about the art community around where you are? What’s the art scene and culture like? Orange County sometimes gets a bad rap, but I think it’s a really cool and diverse place to be a creative person. A lot of iconic art and punk rock and culture has come out of this area (just look at Vans!!)!

As an artist today in OC, I feel like there’s breathing room here - the contemporary and alternative art scenes are still growing and finding themselves here, so it doesn’t feel as high pressure as the larger LA art scene - but you’re close enough to LA to get involved in that scene, and you still have easy access to so many amazing shows and museums and events. There’s just something distinctive about Orange County that is hard to put your finger on unless you’ve kinda grown up here. I went to high school in Newport Beach; I’ve lived in Anaheim now for years - of course there are pockets everywhere where those Real Housewives stereotypes are painfully true, but that hasn’t been my overall experience in OC. I love it here and I really hope I can help the creative community here continue to develop.

What’s something you liked to see more of in art? More women in the spotlight.

What do you think you’d be doing if you weren’t an artist? Oh my god, probably working on a cruise ship or something. I didn’t go to school and I don’t really have any other marketable skills, so hopefully this works out!!

What are your FAVORITE Vans? It’s a toss up between two SK8 Hi’s - blush pink suede or baby blue faux fur. Don’t make me choose!!

What advice would you give someone thinking about art as a career? This is a super nebulous job choice, and “art as a career” in general is really subjective. Know yourself well, but don’t pinhole yourself. The scope of this creative industry is constantly shifting and changing, and things come in and out of fashion quickly. Something that’s your livelihood one year might become a nonstarter the next. If you can identify and remain true to the things that make you unique as an artist and the things people respond to in your work, the knowledge of that point of view will carry you from phase to phase.

What’s on the horizon for 2018? I’m still trying to figure that out myself! After some major plans I had for this year fell through at the last minute, I’m at kind of a blank slate phase in my career. I have a ton of different ideas and I’m trying to nurture them all to see what blossoms first! I’d really like to paint more murals this year, travel more for events, and continue to develop my more personal illustration work. Something I’m trying to keep in mind this year is that it’s OK to be small - not chasing the giant clients or the big money projects, and just doing work that fulfills me creatively and resonates with the people who care about what I do.

Follow Sara Lyons | Instagram | Website

#Art #Vans #Vansart #Vansgirls #art school #interview #creative #painter #pins #women

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bellabooks · 7 years

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Imagine If They Had Just Made Them Gay: SuperHero Edition

Out of all the numerous movie categories out there, the superhero genre has always struck me as insanely queer. Maybe it’s all the tight, spandex outfits. Or the overly common “outsider / sociality reject” theme that can be found in almost every superhero movie known to man. But, regardless of the reason, most superhero movies tend to be one good, sweaty grappling fight scene away from being dubbed an LGBTQ+ instant classic. So then why aren’t there more queer superhero movies? Simple. Superheroes, by our antiquated societal definition, are supposed to be the epitome of hyper masculinity. They are super muscular, insanely good looking, and always manage to not only save the day, but also win over the affection of the damsel in distress while doing so. And of course, this naturally means, they can’t be associated to anything that remotely goes against those stereotype. Like being female. Or queer… Or, god forbid, being a queer female. Yes, there have been some great strides made over the past few years to fix this general disparity and we are finally starting to see more of an overall variety when it comes to types of superheroes on the big screen *cough* Wonder Woman *cough*, but there’s still a long, long way to go. So, while I sit and wait for Hollywood to finally make my dreams come true and produce a honest to god queer female superhero movie, I pass the time by playing a few rounds of “Imagine If they Had Just Made Them Gay” with some of my all-time favorite superhero movies. Power Rangers (2017) Now, I know what you’re thinking… Power Rangers? Seriously? Out of all of the one to choose from in the vast lexicon of superhero movies, why Power Rangers? Isn’t it just a cheesy, big-screen version of the painfully bad 90’s kids TV show? Well, three reasons. One, the Power Rangers Movie is actually good… like surprisingly good, in an modern day Breakfast Club, extra angsty sorta way. Don’t believe me? Go on and watch it for yourself. Don’t worry. I can wait… Done watching? Good. Now, let’s continue. Secondly, the Power Rangers is one of the rare examples of an ensemble superhero movie that features more than one female lead. Crazy, right? But, sadly, it’s the truth. The Avengers? Black Widow. Fantastic Four? Sue Storm. The Justice League? Wonder Woman. You get the point. And lastly, it’s the first superhero movie to feature a queer character. Granted, I use the word “queer” loosely because this is only hinted at in one scene where Trini (aka the Yellow Ranger) gives an indirect “coming out” speech after being asked if her problems were “girl problems.” But, at the same time, though, given her steady wardrobe of flannels and beanies, and faux shaved side of the head hairstyle, little to no verbal confirmation is actually needed. Trini, in short, is one rainbow flag away from a one woman pride parade. So, given all of the above, plus the overwhelming amount of Trini / Kimberly (aka the Pink Ranger) “getting to know you” deleted scenes, why on earth didn’t they just take it one step further and make it a full-fledged queer falling in love story? Absolute head scratcher, right? Well, I still hold out hope for there being one in the next movie (that’s if Lionsgate comes to their senses and finally green lights a sequel), but in the meantime, imagine if Power Rangers went a little something like this… Kimberly Hart. Once head cheerleader and ex-teen royalty of Angel Grove High, falls from grace after leaking a nude pic of her ex-best friend to her then boyfriend. (side note: still have sooo many questions as to why she had this pic to begin with. Is this a straight girl thing? Cause, if not, it so screams gay in a “I have memorized every Tegan and Sara song known to man” sorta way.) After giving herself an impromptu bob in the high school bathroom during Saturday detention, Kimberly happens to stumble upon four other high school social rejects late one night at the local quarry and they proceed to make a life changing discovery in the way of five oddly colored, intergalactic gems. Quickly coming to the realization that they suddenly now all possess superpowers thanks to the mysteriously gems, the group returns to the quarry the next day in an attempt to figure out what the hell is going on. And it’s at that very moment, that Kimberly’s whole life changes… Cue Trini. Angel Grove’s very own death metal loving, yoga practicing, resident pocket-sized queer. She’s feisty, sarcastic, and knows just how to impress a girl with her climbing up the side of a rock face and then leaping over an enormous cavern skills. Unable to hide her gay, Kimberly stumbles her way through a painfully awkward conversation where she tries to turn on the charm and convince Trini to come with them. And when that doesn’t work, she decides to just bite the bullet make a move (literally) but grabbing hold of Trini, throwing them right over the side of a cliff. And so begins the all too familiar “is it or isn’t it a date” montage. It’s all fun and games, until a gold obsessed villain named Rita shows up and decides to pay a late night visit to Trini. Rita proceeds to rough Trini up as a warning to the rest of the rangers and in the process fully ticks off Kimberly. Out for blood, Kimberly convinces the rest of the rangers to go after Rita. But, like most novice superheroes, the are beyond ill prepared and not only do they get their asses handed to them but the run also results in Billy ( aka the Blue Ranger) getting temporarily killed. After a quick regroup back at the ship for a prep talk and a minor supernatural resurrection, the rangers go after Rita once again, this time sporting brand spanking new suits and prehistoric themed vehicles. An epic battle ensues and in a sudden life and death moment, the light bulb finally clicks for both Trini and Kimberly. They want to be together… No, scratch that. They NEED to be together. And right now. With the burst of extra motivation, Kimberly and Trini lead the charge and help the boys send Rita on a one way trip to deep space and then sneak off to celebrate with one another… again… and again… and again… Hancock (2008) Again, I know what you’re thinking… Power Rangers is one thing, but Hancock? Not only is it a mediocre movie at best, it’s not even based off of a pre-existing comic franchise. I whole-heartily agree that Hancock has its fair share of problems. For starters, the main one being the casting of Will Smith as Hancock himself. Now, don’t get me wrong. I love Will Smith. There are roles that are just good fits for him and then there are the other ones–the ones like Hancock. And then there’s Jason Bateman. Jason Bateman always plays one type of character and one type of character only… Michael Bluth. And Michael Bluth should never ever exist within a superhero movie. But, looking beyond its problems, Hancock does have something going for it that most superhero movies, more often than not, tend to severely lack–an original and unique story. Hancock’s plot at its core is an unrequited love story. Two superheroes, who are destined to find one another time and time again regardless of the situation, yet the mere presence of one another is so toxic that being together will eventually lead to their deaths. Sound vaguely familiar? Like something you might’ve seen in real life once or twice? That’s because this plot could also double as a description for roughly 65% of all queer relationships. Who hasn’t had a friend (or ten) break up with the same girl time and time again only to get back together with her a few months later because “they can’t help themselves”? So, given that it’s plot is insanely queer to begin with, imagine if Hancock went something like this… (Sidenote: My photoshop skills are good, but not THAT good. So, every time you see Will Smith, just imagine an amazing actress instead… Like Samira Wiley) Hancock, a rough around the edges queer superhero, is known for two things. Protecting the citizens of greater Los Angeles from a wide array of criminal activity and creating an insane amount of collateral damage while doing so. In short, Hancock has a MAJOR perception problem. But does she care? Chalk it up to years of being dubbed an “outsider” or a superhuman sized chip on her shoulder, but Hancock just doesn’t seem to care what anyone thinks about her. She’s a superhero and that means show up, kick some ass, and save the day. End of story. There’s just no need for anything (or anyone) else. But, then one day, Hancock’s world is turned upside down when she happens to save the life of a lovable but super generic PR specialist named Ray. Beyond grateful, Ray makes it his personal mission, not only to befriend Hancock, but also to help her turn her public image around. New clothes. New attitude. And of course, new social circles. Hancock begrudging goes along with it all, including agreeing to attend a family dinner, where she happens to discover that Ray’s wife Mary looks oddly familiar. And suddenly… BAM! Hancock finds herself inexplicably drawn to Mary. She simply can’t get enough of the woman and needs to be around her 24/7. Mary, though, wants nothing to do with Hancock. She’s not only strangely standoffish, but seems to make up an excuse to leave the room whenever Hancock appears. Dying to win Mary over, Hancock attempts to learn more about her and in the process discovers that Mary, in fact, is a superhero as well. But before Hancock can confront Mary on this unique shared similarity, Mary falls deathly ill and is hospitalized. No one seems to know what the problem is and to make matters worse, Hancock is affected as well, but only when she’s in proximity to Mary. Hancock is pushed to the brink of insanity while trying to unearth what is causing Mary’s illness. Unable to handle her feelings, she goes on a crime-fighting bender and after being hit on the head by a flying piece of debris, suddenly remembers who exactly Mary is. Mary is Hancock’s eternal soulmate and, in a cruel twist of fate, also her ultimate kryptonite. Lifetime after lifetime, they are destined to find one another, only to inadvertently poison each other to death by their mere presence. Not wanting to put Mary through anymore unnecessary pain and suffering, Hancock decides that the only sane and logical thing to do is for her to disappear forever and live out the rest of her life in utter isolation. She goes to see Mary one last time to say her goodbyes, but for she can carry out her plan, Mary stops her. Thanks to modern technology, there’s a way they can be together and yet be apart at all at the same time… So, what do you think? What other superhero movies do you think would be better if they had just made it gay? http://dlvr.it/PjNdz1

#Movies #Hancock #Imagine If They Had Just Made Them Gay

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ba3bkbm · 5 years

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Collaboration Final Evaluation

Going into this animation, I had a lot more knowledge than I’ve hard prior to any other animation project I’ve undergone. I started from a point of strength because of my research for my dissertation and think that this has helped me all the better because I’ve had to do less research and know more what to do and create. In an interview with my Mum, Lyn McIntyre MBE, she said that usually the best way to engage audiences for topics such as this one is to use short and concise animations that don’t require a lot of concentration. I wanted to make a hybrid between that and a visually pleasing short. I used graduate shorts such as Comfort Zone (2017) by Elliot Stronza, Random Acts shorts, and the art of Finding Dory (2016) and Up (2009) as inspiration. From the latter I researched colour and the emotions that haven be provoked using it and learned how to tell a story using only colour and voice. A big issue I’ve had in previous submissions is the lack of time that I give myself before each deadline. I always end up scrambling around during the last week trying to get everything ready, and while I work best that way it sometimes means putting unnecessary pressure on myself. This submission I made sure I evened out the workload – the schedule helped me to stay on top of things. I planned weeks in advance and made detailed timetables of what I needed to get done when. It allowed me to feel a lot more relaxed about the final submission, and to also not spend so much time glued to my computer in the last week. In terms of skills developed, I feel like I’ve certainly come leaps and bounds with my animating. I know the principles and what to do to make an animation look good, but usually lacked the motivation to take it to the level that it really needed – in year two with my Spotlights short, I got lazy with the framerate and my animation suffered because of it. I’ve since come to understand that that is a combination of me not being prepared and allowing myself the time to work on projects, but also because I always wanted to find easier ways to do things. I had a brief period where I used Adobe Photoshop for a lot of my animations, and while it’s very good for what it is, it isn’t TV Paint and it doesn’t give you that ultimate control over the amount of frames that you’re animating, which is essential. I also followed the pipeline process to a T, when in some projects I did not. I now understand the importance of it far more than I did. Strengths for my project include a strong narrative – a strong idea. I know my idea is very current because I based my dissertation around the same subject. I think it’s also strong because I’ve poured so much of myself into it by animating everything myself and forming it into something that I’m proud of. It’s anecdotal, but unobtrusive, which is the type of animation that I’ve been trying to come up with for the last two years of university. There is a clear colour narrative that I feel drives the animation, I feel a sense of darkness when the background is navy, and as it turns into light blue and eventually yellow, I feel uplifted. My biggest weakness could also be that because I was the only one animating, it was easy to get carried away. I had a massive dilemma over the bath bomb scene – I had such high expectations of making a beautiful animation that really reflected what bath bombs look like in actuality, but then I had to scrap it because it wasn’t possible to create the look I wanted, and keep the abstract/basic shapes that ran throughout the rest of the animation. I think it also left me less room for criticising ‘as a group’ and bouncing ideas off someone else – I definitely did this a little with my collaborative partner, but it’s a lot easier when you’re working with people who are on the same level of animation knowledge as you are. All in all, I really enjoyed this project. It gave me a lot of creative freedom, and I produced an animation that I am (for once) happy with. I’ve created animations in the past that I’ve not really felt any spark or emotion toward, and that’s probably down to the fact that I didn’t properly vibe with them. Going forward, it opens a lot of doors for me creating animations for subjects that I’m passionate about that need more voice – topics such as deforestation (which I would like to revisit) and cat TNR.

#collaboration

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lisaportfoliostudio · 5 years

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Blog Post #1 For this exercise, the class had to fill out (individually) a self-assessment form to get a sense of our real, authentic selves as designers. For the first question, I had to narrow down 3 core values that I personally find important and valuable. I chose creativity as number one because it’s one of the most important things as designers to have. Creativity and imagination help you design more things/ideas, things that are “out of your comfort zone”, and things that are innovative. Second is perfection, and what I mean by that is attention to detail to make the project look as good as it can be without any errors or mistakes. In a way, I think it shows passion in what you’re designing when you want it to be “perfect”. Lastly, honesty is the third principle I find valuable. It’s good to be up-front, transparent and raw with, not only with work-related people, but people in your life (family, friends, partners) because it leads to trust, reliability, and faith. Honesty creates strong relationships. The second question identifies/explores my interests, talents, and passions. It sparks the question of what makes me stand out. First, I listed my love for food, culinary arts, and pastry arts. Fun fact, I originally went to VIU to pursue a career as a baker. I was in the 10-month baking program and received my certificate. During this experience, I realized that I loved the creative process and creative aspect of baking more than the actual baking itself. After the program ended I became unhappy, lost, and confused career-wise. At some point, I went on VIU’s website and looked at the art programs available and stumbled upon Graphic Design. I briefly read the description for the design program and impulsively decided that I wanted to do it (the rest is history). Without my baking experience, I wouldn’t be in this position today so I am very grateful for what has happened. Aside from this story, my love for food and cooking is somewhat a creative outlet, if that makes any sense. I find inspiration when I’m cooking/baking something or when I’m going out to eat somewhere (strange but it happens). Lastly, I listed movies and film. Movies and films spark my imagination, I gain ideas from them and get inspired by them. The most recent movie that I was blown away by was Spider-Man: Into the Spider-Verse. I loved the cinematography, the artwork, the story, the color, basically everything (btw, it won a Golden Globe for best animated feature film). It inspired me to look at other art-styles that I want to try doing, designing out of my comfort zone and it opened up my interest of possibly working in film. Watching movies, films, and videos help me when I’m stuck in a rut, trying to find inspiration. The third question asks to list my strengths and tangible skills. This section was a little challenging because the way I perceive myself is different from what others think. The attributes I listed are: reliable, because I feel like I can be trusted and perform well with whatever task or project I’m working on or ordered to do. I am committed to whatever I’m doing and devote myself to it. Lastly, I listed punctuality; I value being on time, submitting projects on time, and being dependable because it’s a sign of professionalism and respect. Being punctual helps you to become a reliable and trustworthy employee in the work field. I strongly believe that it’s important to value other peoples’ times as much as valuing your time. For design skills, I listed digital illustration because it’s something I’m confident in doing. Second is branding, I’m doing a lot of branding this semester so I’m gaining a lot of practice/experience. It’s also something I think I’m decent at. Lastly, photography is third. I really enjoy photography and have a passion for it (even though I should do it more often). It’s a skill I’m also confident in executing. For software skills, I listed Adobe Illustrator as first because it’s a program I use the most and am comfortable in. Second is Photoshop because it’s the second most used program that I use and third is InDesign. Essentially, all these programs are what I use the most. For experiences, I listed my print shop internship as first because of how practical it was and I gained a lot of design experience. Second is the grad show branding/design. This experience really teaches us how to work as a team, coordinating with others, time management/deadlines, and communication. Lastly, I got to design some business cards for a couple of clients at my internship. I had to design the cards within an hour and had them printed the day of. This experience gave me a small taste of designing for a client in real life. Last but not least, the final question asks to visualize my dream, how to get there and where I will be going. For my vision, I want to move to California to pursue my graphic design career. It’s a huge leap and a big commitment but I am determined and ready to start anew and begin a new chapter in my life. I want to eventually join a startup or a small company to jumpstart my career and gain experience. After, I’d have a stable job, learn new techniques and improve my skill as a graphic designer. The mission is to first graduate with a degree in Spring 2019 (almost there). After that, land my first job to get a sense of the design industry on my own. Next is to gain at least 1-2 years of work experience in the field, either through an internship or an actual job. Lastly, to further pursue my career and improve myself in order to achieve my fullest potential. Personal development and growth are very important when there’s a “vision”, “plan” or “mission”, it’s also an ongoing process as well. I hope to learn some very important life lessons, skills, and experiences in my journey of transitioning post-graduation.

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sailorrrvenus · 5 years

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5 New Year’s Resolutions a Portrait Photographer Can Actually Keep

Are you a portrait photographer in search of a 2019 New Year’s resolution? I don’t know about you, but I’ve been really stressed over the prospect of another year of not reaching my photography goals.

Me, thinking about another year of failure

In 2018, I was supposed to shoot a minimum of 3 days a week… and I was supposed to finally kill my Aperture library and be 100% on Capture One Pro… and I was supposed to sell my old unused gear.

I accomplished exactly none of it.

Can you relate? Have you ever set a New Year’s resolution and failed to reach your goal? If so, you’re not alone.

80% of New Year’s resolutions fail within 6 weeks, according to Joseph J. Luciniani. The failure rate for photographers is probably even worse! So maybe I shouldn’t feel like an idiot: most New Year’s resolutions are unrealistic by nature.

And I think I know why: we are so ambitious in setting big goals that it’s easy to get discouraged at the first sign of trouble. We quit early because the end result just seems so far away. That’s why I’m taking a radically different approach to my 2019 New Year’s Resolution: instead of shooting high, I’m shooting low.

I’m setting the bar so damn low I can’t fail. When you read my 2019 New Year’s resolution, I actually want you to think, “Really, Mike? That’s it?”

Because I’ve learned something in life: earning a small victory can give you the momentum you need to build up to big results.

When my junkyard-like bedroom needed a deep cleaning, I was so overwhelmed that I couldn’t get started. And then it dawned on me. Instead of tackling the job all at once, I could break it down into tiny steps, each of which was easy to accomplish.

I started by throwing out exactly one piece of garbage – a broken umbrella. And then I threw out a second, and a third, and a fourth. Then I did all my laundry. And I donated some books and clothes that I didn’t want any more.

After 5 days of one-little-baby-step-at-a-time cleaning, my room was spotless. All because I started with that one small victory that resulted in a positive chain reaction.

I’m challenging you to start 2019 with a small victory of your own. Find your own damn broken umbrella, and throw it out!

I’ll share my 2019 New Year’s resolution and then present you with 4 options that might work for you.

#1. My Resolution: Take a Retouching Class

I’m actually embarrassed at how bad my retouching skills are. I just plain suck at Photoshop. I’m proud of my lighting, composition, and subject-interaction abilities but I have a long way to go when it comes to post-processing.

Every time I pull up an image in Photoshop, I feel like I’m stumbling around blindfolded with one hand tied behind my back. Most of the time, I feel like I’m randomly playing around with stuff like the Healing Brush and Clone Stamp tool. And when I do get a decent image out of Photoshop, I feel like it was by accident!

So what’s my goal?

It’s to spend 3 hours taking a Photoshop retouching class. I’m not going to promise myself that I’ll go back and retouch 20 of my favorite portraits, or to create an image worthy of a Vanity Fair cover.

Because I suck at hitting big goals. I need a small goal with zero chance of failure. By giving myself that small victory, I’ll probably be inspired to apply what I learned.

So I’ll probably sit down and retouch one portrait… and then another… and another… And eventually, I’ll develop real retouching skills. Then maybe in 2020, I can learn to use a Wacom tablet like the cool kids.

That’s me. But what about you? I have 4 suggestions for you, and none of them involved spending a single penny.

#2. Shoot a Single Street Portrait

If I’ve said it once, I’ve said it a million times, if you want to be a better portrait photographer, shoot street portraits.

Think about it: if you can make a solid portrait of a complete stranger in less than 30 seconds, then you can probably do the same for just about anybody.

With a street portrait, you have to figure out your composition and exposure in a matter of seconds, while getting a decent expression. Plus, you have to overcome a very common fear: talking to strangers!

So again, aim low! Don’t try to shoot 20 street portraits. Just shoot one!

Because here’s what will happen: once you knock out that first street portrait, you’ll be primed to engage a second person… and a third…

#3. Photograph a Family Member Whom You Have Never Photographed Before

It is very common for portrait photographers to never get around to making portraits of their own families!

My single biggest regret as a photographer is that I never created a real portrait of my mother before she died in 2010. That’s why I’ve made it a point to shoot regular portraits of my dad.

It may seem like you’ll always have time to shoot a portrait of your uncle, your grandmother, or even your daughter. But time can run out when you least expect it. So get it done now.

I’m not going to challenge you to create a giant portfolio with every single person in your family. Start small. Pick a single member of your family and spend 20 minutes with them making a single portrait. It could be the most rewarding thing you do as a portrait photographer.

#4. Make a Cold Call to Promote Your Photo Business

Maybe you’re business-minded and want to make more money in 2019. You want your bank account to take a leap forward. Take a single action to move forward. Something you’ve never done before.

That can be making a cold call to a small business or a photo editor. Because one call can lead to two… to three… and before you know it, you’re in motion.

Or maybe you’re a family portrait photographer. You could spend an hour handing out business cards to Moms in the park. Or, you could ask 5 past clients for referrals.

Whatever.

Again, the point isn’t to accomplish something big. It’s just to accomplish something, period. Just find one thing that could lead to a positive chain reaction in your business. And do it.

#5. Add 3 New Images to Your Portfolio

It’s almost a universal maxim that photographers have a hard time keeping their websites up to date. And for good reason – updating your online portfolio is a real pain in the ass. You have to figure out which of your new images are portfolio worthy, and which ones are ready for the trash bin. Then you have to sequence them all together in a way that makes sense.

So don’t get crazy.

Don’t try to remake your entire website in one go. Instead, replace 3 images in one of your portfolios with new work. Just 3.

I’m sure you can guess what happens next – you’ve got the ball rolling, and you’ll probably accomplish more.

What victory are you ready to achieve in 2019?

About the author: Michael Comeau is the Editor of OnPortraits.com, an all-new online community dedicated to simple, classic portrait photography. Click here for more information. The opinions expressed in this article are solely those of the author. This article was also published here.

Image credits: Header photo by JogiKenobi

source https://petapixel.com/2018/12/31/5-new-years-resolutions-a-portrait-photographer-can-actually-keep/

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tuanstillsurvives · 6 years

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Final words.

This is it, the final class of Making Media, and I’m going to miss this journey a lot.

I first started to realize how important creativity was when we had to introduce our group in front of the class, we chose not to use PowerPoint like the other teams to present ourselves. Instead, we created a short but fun clip that can express our individuality. It was a really great start because I got to know 2 teammates who are gorgeous and creative, something that I would always cherish later on.

I have also learned a lot of tips and tricks in Photoshop. Thanks to those fun and aspiring lessons and guidance from Miss Dess, I am enlightened by the great power and possibilities that this tool can provide. I believe that my lecturer has further improved my photo editing skill by giving us more advanced tips, she also made us believe that we could be a great artist if we know how to use Photoshop properly. Photoshop is not just a tool to play around with photos, it’s a canvas of creativity, a place for artists to express their minds and a professional tool for photo editor to refine, beautify, to add that personal touch into their works. Miss Dess was right, Photoshop would be a very useful tool for us to work with in the creative industry.

The second thing that we’ve learned is how to create a compelling podcast and how to edit audio using different software. It’s great when you can turn a daily-life story into something fun and interesting for the audiences, you just have to think out of the box and create a narrative tone that can captivate their attention, sometimes sound itself can ‘say a lot’ without visual tools. Since podcast is not a well-known media platform here in Vietnam, I hope that in future, we can apply those great lessons in Making Media and create great programs for the audiences. During the production of our podcast, we also knew how to utilize our tools, and a big lesson that we learned is the ability to manage time more effectively. It’s critical to have a fixed schedule to follow, especially when you have to work with multiple people.

Magazine article was the next big project that we had to tackle. We were first introduced and used InDesign when miss Dess mentioned that in class. It was great to get to know and have our hands on the software. It definitely made the progress a lot easier. I also learned much about storytelling in a magazine article. That personal perspective of the writers and the characters is always better than just the normal narrative tone. However, the best thing that I’ve learned from miss Dess’s classes on Magazine was the art of photography. Just by listening to what miss Dess wanted us to know and witnessing the works of world’s famous photographers, we all have realized that the power of a single photo can say more than thousands of words. Whether they’re intriguing, inspiring or controversial, it is important to capture those moments with purposes, clear visions and the capability of bringing the stories behind the photos. We really hope to have more photojournalism lessons like this in our upcoming future.

Perhaps the biggest lesson that I’ve learned after 3 months is how to work as a team. As I’ve mentioned, I am very lucky to be in the same group with Ngọc and Nguyên. We may be different in our personalities, but we knew our strengths and weaknesses. We also learn from our mistakes so as not to let history repeat itself, and the most important thing is that we always keep striving for the best result, overcoming difficulties and believing in each other.

Overall, I am proud of having made great progress after 3 months joining this course. The experiences and lessons that I had will definitely help me a lot with not only the upcoming courses at RMIT, but also the skills that I need in the working environment in the future. I believe that I have made a great leap into the world of media and professional communication.

And lastly, thank you so much, miss Desiree. I am looking forward to being your student again in the future.

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aaronmichaelrice · 7 years

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Lost ForgetFashion Interview

1)So let’s start off with how you got into clothes, and the brands you’re into:

1)I first got into clothes in high school. I always thought rock stars had the best style. I became interested in Japanese brands like Takahiro Miyashita's Number (N)ine from browsing on Yahoo! Japan. I began studying collections and saving hundreds of photos just because I was so fascinated on how Takahiro and most Japanese designers constructed the clothes. Takahiro inspired me to start (SOUND)+(VISION) because I thought I had something different to offer from all the clothing brands in America, aside from Kyle Pak's Hommeboy. I started looking for a name for my brand to represent my interests in music and clothes. One day I was at work, just googling artists and looking at their song titles, when I came across David Bowie’s Sound & Vision. I was familiar with David Bowie, but not that song so I gave it a listen. I really liked the name and something just clicked. I ran with it, changing it to (SOUND)+(VISION) or SOUND PLUS VISION. I want to bring back the way Takahiro was designing during his Number (N)ine years. Thats what I want (SOUND)+(VISION) to be, a continuation of that era while representing new ideas.

2)You’ve mentioned not being very good at drawing or doing anything creatively with your hands, how did you realize that you could still design and be creative without having those skills?

2)Photoshop helped me a lot. I would study fonts and just come up with ideas in my head. As weird as it sounds, I design everything in my head first, then make the graphics or logos on Photoshop. So theres no need for me to be able to draw, paint, or do anything artistically. My talent is all inside my head as I am able to visualize my designs and then create them. The past 2 collections from the pieces all the way down to the layout of the look book, I've designed all of it in my head. After that, I went out and got together with the right people and executed the ideas.

3)Do you think that it makes designing or executing ideas a bit more difficult?

3)In the beginning, a little. In 2015 I had no idea what I was fully capable of. Now, I know what I can and can't do and I think I've mastered designing clothes in my head. I believe me visualizing ideas in my head is the equivalent to someone sketching out their ideas.

4)What is the inspiration behind the new collection and what does it mean to you?

4)The current collection was inspired by the “27 Club”, which represents a group of artists and musicians who all passed away at the age of 27. There’s close to a hundred people on the list but I chose to primarily focus on eight: Robert Johnson,Brian Jones, Jimi Hendrix, Janis Joplin, Jim Morrison, Jean-Michel Basquiat, Kurt Cobain, and Amy Winehouse. The phrase, “No One Here Gets Out Alive” comes from one of my favorite Jim Morrison songs, 5 to 1. To me, “No One Here Gets Out Alive” means we are all going to die one day, so make the most of your life. All these talented musicians and artists accomplished so much while being so young. It’s a bit of a reminder to myself to accomplish as much as I can during my lifetime. The collection was just my way of paying respect to some of my favorite musicians of all time and just paying homage to music history. No one has ever done a collection on the 27 club, I can say I was the first.

5)Living in Florida, the energy is a lot different than LA or NY, would you say that you draw inspiration from the culture or vibe that surrounds you at all?

5)Florida doesn't inspire me much aside from a few people like my best friend and partner Zack Souza, who works closely with me. I’ve also met some people who have served as muses of mine. Florida is a medium between fast paced and slow. I know for me to fully prosper, I have to be in a big city. Miami is cool but I rarely go out there. I do like to attend Art Basel each year. If I ever get a chance to open up store fronts, I want them to be based out of California, New York, & Japan. I believe my clothes would do really well in Japan. I have tons of Japanese followers and I feel that they connect with what I'm trying to do.

6)So far, graphic tees have been the main focus of your collection. When can we expect a full cut and sew collection from you?

6)The plan was to use graphic T-shirts as a medium of expression in the beginning, but I think by the time I start planning my third collection I’ll be getting into full cut and sew. I've started on a few pieces. I made this sample which was a Blue Paisley Fringe Cardigan inspired by Jimi Hendrix and it was amazing. I now have a foundation of what I want from a cut and sew collection. My motto has always been to make clothes based off my personal style. Ideally, I want to wear everything that I design.

7)Is there any advice you’d like to give to all the young creatives out there?

7)The best piece of advice I can give to any young creative reading this is: You can do it too young blood (Skateboard P Voice haha). Spend time researching whatever it is that you want to do and travel. Get your name and brand out there! Sometimes, you just have to take that leap of faith and not look back, thats what I did. Theres no perfect moment you have to create it.

#SOUNDPLUSVISION DAVIDBOWIE KURTCOBAIN KURDTKOBAIN FOREVER27 27CLUB

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glimpseofbeing-blog · 7 years

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A Long Reflection on a Short Trip

Home with a chance to reflect after my first solo travels abroad in 4 years. I bent my previous rule of never leaving for less than 3 weeks in order to re-engage a passion (traveling) that has driven my life choices while quietly settling in my mind's memory as I have more recently explored additional interests that require a more settled existence . Contrary to my assumption that held traveling as the most rewarding pursuit of life, I found my recent experience to suggest community engagement and unrestrained exploration as equally important endeavors.

The trip, even after arriving home, continues to be challenging in requiring problem solving at every turn and without regard for my comparative wealth previously absent earlier in life. My more youthful self made choices in pursuit of experience while lacking the resources provided by my professional salary from the past 3 years.

I found that traveling cannot be regarded as absent of tourism and that the tourism industry in developing countries is skilled in re-appropriating the personal resources that westerners are entitled to offer today in exchange for a comfortable glimpse into foreign cultures. This seems at least fair as the histories of the developing world are forever inseparable from the colonial legacy of resource exploitation and strategic cultural influence purposed upon the creation of consumers who will never have the opportunities that industrialization provided to the European and American societies.

I had to pay much more than ever before, and although much safer than others due to wealth, gender, and nationality, I was still forced to think my path through consciously and quickly as time is money under global capitalism. I am grateful for the persons I met who simultaneously assured my previous appreciation for all peoples while more loudly suggesting the unique rarity of my community in San Francisco. It has been humbling to meet great thinkers limited in life options for personal growth by a lack of access to communities of similarly minded friends with shared values and a culture of executing together the dreamy ideas of individuals vulnerable enough to share thoughts that require social cooperation for realization.

There is so much beauty and knowledge to be gained in traveling and I don't hesitate in continuing to urge everyone to take the leap.

It's taken me years to appreciate the American legacy as uniquely impressive while bearing witness to the global oppression enacted by the American government to ensure a high quality of life for domestic citizens. I've been ashamed to have the life of American enjoyment after so many discussions with foreign citizens who struggle daily under realities resulting from neoliberal economic policies imposed under Western influence. I've questioned capitalism in response to my experiences. But examination of alternative economic theories has found most to be reactionary comments on the failures of a socioeconomic system that aligns with the biological nature of all beings to act in self interest no matter how complex the cooperative relationships emerging from necessity become.

I've come to hold great respect for economic approaches that engage capitalist relationships to momentarily achieve the selfless gift of entertainment and expression that the economic model seeks to repress and remove from continual social relationships. I don't know how capitalism can work globally, particularly when I reflect on my personal experiences in traveling. My interest in history has led me to research many of the societies I've been fortunate to witness. It has been impossible to gain perspective on the uniqueness of each cultural without considering the framework of struggle ultimately resulting from manipulated relationships that produce inequality upon misleading promises of enhancing the quality of life via exchanges along economic resource chains.

I've found many grim realities, few of which can be completely separated from the American legacy abroad. But this trip more than ever, revealed a world where the victims of capitalism are more empowered to compete for resources. Technology is changing the developing world faster than ever. While admittedly disappointed at the level of "phone hand" and resulting decline of engaging strangers, I experienced people whose opportunity to fight institutional poverty is enhanced by digital access to information and the decentralization of technology expansion. In other words, Photoshop and copyright violations are everywhere and making real money for rural communities who would otherwise have no option other than accept the exploitation pursued by companies like Monsanto.

But more than ever, I found myself missing home. Not for the comforts but for quality of people. I cried many times over the loss of my friends, something I am really grateful for as I have struggled to process at home while being surrounded by others who have much deeper connections that suggest my grief to be insignificant in comparison. I found relief in the opportunity to engage my lessons in vulnerably pursuing emotional expressions rather than suppressing for fear of judgment. This is truly a skill gained from the role models my social network generously provides. I felt good in sharing my loss with those who knew nothing of the depth of pain but supported with kind words common to those who have traveled or lived in the hard realities most people experience daily. I was never questioned about my grief even when most people I met had lost a father, brother or even more from simply being born to an economically disadvantaged country where loss of loved ones is inherently structured in development models that put cost of production over protection of body.

I feel fortunate to see how built structures are sited and developed without the oversight of the boring bureaucracy definitive to the American city planning model, which I've come to criticize for institutionally protecting the status quo rather than supporting sustainable advancement of community pursuits for equality in quality of life. The movement to urbanization is undeniable. The developing world lacks resources for government oversight to ensure safety and equality. But I witnessed the human drive to build even when corruption boldly influences the timeline to achieving success and requires greater commitment to your goals than generally required of any Western individuals seeking to invest in their dreams. No structure operated without a function regardless of stage in the building cycle. A home that might easily be thought of as abandoned is a place to hang laundry and a shelter providing enhanced privacy even while those building it may be considered homeless for years to come.

I looked at the great minds I know in my daily life and see the opportunity for work at home to be shared in a positive manner abroad. We can't stop consumerism, but application developments for smart phones definitely enhance the global diffusion of knowledge and access to resources in a way that challenges the dominant legacy of Western culture to take without regard for benefiting the whole of human life.

Hate is still big, violence is still a universal reality and it is unquestionably male in gender. But I met individuals providing support for transgender peoples in Myanmar. This is pursuit unimaginable before internet connections allowed dispersed groups of marginalized people to connect and express a unified voice important at a global level while being subject to discrimination by localized power structures that easily suppress voices when communication is limited.

I met a 22 year old Indonesian girl who traveled by herself from her Muslim nation to a predominately Christian nation and experienced the act of dance for the first time in her life. To witness her regard for the freedom in body movement by the man I judged as drunk and sloppy was humbling. Maybe he was drunk, but he wasn't hurting anyone and her lack of judgement was moving in suggesting that even the most basic freedoms of human life can be removed by dogma and political restraint.

Trump was discussed. I even heard of American travelers who were Trump supporters. Surprising in theory as the conservative agenda spreads fear of the "other" or "unknown" and suggests safety in avoiding exploration. But the tales as related were all too familiar in depicting antagonistic political expressions that lacked consideration for alternative perspectives.

I found traveler and Filipino alike to be welcoming to individuals as persons separate from their governments. When appropriate and comfortable, I engaged the opportunity to gain a local perspective on the political challenges that have left more than 8000 Filipinos murdered in the last year. I found the story more complex than suggested in global media, and I experienced people who feel their lives are safer under unrestrained government support for mercilessly pursuing those identified by the sociopolitical culture as hazardous in existence and unmanageable. Some folks simply had to disregard compassion when facing a grim reality that is likely highly influenced from a historical poverty associated with economic policies that promised the best but only benefited the West.

Still, others shared my perspective on compassionately approaching drug policy from a state perspective because that is what people should do. It felt good to meet people who share what feels like an uncompromising ideological position. Yet I left noting that this perspective is likely influenced by my access to resources and the foundation my geographical location fortunately provides in assuring that most people around me have access to bear minimum resources and some form of opportunity without the need to employ violence in pursuing their daily needs.

World over, poverty suggests that being what we consider "good or kind" to others is necessarily compromised for personal survival under capitalist systems. Everywhere I've been has shown that our economic model suggests individual responsibility for resource pursuit rather than consideration of social relationships that highlight personal struggles as institutional failures. I believe we are capitalist at the cellular level but the result is a global failure of coming together for maintaining our shared existence.

While continually impressed by my global experiences, I remain pessimistic with regard to achieving even a minimal form of sustaining what we've come to assume as our species' intended form of life on Earth. We are unquestionably impressive, but our intellect is most likely our downfall. And it feels like we spin faster everyday on this path.

As the world is changing everyday, my entitled physical access to others in distant places appears to be far from assured in coming years. In the end though, I found myself surprised as my experience suggested that what I have at home is far too special to overlook simply for the opportunity to touch life's endless wonders at a casual level. I feel I will always travel but a brief stint with a lifelong passion leaves me excited to further jump deeply into opportunities with the wonderful people I feel so lucky to currently have abundantly present in my daily life.

I'm so lucky in life, love, and experience and after 8 months of unemployment I finally feel refreshed and ready to move beyond the negativity of past professional pursuits. Excited to head back to work soon and contribute something to the art we all create. Life is worthy of regard even when we pause with awareness to our minute existence and the likelihood for us to extinguish ourselves as our biological beings aggressively place the personal ego over the us.

#me

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amberhickey100-blog · 7 years

Text

Evaluation:

-Hans My Hedgehog

What informed and motivated my design decisions?

When this two part brief launched, I was excited for the editorial design rather than the animation. Not really a big digital fan, however I made the title sequence my own and have really enjoyed both projects. I was inspired by mainly illustrative work throughout both projects. I looked into various artists which I found during my research. For example in the TED talk project, artist Lucinda Rogers heavily influenced my sketches. Also, came across some journal/sketchbook designs (as seen on my blog) which really motivated my overall style. In terms of the animation, ‘13 Reasons Why’ was a title sequence which really stood out to me. I love the style and feel of it, along with ‘My Mad Fat Diary’ (all seen on blog).

What changes and developments has my project gone through?

My editorial design was constantly changing and developing. One major change was in the early stages when my style completely changed. I had the idea of using a watercolour background with sketches over the top. After having a tutorial it made me realise that the water colour didn't communicate anything and it just looked naff. So, after this I developed my design by making it more minimal and having hints of colour instead. My animation again was constantly transforming. The first major development was how I was going to create my background. I found this really hard because I started painting onto a long scroll of paper but realised this was going to take far too long to get all the detail in due to the scale. So plan B was to draw 3 different scenes and photoshop them together. This took a while but once it was completed it looked successfully like one continuous scene. Another draw back for me was the sky. I found it so hard to find the correct design for it. I did so many trials to see which was the best style to visually communicate this. I tried a hand drawn sky (gradually changing colour), to show a time change. Additionally, I experimented with a digital block colour sky and a different colour gradients. After all the trial and error I made the best design choice and this was a drastic change and one which I found challenging.

Did I manage my time well throughout the unit?

Overall for both projects I feel a though I managed my time very well. I aimed to do a blog post a day, which I feel I did stick too. Usually I have so many ideas and get so stuck into creating loads of different concepts. However, throughout these two projects I really concentrated and trusted myself in my design choices. I aimed to blog about the workshops as and when I did them so I didn’t have to do this at the end of the project. I didn't let unimportant details drag me down, I planned out what I was doing in advance so I could effectively use my time for example regularly printing mock ups to gain an insight into how my work looks off screen and to scale.

How did I respond to feedback?

During tutorials I took notes and wrote blog posts summarising what I had to do in order to improve and develop my projects. I found this really useful as it allowed me to see what I had to change based on either Jean/Laura/Rich/students feedback. For example, during the animation project, I had hand drawn stars and white digital ones in the background. Rich assumed it was snow and Jean thought it was stars, so obviously it wasn't successfully communicating my idea. Through this feedback I then made the stars yellow and took out the hand drawn ones so it looked clearer. Again, in the editorial project, I responded to feedback well. We had a crit and the students looked at my work. Only a minor change but Jean suggested having the same height for some of the columns so the body copy looked less jumpy and more consistent from spread to spread. This was a good idea and when I tried it, just making a few columns the same made all the difference.

Are there areas of my design process that need more practice?

I think in general my design practise is good. In my editorial I checked my work down to the smaller details such as widows, orphans, hidden characters, turned hyphenations off etc. This gives a much cleaner finish. Also, throughout the design process I kept in mind white space. This is something I feel I used successfully in my editorial design and worked to my advantage. However I do feel as though my After Effect skills need polishing. Only just learnt to use this Adobe programme and find it really hard because I don’t like digital design as much. But, I feel the animation project is a great way to combine my traditional methods with digital although needs some more practise.

What have I learnt from this unit of study? (e.g skills, theoretical knowledge, etc)

So much! In the editorial design I’ve highly improved my skills on the computer using the design software such as InDesign in the editorial project. In the animation my After Effect skills have drastically been enhanced because through Scotts sessions, I now feel confident and comfortable in using it. My layout and composition skills have improved through the TED design project. I realise you don’t have to make something massive in size or capitalise it just because it’s a title. Creating a title sequence has been a massive leap out of my comfort zone. This is mainly because I’ve never done anything like this before so I learnt loads of new different skills on After Effects.

On reflection, are there any improvements that I would make to my final outcomes?

The TED talk editorial design I am happy with because I think it has an architects sketchbook feel. I like the use of white space and the quirky illustrations in comparison to the blocks of text. The different scale of the sketches add extra interest to the compositions too. However, I think I would improve the text in my work. Maybe play around with different fonts to see if *laughter* and (pause) could integrate a bit smoother in the page. My title sequence I am really happy considering I’d never used After Effects before this. I love the way I created tension and built up the different layers of noise to successfully communicate an eerie atmosphere. But, I do think there is room for improvement. Maybe the hedgehog could be a bit more realistic and move more like a hedgehog. However, I do kind of think the quirkiness fits in with the style of the video.

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