I've been thinking of finally trying to design a more cultural / Sylvari looking armor for him.
I love the cultural armor in-game, but I never felt like any of them really suited him much. So I tried winging something based on the silhouette of his usual armor set. Since he's able to use Toxic Spores / Dreamthistles to manipulate for fights, why not his armor too?
Rapid-growing armor for emergencies, or to reinforce his normal armor? Something like that perhaps.
On procreate so its not as like... 'polished' as i want it but I wanted to draw on the couch LMAO
Not that I will be over David talking about the GO 2 kiss anytime soon, but I find it really interesting that his and Michael's kiss was awkward for other people, but not for them.
We know David has kissed countless men (on and off screen), and Michael hasn't shut up about snogging Stephen Fry in 25+ years, but it's this kiss that seems particularly unique to both of them. Because If it was just any other "work kiss" or something the crew had seen a million times before, it wouldn't be nearly as noticeably awkward. Which tells me that this was normal for Michael and David, but not for the crew. That there was something about it that was a real kiss, and that was what others were picking up on...
h-how do you ever finish any of your work? genuine question because you seem to be productive despite your agreste syndrome and I need to learn your ways. but also how do you ever finish any of your work
unclear. last night i stayed up and finished a report worth 25% of my grade at about 5am, arrived on time for my 9am lecture, and spent about half of it zoned out while thinking about seventeen year old emilie agreste. and i was one of the most active participants in the class discussion
What we also need to get into is how fucked up Kuras gotta be for Leander to turn out that way because, at the end of the day, Kuras was kind of like a mentor to Leander so if Leander can come out like That then what the fuck does Kuras have in store.
KEYFRAME TUTORIAL FOR THOSE WITH A WORKING KNOWLEDGE OF PHOTOSHOP AND GIFMAKING
This is my gif with the coloring I want it to have eventually (including the manipulated color). I changed the yellows and reds in the scene to be purple. I want the majority of the gif to be purple and cyan, but do not want it to be on her skin.
First add a layer mask to the adjustments that are creating the color you want to remove. I used several layers to create the purple coloring, so I grouped them together and added the layer mask to the group instead of having to do them individually. In this case, I erased anywhere the purple was on her skin.
She is walking away in this scene, so this layer mask alone is not enough. This is where keyframes come in.
In the timeline window, scroll to the layer that your layer mask is on (or in my case, group). On the far left side, each of the layers should have an arrow which toggles a drop down menu. Click it and it will list options for Opacity, Layer Mask Position, and Layer Mask Enable. Make sure the current time indicator (small blue arrow and red vertical line in the timeline window) is positioned at 00:00:00 and then select the clock icon next to Layer Mask Position. It should place a small yellow diamond at the same place as the indicator. Each successive move of the mask will place a grey diamond at the timestamp that you move it.
CMD+click on the layer mask in the Layers window so that the area of the mask becomes outlined with a dotted line in the main workspace. Click the chain icon next to the layer mask in the Layers window to unlock the mask's movement.
The next steps are the most tedious. You have to manually move the layer mask every few frames to a new position that follows the movement of the gif. I usually zoom the timeline in so that each second is broken into six sections and pick a new layer mask position at approximately each section. If there is more rapid movement in the gif, you may have to pick new positions at more frequent intervals and vice versa.
After the initial layer mask is set at the 00:00:00 point in the timeline, select the next interval that you want the layer mask to move to. Do this by moving the time indicator to your chosen point. Now with the move tool, click within the layer mask and drag it to where it needs to be to keep coverage on your desired area. The longer/more frames in the gif, the more keyframe points you will have to select. This gif was about 2.5 seconds long and I used 14 different points.
These are just a few of the keyframes I made on this gif. You can see here that the original area that I erased in the layer mask doesn't quite cover all of her skin throughout the movement. I just erase a bit more until I'm satisfied with the coverage.
Once you have mapped all the points out, deselect the mask area and click the blank space where the chain icon was to make it reappear and return the mask to a locked position.
Scrub through the gif to make sure that the mask covers everything you want and also that the keyframes make it move smoothly. Shorter intervals and minor position changes between keyframes usually keeps choppiness (this normally presents as the mask noticeably jumping to a new position) to a minimum. You should not be able to notice the mask's movement except in the way it removes color from specific areas as intended.