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eyrieofsynapses · 4 months

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why Aurora's art is genius

It's break for me, and I've been meaning to sit down and read the Aurora webcomic (https://comicaurora.com/, @comicaurora on Tumblr) for quite a bit. So I did that over the last few days.

And… y'know. I can't actually say "I should've read this earlier," because otherwise I would've been up at 2:30-3am when I had responsibilities in the morning and I couldn't have properly enjoyed it, but. Holy shit guys THIS COMIC.

I intended to just do a generalized "hello this is all the things I love about this story," and I wrote a paragraph or two about art style. …and then another. And another. And I realized I needed to actually reference things so I would stop being too vague. I was reading the comic on my tablet or phone, because I wanted to stay curled up in my chair, but I type at a big monitor and so I saw more details… aaaaaand it turned into its own giant-ass post.

SO. Enjoy a few thousand words of me nerding out about this insanely cool art style and how fucking gorgeous this comic is? (There are screenshots, I promise it isn't just a wall of text.) In my defense, I just spent two semesters in graphic design classes focusing on the Adobe Suite, so… I get to be a nerd about pretty things…???

All positive feedback btw! No downers here. <3

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I cannot emphasize enough how much I love the beautiful, simple stylistic method of drawing characters and figures. It is absolutely stunning and effortless and utterly graceful—it is so hard to capture the sheer beauty and fluidity of the human form in such a fashion. Even a simple outline of a character feels dynamic! It's gorgeous!

Though I do have a love-hate relationship with this, because my artistic side looks at that lovely simplicity, goes "I CAN DO THAT!" and then I sit down and go to the paper and realize that no, in fact, I cannot do that yet, because that simplicity is born of a hell of a lot of practice and understanding of bodies and actually is really hard to do. It's a very developed style that only looks simple because the artist knows what they're doing. The human body is hard to pull off, and this comic does so beautifully and makes it look effortless.

Also: line weight line weight line weight. It's especially important in simplified shapes and figures like this, and hoo boy is it used excellently. It's especially apparent the newer the pages get—I love watching that improvement over time—but with simpler figures and lines, you get nice light lines to emphasize both smaller details, like in the draping of clothing and the curls of hair—which, hello, yes—and thicker lines to emphasize bigger and more important details and silhouettes. It's the sort of thing that's essential to most illustrations, but I wanted to make a note of it because it's so vital to this art style.

THE USE OF LAYER BLENDING MODES OH MY GODS. (...uhhh, apologies to the people who don't know what that means, it's a digital art program thing? This article explains it for beginners.)

Bear with me, I just finished my second Photoshop course, I spent months and months working on projects with this shit so I see the genius use of Screen and/or its siblings (of which there are many—if I say "Screen" here, assume I mean the entire umbrella of Screen blending modes and possibly Overlay) and go nuts, but seriously it's so clever and also fucking gorgeous:

Firstly: the use of screened-on sound effect words over an action? A "CRACK" written over a branch and then put on Screen in glowy green so that it's subtle enough that it doesn't disrupt the visual flow, but still sticks out enough to make itself heard? Little "scritches" that are transparent where they're laid on without outlines to emphasize the sound without disrupting the underlying image? FUCK YES. I haven't seen this done literally anywhere else—granted, I haven't read a massive amount of comics, but I've read enough—and it is so clever and I adore it. Examples:

Secondly: The beautiful lighting effects. The curling leaves, all the magic, the various glowing eyes, the fog, the way it's all so vividly colored but doesn't burn your eyeballs out—a balance that's way harder to achieve than you'd think—and the soft glows around them, eeeee it's so pretty so pretty SO PRETTY. Not sure if some of these are Outer/Inner Glow/Shadow layer effects or if it's entirely hand-drawn, but major kudos either way; I can see the beautiful use of blending modes and I SALUTE YOUR GENIUS.

I keep looking at some of this stuff and go "is that a layer effect or is it done by hand?" Because you can make some similar things with the Satin layer effect in Photoshop (I don't know if other programs have this? I'm gonna have to find out since I won't have access to PS for much longer ;-;) that resembles some of the swirly inner bits on some of the lit effects, but I'm not sure if it is that or not. Or you could mask over textures? There's... many ways to do it.

If done by hand: oh my gods the patience, how. If done with layer effects: really clever work that knows how to stop said effects from looking wonky, because ugh those things get temperamental. If done with a layer of texture that's been masked over: very, very good masking work. No matter the method, pretty shimmers and swirly bits inside the bigger pretty swirls!

Next: The way color contrast is used! I will never be over the glowy green-on-black Primordial Life vibes when Alinua gets dropped into that… unconscious space?? with Life, for example, and the sharp contrast of vines and crack and branches and leaves against pitch black is just visually stunning. The way the roots sink into the ground and the three-dimensional sensation of it is particularly badass here:

Friggin. How does this imply depth like that. HOW. IT'S SO FREAKING COOL.

A huge point here is also color language and use! Everybody has their own particular shade, generally matching their eyes, magic, and personality, and I adore how this is used to make it clear who's talking or who's doing an action. That was especially apparent to me with Dainix and Falst in the caves—their colors are both fairly warm, but quite distinct, and I love how this clarifies who's doing what in panels with a lot of action from both of them. There is a particular bit that stuck out to me, so I dug up the panels (see this page and the following one https://comicaurora.com/aurora/1-20-30/):

(Gods it looks even prettier now that I put it against a plain background. Also, appreciation to Falst for managing a bridal-carry midair, damn.)

The way that their colors MERGE here! And the immense attention to detail in doing so—Dainix is higher up than Falst is in the first panel, so Dainix's orange fades into Falst's orange at the base. The next panel has gold up top and orange on bottom; we can't really tell in that panel where each of them are, but that's carried over to the next panel—

—where we now see that Falst's position is raised above Dainix's due to the way he's carrying him. (Points for continuity!) And, of course, we see the little "huffs" flowing from orange to yellow over their heads (where Dainix's head is higher than Falst's) to merge the sound of their breathing, which is absurdly clever because it emphasizes to the viewer how we hear two sets of huffing overlaying each other, not one. Absolutely brilliant.

(A few other notes of appreciation to that panel: beautiful glows around them, the sparks, the jagged silhouette of the spider legs, the lovely colors that have no right to make the area around a spider corpse that pretty, the excellent texturing on the cave walls plus perspective, the way Falst's movements imply Dainix's hefty weight, the natural posing of the characters, their on-point expressions that convey exactly how fuckin terrifying everything is right now, the slight glows to their eyes, and also they're just handsome boys <3)

Next up: Rain!!!! So well done! It's subtle enough that it never ever disrupts the impact of the focal point, but evident enough you can tell! And more importantly: THE MIST OFF THE CHARACTERS. Rain does this irl, it has that little vapor that comes off you and makes that little misty effect that plays with lighting, it's so cool-looking and here it's used to such pretty effect!

One of the panel captions says something about it blurring out all the injuries on the characters but like THAT AIN'T TOO BIG OF A PROBLEM when it gets across the environmental vibes, and also that'd be how it would look in real life too so like… outside viewer's angle is the same as the characters', mostly? my point is: that's the environment!!! that's the vibes, that's the feel! It gets it across and it does so in the most pretty way possible!

And another thing re: rain, the use of it to establish perspective, particularly in panels like this—

—where we can tell we're looking down at Tynan due to the perspective on the rain and where it's pointing. Excellent. (Also, kudos for looking down and emphasizing how Tynan's losing his advantage—lovely use of visual storytelling.)

Additionally, the misting here:

We see it most heavily in the leftmost panel, where it's quite foggy as you would expect in a rainstorm, especially in an environment with a lot of heat, but it's also lightly powdered on in the following two panels and tends to follow light sources, which makes complete sense given how light bounces off particles in the air.

A major point of strength in these too is a thorough understanding of lighting, like rim lighting, the various hues and shades, and an intricate understanding of how light bounces off surfaces even when they're in shadow (we'll see a faint glow in spots where characters are half in shadow, but that's how it would work in real life, because of how light bounces around).

Bringing some of these points together: the fluidity of the lines in magic, and the way simple glowing lines are used to emphasize motion and the magic itself, is deeply clever. I'm basically pulling at random from panels and there's definitely even better examples, but here's one (see this page https://comicaurora.com/aurora/1-16-33/):

First panel, listed in numbers because these build on each other:

The tension of the lines in Tess's magic here. This works on a couple levels: first, the way she's holding her fists, as if she's pulling a rope taut.

The way there's one primary line, emphasizing the rope feeling, accompanied by smaller ones.

The additional lines starbursting around her hands, to indicate the energy crackling in her hands and how she's doing a good bit more than just holding it. (That combined with the fists suggests some tension to the magic, too.) Also the variations in brightness, a feature you'll find in actual lightning. :D Additional kudos for how the lightning sparks and breaks off the metal of the sword.

A handful of miscellaneous notes on the second panel:

The reflection of the flames in Erin's typically dark blue eyes (which bears a remarkable resemblance to Dainix, incidentally—almost a thematic sort of parallel given Erin's using the same magic Dainix specializes in?)

The flowing of fabric in the wind and associated variation in the lineart

The way Erin's tattoos interact with the fire he's pulling to his hand

The way the rain overlays some of the fainter areas of fire (attention! to! detail! hell yeah!)

I could go on. I won't because this is a lot of writing already.

Third panel gets paragraphs, not bullets:

Erin's giant-ass "FWOOM" of fire there, and the way the outline of the word is puffy-edged and gradated to feel almost three-dimensional, plus once again using Screen or a variation on it so that the stars show up in the background. All this against that stunning plume of fire, which ripples and sparks so gorgeously, and the ending "om" of the onomatopoeia is emphasized incredibly brightly against that, adding to the punch of it and making the plume feel even brighter.

Also, once again, rain helping establish perspective, especially in how it's very angular in the left side of the panel and then slowly becomes more like a point to the right to indicate it's falling directly down on the viewer. Add in the bright, beautiful glow effects, fainter but no less important black lines beneath them to emphasize the sky and smoke and the like, and the stunningly beautiful lighting and gradated glows surrounding Erin plus the lightning jagging up at him from below, and you get one hell of an impactful panel right there. (And there is definitely more in there I could break down, this is just a lot already.)

And in general: The colors in this? Incredible. The blues and purples and oranges and golds compliment so well, and it's all so rich.

Like, seriously, just throughout the whole comic, the use of gradients, blending modes, color balance and hues, all the things, all the things, it makes for the most beautiful effects and glows and such a rich environment. There's a very distinct style to this comic in its simplified backgrounds (which I recognize are done partly because it's way easier and also backgrounds are so time-consuming dear gods but lemme say this) and vivid, smoothly drawn characters; the simplicity lets them come to the front and gives room for those beautiful, richly saturated focal points, letting the stylized designs of the magic and characters shine. The use of distinct silhouettes is insanely good. Honestly, complex backgrounds might run the risk of making everything too visually busy in this case. It's just, augh, so GORGEOUS.

Another bit, take a look at this page (https://comicaurora.com/aurora/1-15-28/):

It's not quite as evident here as it is in the next page, but this one does some other fun things so I'm grabbing it. Points:

Once again, using different colors to represent different character actions. The "WHAM" of Kendal hitting the ground is caused by Dainix's force, so it's orange (and kudos for doubling the word over to add a shake effect). But we see blue layered underneath, which could be an environmental choice, but might also be because it's Kendal, whose color is blue.

And speaking off, take a look at the right-most panel on top, where Kendal grabs the spear: his motion is, again, illustrated in bright blue, versus the atmospheric screened-on orange lines that point toward him around the whole panel (I'm sure these have a name, I think they might be more of a manga thing though and the only experience I have in manga is reading a bit of Fullmetal Alchemist). Those lines emphasize the weight of the spear being shoved at him, and their color tells us Dainix is responsible for it.

One of my all-time favorite effects in this comic is the way cracks manifest across Dainix's body to represent when he starts to lose control; it is utterly gorgeous and wonderfully thematic. These are more evident in the page before and after this one, but you get a decent idea here. I love the way they glow softly, the way the fire juuuust flickers through at the start and then becomes more evident over time, and the cracks feel so realistic, like his skin is made of pottery. Additional points for how fire begins to creep into his hair.

A small detail that's generally consistent across the comic, but which I want to make note of here because you can see it pretty well: Kendal's eyes glow about the same as the jewel in his sword, mirroring his connection to said sword and calling back to how the jewel became Vash's eye temporarily and thus was once Kendal's eye. You can always see this connection (though there might be some spots where this also changes in a symbolic manner; I went through it quickly on the first time around, so I'll pay more attention when I inevitably reread this), where Kendal's always got that little shine of blue in his eyes the same as the jewel. It's a beautiful visual parallel that encourages the reader to subconsciously link them together, especially since the lines used to illustrate character movements typically mirror their eye color. It's an extension of Kendal.

Did I mention how ABSOLUTELY BEAUTIFUL the colors in this are?

Also, the mythological/legend-type scenes are illustrated in familiar style often used for that type of story, a simple and heavily symbolic two-dimensional cave-painting-like look. They are absolutely beautiful on many levels, employing simple, lovely gradients, slightly rougher and thicker lineart that is nonetheless smoothly beautiful, and working with clear silhouettes (a major strength of this art style, but also a strength in the comic overall). But in particular, I wanted to call attention to a particular thing (see this page https://comicaurora.com/aurora/1-12-4/):

The flowing symbolic lineart surrounding each character. This is actually quite consistent across characters—see also Life's typical lines and how they curl:

What's particularly interesting here is how these symbols are often similar, but not the same. Vash's lines are always smooth, clean curls, often playing off each other and echoing one another like ripples in a pond. You'd think they'd look too similar to Life's—but they don't. Life's curl like vines, and they remain connected; where one curve might echo another but exist entirely detached from each other in Vash's, Life's lines still remain wound together, because vines are continuous and don't float around. :P

Tahraim's are less continuous, often breaking up with significantly smaller bits and pieces floating around like—of course—sparks, and come to sharper points. These are also constants: we see the vines repeated over and over in Alinua's dreams of Life, and the echoing ripples of Vash are consistent wherever we encounter him. Kendal's dream of the ghost citizens of the city of Vash in the last few chapters is filled with these rippling, echoing patterns, to beautiful effect (https://comicaurora.com/aurora/1-20-14/):

They ripple and spiral, often in long, sinuous curves, with smooth elegance. It reminds me a great deal of images of space and sine waves and the like. This establishes a definite feel to these different characters and their magic. And the thing is, that's not something that had to be done—the colors are good at emphasizing who's who. But it was done, and it adds a whole other dimension to the story. Whenever you're in a deity's domain, you know whose it is no matter the color.

Regarding that shape language, I wanted to make another note, too—Vash is sometimes described as chaotic and doing what he likes, which is interesting to me, because smooth, elegant curves and the color blue aren't generally associated with chaos. So while Vash might behave like that on the surface, I'm guessing he's got a lot more going on underneath; he's probably much more intentional in his actions than you'd think at a glance, and he is certainly quite caring with his city. The other thing is that this suits Kendal perfectly. He's a paragon character; he is kind, virtuous, and self-sacrificing, and often we see him aiming to calm others and keep them safe. Blue is such a good color for him. There is… probably more to this, but I'm not deep enough in yet to say.

And here's the thing: I'm only scratching the surface. There is so much more here I'm not covering (color palettes! outfits! character design! environment! the deities! so much more!) and a lot more I can't cover, because I don't have the experience; this is me as a hobbyist artist who happened to take a couple design classes because I wanted to. The art style to this comic is so clever and creative and beautiful, though, I just had to go off about it. <3

...brownie points for getting all the way down here? Have a cookie.

#aurora comic #aurora webcomic #comicaurora #art analysis #...I hope those are the right tags???#new fandom new tagging practices to learn ig #much thanks for something to read while I try to rest my wrists. carpal tunnel BAD. (ignore that I wrote this I've got braces ok it's fine)#anyway! I HAVE. MANY MORE THOUGHTS. ON THE STORY ITSELF. THIS LOVELY STORY #also a collection of reactions to a chunk of the comic before I hit the point where I was too busy reading to write anything down #idk how to format those tho #...yeet them into one post...???#eh I usually don't go off this much these days but this seems like a smaller tight-knit fandom so... might as well help build it?#and I have a little more time thanks to break so #oh yes also shoutout to my insanely awesome professor for teaching me all the technical stuff from this he is LOVELY #made an incredibly complex program into something comprehensible <3 #synapse talks

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willowser · 1 year

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you don't know how much comfort your dragon king bkg drabble has given me ever since you posted it!! i keep reading it i love it sm 🥹

as it turns out, the man bakugou is — a bit harder to handle.

he sleeps like a heathen; you once thought the dragon bakugou to be a bit lazy, with how often he tended to curl up in the fields of grass, warm under the sun, but now — it would seem his little human form needs significantly less rest.

almost up all hours of the day, and when he does finally lay down, he's everywhere. a mess of limbs: one thrown carelessly out to the side and the other bent at an angle you can't believe doesn't hurt his joints. his head stays tucked into you somehow, either buried in your neck or pressed against your ribs — or you'll wake to find him nose-to-nose with you. he still snores like a dragon, however.

you're also beginning to wonder if there is a bottom to the pit of his stomach. he ate much before, whole fields of things, but you expected that appetite to dwindle, at least a little, now that his stomach has decreased considerably in size. and in number ? you're not even sure how many stomachs a dragon has; that's not something that was mentioned in the fairytales.

it burns through him quickly, gives him more energy than he needs, and it doesn't ever seem to affect his weight much. already, he's huge and thick with muscle and eating as much as he does never dulls the severity of his cut abdomen. not that you're looking all that much.

— not that you have a choice not to, as he seems to have little-to-no understanding of —

the door to the bathhouse kicks open, with enough force that you already know who it is without ever turning to look. you try not to shriek when you see him, because he seems to like that in some evil, impish way.

you've been alone to wash so far, thankfully, as the inn you'd managed to find was small and far enough out from the nearest kingdom that the occupancy was low — enough for you and your little brute.

the man bakugou comes to stand in front of the bath, blinking and huffing against the steam. finding clothes for him was — nearly impossible, and so the trousers you'd found hanging on someone's line outside fit above his ankles, a bit too tight around his waist. instead of a shirt, you've wrapped him in a scratchy linen, swaddled him up like a baby to cover the small smattering of scales that decorate his body, almost like freckles from the sun, though they gleam just as bright and red as they ever have. no matter his form.

a horn has started to sprout, on the right side of his forehead, and you've done your best to cover that, too.

you have no idea how long this man thing will last. if it's permanent or if he even has control over it. the last thing you need is for him to switch back, somehow, while you're in the middle of feeding him, absolutely demolishing whatever tavern you're in and calling all of king todoroki's guards to attention.

bakugou grunts, almost sleepy, and tosses a fat, weighty sack onto the edge of the bath. it jingles a certain jingle that makes your heart stop.

"oh, allfather—" you move for the edge, awkwardly keeping one arm against your chest despite the fact that he's seen it all by now. when you peek inside and confirm your fears, you lob it back to him furiously, as if it were a steaming potato. "where do you keep getting this stuff?"

things have started to turn up, miraculously. shiny things — like coins and rings and gems. things he could not have simply found rolling around in the dirt.

"go put it back!" you hiss at him, and the tone of your voice makes his frown deepen. you never realized how pouty he was, when he was still a dragon.

you think he understands you, and you're pretty certain he just chooses not to listen; instead of doing what you've told him in the slightest, he simply dumps the coin-purse to the floor, and then lets his linen and stolen trousers cover it as he unceremoniously undresses.

the biggest issue that you would say the man bakugou poses is — his complete lack of understanding of personal space.

"bakugou!" your voice wavers, shocked again by his nakedness. as if you haven't seen it all by now. "no, you — get out!"

but he does the exact opposite, which is hop into the steaming water, ignoring the arm you hold out to keep him away as he saddles up beside you. skin against scales, pressing a nose into your hair to huff out his annoyance, to make it something you can feel.

if anyone were to walk in right now, they would — probably think the lie you'd told the innkeeper was true. that you are a simple traveler and this is your mute, over-sized husband.

regardless, you think this behavior isn't polite. especially in a public bathhouse.

"bakugou," you try again, turning your face away as you speak to the wood-paneled wall. "i'm taking a bath, you have to wait your turn."

all you receive in response is another huff against your ear and a low rumble of disagreement from his chest.

he has yet to speak back, and has only used inhuman sounds as his points of conversation. the only word you've ever heard him utter is oi, which he does when he really thinks he needs your attention. you're starting to wonder if he's named you that in his head. oi.

curiously, you turn back to him and the movement has him pulling his face from your hair, just enough that he can look down at you, too. watch you, with the red-rippled sea in his eyes.

they're — amazing, you will admit. just as bright and detailed as they always have been. fit for a fairytale told by the fire, veiled by the soft-ash of his lashes. he watches you through them, half-lidded, and you wonder if it's something other than fatigue that has them so heavy.

"do you know what i'm saying?" you ask quietly, voice lacking the firm heat you want it to. instead it's heavy, too, weighted by something soft and unfamiliar and frightening. "can you even understand me?"

bakugou doesn't respond, not with a huff or a rumble or ever a purr, like the one he let out on the night he lay over you by the lake. you've only heard it sparingly since then, oftentimes in his sleep when his face is pressed into you.

you try not to frown at his silence, try not to let it disappoint you because it shouldn't; he's a dragon afterall, and you're not sure what it matters. the little horn protruding from his forehead catches your eye and you reach up to touch it gently, watching him blink away the water that drips from your wrist — and then he's turning into you again, too close.

beneath the water, you feel his hands skate up your bare thighs, wrap around your waist until your chest is pulled flush against his. you feel his huff, again, against the damp skin of your neck but it's slower, lighter. not laced with his frustration. some unknown thing you feel guilty for liking.

you drop your hand to his hair, rushing full force into all the damned things you've thought about doing but have been too afraid to. he's soft between your fingers, and you trace your nails lightly against his scalp until he groans quietly; a new noise, one you don't know how to translate.

your fingers stop when they brush upon little spines that have grown at the base of his skull, that have started to trail down the center of his back.

suddenly, tangled up in the bath with him, you wonder how much time you have left.

bakugou huffs again into your skin, a little fiercer this time, and it's because of his light jostling that you realize how rigid you've gone. you try to relax so that he will, too, though you must not do a convincing job, because a sharp nip comes to your earlobe.

"ow!" you squeal, but he doesn't let you go far, not even as you try to jerk away from him. in fact, the harder you try the more his teeth show: into your cheek and the point of your jaw and then dangerously low on your neck.

it's not until you finally freeze that he stops, huffing again, with a warmth that burns more than the steaming water.

and then, very quietly, he grumbles, "shitty wife," into your collarbone, just before biting you again.

#anon dear friend i am so happy you have enjoyed it !!! and that it has comforted you in some way !!#i am wrapping you up in a big hug and so is our bratty lil dragon🥹#this message was just so cute and i wanted to write more for you !!!#this is all for you my peach my plum 😌 thank you for being here and reading my silly things !! giving me a reason to share them !!!#how fuuuuunnnn i am enjoying him way too much LOL #he's a brat !! a biter !!! he does what he wants !!!#god this is going to become a thing on here isn't it LOL might as well start a tag because i have much more to say !!#the lil world-building i have done for this in my mind...you have no i dea LOL #thank you again dearest !!#he he he he said THIS IS MINE 😊#and by this he means YOU 👀#๑ remember me love: bakugou ๑ #✿ willow writes #✿ ask willow #✿ thoughts: bakugou

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tardxsblues · 1 year

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Doctor Who | 8.11 Dark Water

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milkbreadtoast · 4 days

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Cheddar Cheese Cookie🧀

#cheddar cheese cookie #cookie run #cookie run kingdom #cookie run fanart #macaroni cookie #<--is not here but these 2 r so rare might as well always tag them together fjfbf #my art #for once draws cheddar instead of macaroni....#practice....#includes the sketch wip too bc why not #i usually dont put effects on my drawings nowadays but #i rmbred the halftone effect on procreate exists and tried it #and oooh it fit his aesthetic so... yeah :)#IM SO SLEEPY SORRY

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raphaerolo · 24 days

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Art Wip Game

@artisticallyill you asked about the Battle Cody & Obi so here it is

This one is definitely a bad name. While technically accurate, it's not the defining thing about this. Battle Cody & Obi is the name of my drawing that is my Codywan FMAB AU. Truly the title says nothing, and idk what i was thinking when i named the drawing but it's my fmab au

Here's it is so far:

In this au, the jedi are the state alchemists, Obi-Wan is a general and a state alchemist and a highly revered one but I don't know what his alchemy specialization is yet. Cody is his right hand who watches his back and has several big guns and people are scared of him.

I imagine this drawing to be them fighting Maul, who would absolutely just set a bunch of things on fire, not even with alchemy but with straight up matches cuz he's petty like that and Cody and Obi-Wan are trapped by the fire and waiting to see where he strikes next.

When I was ideating this, I realized that their dynamic is already pretty similar to Mustang and Hawkeye, especially with the "we can't date cuz you're my superior officer/subordinate" and the "i will flirt with others as a tactical move but it's fake and the real adoration only comes out with you"

Find wip game post here

#tag game #my wips #obi wan kenobi #commander cody #codywan #codywan fmab au #i have so many thoughts #i also imagine that one scene where roys abouta smush envy and hawkeye stops him #cuz i want a falling obi beign held at gunpoint by his commander because cody will not let him fall #cody makes him a better jedi okay?#obiwan might start to fall and codys there #theyre a team and they work well together #cody the ever serious one and obi putting on some false bravado to go by unnoticed because people underestimate him #its perfect #i think about it all the time #obi wan loses his state alchemist watch all the freaking time #cody always has it #and he clips it to his person so it comes to a point where people think hes the state alchemist #and they dont know what theyre fighting for or who #fives is hughes too smart for his own good #there are a lot of high ranking separatists and sith but i havent assigned them to a deadly sin yet #something to think about when i go to sleep tonight #fanart #digital art #star wars #my art #my wip art #fmab au #star wars fanart #wip

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poorly-drawn-mdzs · 6 months

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Collection of edits from this comic with Disco Elysium dialogue.

#What do I even tag this #mdzs #mdzs disco elysium au #There are so many line that work very well for them. Alas I was constrained by the panels I had.#So many hbd and kim conversations fit the wangxian dynamic its unreal.#Once again I am politely holding out Disco Elysium as a recommendation: So long as you are aware of it's content and warnings.#It is truly one of the most hopeful games about trauma and despair. It is hilarious in a way that frames the tragedy perfectly.#Be warned that it is a dark and heavy read. But it is truly a life changing experience.#It helped my get out of a bad place in realizing how much I was hurting myself by trying to hold onto the past and regrets.#Go in as blind as you can. If you are ready for it - you will not regret playing this game.#In other news...yeah okay so I meant to spend the rest of my saturday drawing more pd-mdzs #Then I started watching Link Click.... oops where did the time go?#Permit me another day of stalling and I will have comics coming soon. Might sprinkle some LC doodles in the mix too.

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tricksterlatte · 20 days

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Lifeweaver: Well, Satya, how do I look?

Symmetra, trying to use gay slang she knows he would appreciate: This outfit makes you look like a cunt.

#incorrect quotes #incorrect overwatch #Overwatch #symmetra #Lifeweaver #satya vaswani #niran pruksamanee #I had to get this out of my system please I love them so much #someone tagged saying he might still take this as a compliment #and I agree #plus he knows her too well

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carnivalcarriondiscarded · 10 months

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wondering about Frank and insects but specifically about how it looks like the WH insects are highly stylized, so does Frank even know anything about real butteflies/insects?

& if he saw a real one, would he recognize it? are all of the species names he applies to the WH bugs real, or are they all made up like "Vibrant Eyespot" or "Fluttering Heartwing"?

and then there's the question - does the neighborhood have some of the more 'undesirable' bugs like moths, worms, roaches, spiders? does it have bugs outside of the generic groups of beetles and butterflies? like are there mantids? leafbugs? dragonflies? weevils? or are those too specific/complex/not-cute for the Playfellow Workshop to have included?

and then there's the question of what are the bugs? props? puppets? are they alive or do the neighbors just perceive them as such? Do they even exist outside of art, storybooks, and animated segments? I highly doubt they're alive like the neighbors are, since in the gif of Frank's head spinning, the framed butterflies' wings are moving. which is kind of horrifying if you think about it for more than a second.

just... the critters Frank loves so so so much being a complete fabrication... every piece of knowledge he prides himself on / delights in knowing being utterly Untrue... oof

#by not-cute i mean that most bugs dont sell well as marketable plushies #cute butterflies? round adorable beetles? those fit right in with a vibrant puppet-y world #so it'd make sense if those are the only two bug groups that exist #along with like. caterpillars of course. i can also see bees being a probable candidate for Existing In The World #AGHHHHH THIS HAS BEEN EATING AT ME FOR DAYS NOW #been questioning how the neighbors' consciousness and awareness manifests as well #might make a different post on that since this one has a Topic and id like to Stay On It for once #well. its related. but that deserves its own Pondering #welcome home speculation #i dont know what else to tag this as!#absolutely unprompted #ALSO ALSO are there any animals outside of insects?#does the neighborhood have birdsong but no birds? if one listens real hard to it will they notice it looping?#do they have squirrels? critters in general? is that why wally doesnt know what a rat is? he'd have no reason to.#in his world they simply don't exist.#anyway but i wonder how frank would react to seeing a real butterfly (& insects in general)#the WH ones are gigantic in comparison and overly-colorful and friendly & cutesy #wouldnt it be painful if he was scared of them. if they look too alien. would it be the spongebob butterfly episode all over again #many many thoughts tonight....#but also....#what if he tried to frame a real one. expecting it to be Fine and Alive when he pins it bc they always have been #theyve always been perfectly happy fluttering in their frames #but a real one would fucking die. so. yikes #traumatic core memory unlocked! frank frankly has discovered Death

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napoleon-usher · 1 year

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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.

Export and save the gif as normal.

This is my finished result:

#userfanni #omgari #usersunny #userbells #userkraina #tuserabbie #tusergabriela #useroli #userangelic #supervalcsi #userphe #keyframes #*tutorial #tagging a couple of you who have been like ‘how tf did you make this’ on sets that i used this technique hope you dont mind #idk how coherently this reads or if it even explains it well enough but feel free to ask for clarification #there are also other keyframe tutorials on here that are written much better so check those out too if mine doesnt make sense #but yeah this is how i make my vibrant gifs that have movement in them #i'm going to make a tutorial explaining the actual coloring process too eventually #might make a part two of this explaining how to use this method for more complicated movements #like when your subject moves in multiple directions or there are multiple subjects #riah.gif #riah.txt

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