edspear reblogged
Doing some rotoscoping, this one possibly for a Decima thing. But potentially might use for future colony corps or other weird animation stuff I do.
edspear reblogged
Portable TVs made in Soviet Union in the 1980s.
My uncle had one of those when I was a kid, it was used as a kitchen TV. It was tiny and we had to sit really close to see anything. Sometimes he’d bring it to family picnics. It felt like magic!
(via Moscow Design Museum)
Taking notes.
edspear reblogged
xperiane
neopoint
woah bitch the fuck was that for
Note to self for Colony Corps.
Source: momi6.momi3.net
This place is not a place of honor.
No highly esteemed deed is commemorated here.
Nothing valued is here.
This place is a message and part of a system of messages.
Pay attention to it!
Sending this message was important to us.
We considered ourselves to be a powerful culture.
What is here is dangerous and repulsive to us. This message is a warning about danger.
The danger is in a particular location. It increases toward a center. The center of danger is here, of a particular size and shape, and below us.
The danger is still present in your time as it was in ours.
The danger is to the body, and it can kill.
The form of the danger is an emanation of energy.
The danger is unleashed only if you substantially disturb this place physically.
This place is best shunned and left uninhabited.
intended message of the warning marker design project at long-term nuclear waste disposal facilities at Yucca Mountain and WIPP, meant to discourage future generations from disturbing the sites for up to ten thousand years. (via starfoozle)
OK, since several people I follow have reblogged this extraordinary passage (hello, morethanslightly, emilyenrose, and septembriseur), I can’t help adding that the report this comes from was actually one of two reports commissioned by the Department of Energy on this topic. The other was the product of an earlier interdisciplinary team called the Human Interference Task Force, which included the likes of linguist Thomas Sebeok and science fiction author Stanislaw Lem.
Among the suggestions made by the Human Interference Task Force made: an “atomic priesthood”, an elected council who would pass the information about the nuclear site through ritual and myth, and “ray cats”, genetically engineered cats that would change color in the presence of nuclear radiation and whose significance would be relayed through oral tradition like fairy tales and songs.
If you’re interested, you can read both reports in full: “Reducing the Likelihood of Future Human Activities that Could Affect Geologic High-Level Waste Repositories“ (1984) and ”Expert Judgment on Markers to Deter Inadvertent Human Intrusion into the Waste Isolation Pilot Plant“ (1993).
(via likecastle)
The place should have no center, no position of privilege. Marking this place at all makes it different from the surrounding desert, makes a “center” in the desert. From human beginnings, making and marking a center is the first act of making order out of chaos, and says “we are here.” All further meanings of “center” derive from this original positive valence, with the center often a highly valued place or a gathering place, a focus of group life. We invert this symbolic meaning, establishing a sense of centerlessness to suggest there is no place of value or privilege‑-that this is a devalued place to be shunned‑-a void, a hole, a non-place.
Forms should avoid “perfection.” Historically, cultures have used the perfect or “ideal” geometric forms in places that embody their highest aspirations and ideals. Our designs seek irregularity and broken geometries.
Craftsmanship should be of low quality. Historically, cultures lavish find craftsmanship to symbolize the value of place. Our structures cover the entire burial area and are made of crude materials that minimize workmanship (e.g., rubble, earthworks, or large slabs). Yet the enormous size of the enterprise and of the structures demonstrates an enormous investment of labor. This coupling of great effort with materials of low value suggests the place is important but dishonored.
(via unknought)
Keeping this for reference
edspear reblogged
projectendo-deactivated20210112
Do you have a lining tutorial ?? If not, can you make one? Your lines are 10/10 and I am st ruggli ng
The first thing I’ll address:
P R A C T I C E U S I N G F O R E S H O R T E N I N G !
Foreshortening isn’t a requirement, however! It can make lineart pop and feel less flat by opening up the opportunity to thicken the lines of closer objects and thin the lines of those farther away. This is a good chance to utilize it for this tutorial; I’ll be using my persona as the example!
First get your sketch down!
It’s easier to build a house when you have blueprints; starting the lineart without a sketch to build on can be tricky!
Here’s the fun part: the lineart!
Making the lines thicker and thinner for me is a mix of both using smaller + bigger brush sizes as well as adjusting how firmly or gently I press on the brush. Take your time, undo and redo lines as much as you like!
Lastly, color in your piece and create a clipping mask layer over your lineart!
Clipping mask is a super nifty tool that lets you directly color whatever layer is underneath it without affecting any other layers!
Here are a few other pieces from my gallery that utilize foreshortening!
They differ to varying degrees, but still practice thickening and thinning lines to pop out the closer bits! Try implementing different sizes for objects and brushes to make a lineart that feels right to you!
And remember, this is just a quick series of suggestions! Techniques + skills + methods come organically over time with studying others, self-teaching, and practice!I’m still learning too! Feel free to follow or stray from this as loosely as pleases you!
Just have fun!
Tutorials! I love tutorials!
edspear reblogged
This is a nice chart! Lipsync is one of my not-so-secret passions. I also hate front mouths. They’re harder to inbetween, I find, and they’re not used nearly as frequently. Here’s some ¾ mouths I made.
These are the basic shapes I was taught, and I use. Standard lipsync shapes;;
You have your closed mouth to open, to clenched teeth, to oohs, and your (often optional) F, L, and TH mouths.
Tips!
- Your top teeth don’t move; I mean, stylistically it happens sometimes (Gravity falls does it fairly well, as much as I haaaaate that), but your lipsync will prolly look better if they don’t.
- My clenched teeth (SH) mouth is always a bit wider than my biggest AH mouth. It adds variation and helps your shapes blend more nicely. Conversely, my biggest AH mouth is narrower than my SH mouth and my closed (M) mouth.
- My L mouth is a tiny bit more closed than my biggest AH, and not as closed as my second biggest AH. It fits between them nicely so that if you have to go from an L to an AH mouth, like you would for the word “Like” or “Love”, it doesn’t pop or look weird.
- My R and oo mouths move forward on the face a bit, it adds dimension, and if you leave it all in the same place and have the mouth just shrink into a circle it miiiight look weird.
Aaaaand I think that’s it? Never go from a SH mouth to a TH mouth, it’ll pop and look weird…uhhh; Also! It’s alright to skip some shapes;; So below is a lipsync I made using the above shapes;
It’s clear what they’re saying, the mouth is moving nicely, but there’s only one problem. Veeeery rarely do they give you enough time to use all the mouths you want to make it move nice. Voice actors talk fast to fit everything in and holycrap do we hate love them for it.
So here’s a fast one.
Those two gifs should start at the same time, and notice that the second one stops while the first one is still saying “doing”. I not only cut out the mouth between the biggest AH and the clenched teeth, but I combined the word “Are you” into, like, 3 shapes. I also trimmed some inbetweens overall. The lipsync still reads, though! You can still tell what they’re saying even without audio (which would help it a bit, haha~) Cutting out that stuff ended the lipsync a whole 14 frames sooner (more than half a second!). It doesn’t sound like much, but with 24 frames per second and dialogue moving at the speed of light, you don’t have time to dilly dally. This isn’t a preschool show;; Aaaaaand I think that’s it. Liiiipsyyyyyync~~~ Now to go back to actual work and stop talking about things most ppl don’t care about;
I AM CRYING TEARS OF RELIEF BECAUSE I NEED THESE REFERENCES FOR MY SENIOR FILM’S DIALOGUE~
Reblogging this again because I’ve been using this reference for the last 2 months to help with my lip-synch in my film, and I’ve just tested one scene where I used the reference…And my mouth-drawings have improved tenfold ever since.
To the OP who made this chart…I wish I could hug you right now because you helped make my film look much better. c8
This post makes its rounds every so often;; I’m glad people are getting use out of me not wanting to do the actual work I had!
Definitely need this for reference. Danke.
edspear reblogged
Return to Magenta, Brooklyn Whelan
Source: brooklynwhelan.com
This is Squire. Plucky adventurous weird little green thing. Looking to find his place in a magical world that is losing its magic.
Project for Illustration 2