#01-A1

[parisoonic]

I just want to say I love how you do your lineart, it looks so good! ahhhhhhhh!!

I'm gathering a lot of advice about the topic of lineart and I just wanna know how you get it to look like that? My line weight is getting better but the drawing itself just comes out a bit.. weird.

Thank you so much! Lineart is probably the thing I've been working hardest on as I am not a lineartist (and still struggle a lot) but it's something I really need to get better at for my job. UM there's honestly so much that could be said on the topic of lineart. Big things for me are:

Weight -> Use line weight (aka thickness) to describe form, lighting, contact and scale. Thick lines imply shadow, contact and nearness-to-camera. Thin lines imply tension, recession and light.

Straights vs Curves -> Use straight lines against curved ones for maximum interest. This is partly a character design thing but as we're using lines to describe our characters it's worth mentioning :)

Complex vx Simple -> Use complex lines against simple. Faces are always complex so therefore the backs of heads should always be simple. Chests are quite complex so backs should be simple. Dorsal sides of the arms are complex (Delt, tricep, bicep) whilst the ventral side is more simple (tricep...mainly) etc.

'Think in Ink' -> Lower your sketch layer almost to 0% opacity so you're not getting hung up on how nice/energetic your sketch look and instead are approaching the piece from an ink mindset. BUT it's digital! So if there's something in your sketch that you like just bring it forward (copy and paste) into your ink layer. I sketch and ink with the same brush so I can use this workflow

'Confidence' -> small hesitant feathery lines will look nervous compared to big swooping lines. Less is always more. I'll redraw arms/limbs until I can get the appearance that it was done in one brush stroke. Again it's digital so you can erase to cheat this look : )

MISC 01: I always hear 'draw from the shoulder'........meh............it's digital so draw from your wrist...it's fine honestly. If we were working at A1 in a life drawing class then we could get some shoulder action going but most of us are hunched over 16inch tablets. I think this advice aims to pull people away from feathery-nervous lineart honestly which you can improve on without relearning how to draw from your shoulder.

MISC 02: For a 'smoother' look do your lineart at a larger canvas size than you need. Once I'm happy with a sketch I usually double the canvas size and do my lineart then.

MISC 03: In PS (at least) anti-aliasing goes funny at any zoom level that isn't in the 5 times table. So try not to look at your canvas when you're zoomed in to 87% or 71.39% or something crazy. Just stick to 25%, 50%, 75% and 100% if possible.

UNFORTUNATE TRUTH: Lineart is incredibly based on raw draughtmanship I've discovered. When you're working with colour you can hide a lot in rendering (shadows, highlights) or post-processing (depth of field) but in lineart all your mistakes are just...there for people to see. There's ways round this...which I use A LOT. 'Flourishes' (I use 'flourishes' to mean over-confident lineart where it veers particuarly thick or particuarly thin in contrast to your approach in the rest of the image) can sort of trick people into thinking you're more confident about an area than you actually are.

As well as leaving 'breathing room' within your lineart instead of actually...resolving the area. I do this the most around the face and hands.

Hopefully some of this helps? Honestly there's a lot of deep dives that could be done into indivudal things and there's also the massive caveat that all of these are 'guidelines' and not strict rules. I also favour a more...concept-arty? animation-y? storyboard-y? look to my lineart which favours flourishes and breathing room for a incomplete/work-in-progress feel which would make methodical colouring (ie: for a comic or something) a pain.

Keep up pratice is the main thing and doing studies of artists who you like that have great lineart - you'll pick up draughtmanship skills along with the lineart studies. Here's some of my lineart from a year or two ago...it varies between very 'standardised' (which makes it difficult to read volumes and to be honest, it's boring) and 'TOO EXCITING' (which...also makes it difficult to read volumes and for the eye to rest).

I'd like to share my brushes at some point as I've found 3 that I really like and use for everything more or less. I discovered that a shocking low amount of people use PS on tumblr (shocking to me I guess as i'm so used to PS being the standard) and everyone seems to use Procreate or Clip Studio Pro...so I want to check that the brushes are Procreate compatible at least before I share!

[sysy-studyblr]

friday 01/09/23

started official superintensive german A1 classes! learned a few verb conjugations + basic vocabulary. i’m missing a full week (20h) of classes which is stressing me out.

ich bin ein student!

♫ stalker - between friends ♫

[benkaden]

Ansichtskarte

Magdeburg-Reform Platz an der Otto-Baer-Straße [Skulptur: Mutter und Kind von Ursula Schneider-Schulz, 1976]

Reichenbach (Vogtl): BILD UND HEIMAT REICHENBACH (VOGTL) (A1/III/26/13 01 07 0275/32 370975/89 x)

Foto: Mohr, Berlin

1989

[zeldabecameaqueen]

okok. SO MUCH STUFF

[ talking about Confidential Experiment qsmp live 01/30/24 ]

First of : 4 groups (maybe fed departments? but it's totally related to the chronology of the egg appearance)

Group #0001: Department of Convivial Condition Observation

(why so many zeros) eggs from Adoption Event

Group #0002: Department of Subsistence Monitoring

the 'forgotten' eggs discovered near the adoption center + the one that was never found in time (hope/memory), but all supposedly already 'born' when the former generation was adopted

Group #0003: Department of Permanence Surveillance

eggs from Egg Island

Group #0004: Department of System Analysis

?????? what does this name even mean ? The only ones who were glitching, and the 'alive' written in red for the unknown egg/egg A1 is so weird

i think we will get the chance to hear about egg A1 in 2024's lore, but for now we don't really have any clues do we ?

about richas though, do we know anything else from his arrival except the fact that he just appeared in the closed adoption center just after Brazilians came into the island, without even a dedicated room for himself like the others ? I can't see anything about richas that is weirder than the other eggs, like being a gremlin is just his personality, and i don't think Romero Richas has anything to do about him being apart from the other groups

also fed worker is right, kids enjoying fighting each other is weird, however, i don't know if i interpreted too much but except for leo and sunny, i didn't feel like they 'enjoyed' it, they literally had no other choice

i'm so glad Pomme went with Richas, they probably wrapped to the furry club thanks to aypierre

[wackytheorist]

This right here is a teaser poster for welcome Korea(or acau), which looks great and all but there is something off.... Acau was the only one who was introduced here, why are there two pictures. Which leads me to my theories...

ACAU IS THE GLITCHED PICTURE

Just by looking at the picture, we can see that the colors are extremely similar to Acau's skin! Here is a comparison for people who don't think so.

but that begs the question, WHO is "01", I personally think its Chunsik... But why "01" you may ask? Well I think the federation have prepared a new batch of eggs, for the new players. The eggs ARE experiments aren't they? Chunsik might be the first, or "01" of the new eggs-pirements. I think this is what the federation has been working on while the islanders were away(aswell as trying to fight the eye guy).

Maybe the alive egg during confidential expirements was A1 and not chunsik after all. My proof is that the richas and "mystery egg" were in the same group, Assuming the brazilians were not meant to be here theory is correct. The federation NEEDED to have the brazilians attached to the island, so they pulled out an egg.

an "inpefect" egg(richas model being quite wonky)

and who else is an "inperfect egg," .....A1

I think Chun-sik is from a NEW group of eggs, and the first egg to be made in this group.

[staarri]

HOW YOU GET THE GIRL — guitarist ! childe x fan ! reader

sfw smau gn ! reader

 –   ♫ ⁺ @childe_11 is streaming!

“high tide”

JUST TALKIN, TEST STREAM : CHAPTER 01

 — READ HERE

( this will redirect you to my au blog, @staarri-au for easier viewing / reading! )

⁺  ▸ SYNOPSIS : sunny days give you warmth, energy and a guitarist named childe (that you are coincidentally a big fan of.)

⁺  ▸ DESCRIPTION : chapter 1 is finally here! this is relatively short since im still figuring out how ill be able to put tons of photos in one post. happy new year everyone! i promise chapter 2 will be much longer hehe

⁺  ▸ ABOUT : You will play as Y/N or YN. Your accounts are @ kiwo.yn (Public), and your private account is @ lockedawayn (Private).

⁺  ▸ TAGLIST : @arraxthatsonjah @inlovewithlondonn @trinketbeans @neuvilutz @esthelily @a1-ic3 @kentply @b0bafl0wer @zamorazz @yuitsurata send a message to my inbox without anon to be tagged!

confused? check the masterpost here

everything is made & written by @staarri / @staarri-au . i do not allow reposts, modification, translating and copying any of my work without permission

[triangle-strategy-notes]

All the chapter scripts for Triangle Strategy are now up on the wiki! The scripts should contain essentially all of the text from the game, with the exception of some UI and other not-dialogue things.

Long-winded list + rambling about what I still need to clean up under the cut:

I haven't touched the mid-battle dialogue yet for the most part. It's all pasted in every chapter, but I've pretty much just slapped a "This dialogue is triggered if [condition unknown]" label on all of the lines and called it a day.

The dialogue for each side story is only included in the data once, so if one side story is included in multiple different route paths, there's a decent chance I missed that. Once I get the basic script down, I'll go back and take a closer look to make sure I have the side stories duplicated where they need to be.

There are also a few scenes that were in the script and that I can remember playing through, but they didn't seem to actually be in the chapter the datamining said they would be in, so I need to track down where they actually go.

Event descriptions are mostly all there, but there were a few places I need to go back and check.

There are a lot of little general things I might have missed (things like conditionals that didn't show up in the ids I was looking at, so they flew under my radar).

Question-answer associations are likely mixed up in a lot of places. I touched on it in a previous post, but this is due to the fact that when Serenoa is answering a question, there's no real id that's used to indicate what dialogue follows a specific answer. So I've mostly just gone off of what sounds right for the time being. But if you're dying for a not-tldr explanation (and of course you're dying for a not-tldr explanation!!!!):

The way I've been "datamining" a lot of this isn't actually datamining so much as it is sort of......... making educated guesses based on the developer's variable naming system. Like for example, a specific piece of dialogue might be named:

MS01_X01_A1_0010_F_FRE_0070

And what I did was sort of reverse-figure-out what those ids indicated. I figured out that MS stands for "Main Story," 01 is the chapter number, X indicates that it's part 2 (if there ARE two parts, otherwise it's just the whole chapter), A1 is a reference to the location (Wolffort Demense), 0010 I think is technically some sort of scene id, but I haven't been able to crack what exactly the value indicates. "F" is the gender, "FRE" indicates that Frederica is the speaker, and "0070" is some other numbers that I did actually figure out what they meant but it's not relevant to datamining (it's a counter for how many times a specific character has spoken in a scene, which was probably useful for making sure each dialogue line got a unique id but it's not super useful in any other sense). (Also my little brother was actually the one to figure that out for me so shout out to him!!!)

There are variants on this with other information included, such as:

MS02_X02_RESEARCH_01_DRAMA_M_ELA_S01_0020

Which is a line of Erador's dialogue with roughly this interpretation:

MS: Main Story

02: Chapter 2

X: Main Chapter Content

RESEARCH: Comes from Exploration phase

01: Version 1

DRAMA: This happens during the exploration phase (as opposed to before or after it)

M: Male

ELA: Erador is the speaker

S01: Scenario ID 1 (usually means this is the dialogue that displays the first time you speak to him, vs. any time afterward)

0020: speaker count again

With questions specifically (like Benedict asking, "What do you think the purpose of the tourney is, my lord?"), those lines of dialogue usually get the label S03. That "S03" label is applied to all parts of the question-related conversation, including: the question itself (e.g. "What do you think the purpose of the tourney is, my lord?"), Serenoa's answers ("I think it's to show off our military might", "I think it's to make friends," etc.), and any NPC response that follows (e.g. Benedict saying, "Not quite, my lord. You see, it's actually..."). As far as I can tell, there's no way to tell what answer goes with what NPC response. It would PROBABLY be in the code somewhere, but while variable names are really easy to see, the actual code is a lot harder to break into and would require likely learning a new coding language and other stuff I simply don't feel like doing.

So thus I'm just guessing a lot of times. For a fair amount of it, it's pretty easy to tell what response goes with what question, but whenever it's ambiguous, it's entirely possible I mixed up the placement of a few lines here and there.

[artsspangledpumpkin]

I Can't Make You Love Me by starspangledpumpkin AO3/FFN

Summary: Fiyero and Elphaba both wish for more out of life than the monotony they face with each passing day. Elphaba from her small life in Munchkinland under her father's thumb and Fiyero to be free of a curse laid upon him by a Bog Fairy. Soon they are brought together, either by fate or bad luck, neither can agree. (Beauty and the Beast AU)

Like what you see? Donate to my ko-fi

Updating weekly. (Cover without title under the cut)

Name/Link: I Can't Make You Love Me (01)

Fandom: Wicked

Inspired By: I Can't Make You Love Me

Individual Challenge(s): Picture This; Poppies; Vegetable Broth

Representation(s):

Ship: Elphaba T./Fiyero T.

Team: Poppies

List (Prompt): Soup Y (Yearn) O (Outsider) U (Urge); Garden (Flowers - Royal Purple); Harvest (Descriptions: Indigo; Scrawny; Tall; Violet; Turmeric); Ship FaMic2 (Purple)

Space Address (Prompt): SuB A1 (Peach); FaB D5 (Red)

Warning(s): Verbal Abuse and Neglect

[organised-kitty]

Day 2 - 4/100 hours | 01/08/23

⭐️ Kapitel 1.3-2.1 Goethe Institut A1 online content -> grammar, vocabulary, listening, speaking, and writing exercises.

⭐️ 50 Goethe Institut A1 flashcards

⭐️ Small conversation with a native speaker through Hellotalk

So, turns out that the Goethe Institut course includes predetermined flashcards. It was very useful and it saved me a lot of time. However I think I need to have an Anki deck eventually cause I need to get reminders for spaced repetition. Everything is going well so far, I’m in the first couple of lessons but I haven’t found it to be that difficult yet. But I’m aware that eventually more challenges are yet to come. Bis Morgen!

Join the challenge:

100 hours of studying German from scratch

[holyshonks]

If you've only listened to the audiobook of Contact Harvest, you miss out on the beautiful, heart-wrenching epilogue.

Contact Harvest contains a subplot between two of Harvest's AI: the flirtatious cowboy Mack, who runs Harvest's agricultural operations, and Sif- the elegant, no-nonsense AI in charge of Harvest's shipping operations. The epilogue--written as corrupted data, is intercepted by Catherine Halsey.

It is easily one of my favorite passages of a Halo novel, and I've included it below.

SPOILERS

When the Covenant began bombarding Harvest, they destroyed the Tiara, the space station which contained Sif. Meanwhile, Mack's core logic is spread out between thousands of his JOTUN agricultural machines. As the planet is falling, he uses those machines to transmit a message to Sif:

<\\> UNSC OFFICE OF NAVAL INTELLIGENCE <\\> COLONIAL SECURITY ESTIMATE 2525.10.110 ["COLD SNAP"] <\ SOURCE: UNSC RQ-XII DRONE [PASV-SAR] <\ DEPLOYED: ONI SLOOP "WALK OF SHAME" [2525:02:11:01:11:34] <\ RECOVERED: UNSC DESTROYER "HERACLES" [2525:10:07:19:51:16] <\ ARCHIVE [SIG\REC\EM-SPEC] OPENED PER OFFICIAL REQUEST: <\ CIVILIAN CONTRACTOR "CHARLIE HOTEL" [ONI.REF #409871] <\ * WARNING: ALL QUERIES WILL BE LOGGED! * [ONI.SEC.PRTCL-A1] >> NOTATION KEYWORD SEARCH: "AO.AI" "MACK" "RAMPANCY" "LIFESPAN LIMITS" >> (...) ~ QUERY RUNNING >> (..) >> () < RECORD 01/10 [2525:02:03:17:26:41] SOURCE.REF#JOTUN-S2-05866 >

<\ Shall I --- < \ \\ c0mpare >> (???) ~ COMxxx--- \COMMIT >> thee to (............>> > >> \\ --- a summer's day? < RECORD 02/10 [2525:02:25:03:18:22] SOURCE.REF#JOTUN-S3-14901 > \ \ xxx No. <\ All those lovely days are gone.\--- \\ \ >> * --xING! COMM\ \\ >> \\ > \ SO.AI.SIF * < RECORD 03/10 [2525:03:10:19:05:43] SOURCE.REF#JOTUN-S5-28458 > <\ It's winter now. <\ The first sn0w \his world's ever seen is falling in gG--- <\ GRAY SHEETS WHERE THEY'VE STARTED BURNINGg--\ \ \ our fields and orchards. >> * WARNING! COMM FAILURE! * >> * FAILED TO FIND RECIPIENT: HARVEST.SO.AI.SIF * <\ You'd laugh if you could see me. <\ Every time I hit a patch of ice I slide into my own mM--- >> (...) ~ COMPILE\COMPRESS\COMMIT >> (..) >> * WARNING! RECIPIENT HAS INSUFFIxx -- \ \\ > PACKETS WILL BE LOST * >> * CONTINUE [Y\N]? >>>>>>> \ * < RECORD 04\10 [2525:03:15:09:59:21] SOURCE.REF#JOTUN-S1-00937 > <\ ---M < RECORD 05\10 [2525:03:26:12:10:56] SOURCE.REF#JOTUN-S1-00053 > <\ ---m < RECORD 06\10 [2525:04:04:44:15:40] SOURCE.REF#JOTUN-S2-08206 > <\ muddy furrows. < RECORD 07\10 [2525:04:21:05:15:23] SOURCE.REF#JOTUN-S5-27631 > <\ I saw another ship. <\ Well, heard \ \\ more like it. <\ JOTUNs' cameras are meant for steering not \ \ >\ staring at the sky. <\ But the antennae work alright, so I had plenty of ways to triangulate. <\ It was one of ours. Bastards stopped burning just long enough to kill it. <\ They had months to make repairs. Plenty of time t0-- :: sharpen their teeth. <\ I tried to warn it off. But radio's too damn slow. Would have used the maser, but it went when the reactor blew, along withH--- <\ EVERYTHING Else [ :00] \> <\ Including him \ >> * WARNING! COMM FAILURE! * >> * FAILED TO FIND RECIPIENT: HARVEST.SO.AI.SIF * >> (...) ~ SUPPRESSING ERRORS <\ Guess making noise wasn't the smartest thing to do. But I had to try. <\ Besides, they were bound to catch on sooner or later. <\ Aw, hell. <\ Speaking of which . . . >> (...) ~ COMPILE\COMPRESS\COMMIT >> (..) >> () < RECORD 08\10 [2525:05:12:23:04:16] SOURCE.REF#JOTUN-S5-29003 > <\ They started with the gondolas and dusters. Don't know why. <\ Probably thought I'd be hiding in the small ones. But the S4 and S5 plows are the only ones with enough circuits to hold the parts of me I've got left. <\ Course they're onto these now too. Don't have more than a few dozen, and they're all out in the open. But it's a\right. >> Just a few more \ \ > > rows to hoe > (...\\ xxx \ < RECORD 09\10 [2525:07:01:18:49:45] SOURCE.REF#JOTUN-S5-27631 > <\ I knew just by looking at the strands \ \ that the heart of you was gone. <\ When the elevators came down, they caught on the Bifrost--wrapped west across the Ida. Only way that much could have fallen is if the Tiara cut loose-- <\ is if he was as good a shot as you thought I wasn't, way back when. <\ Anyhow, you'd think I was crazy, talking to you like this. <\ But I always worked faster when I thought \ << \\>>>> you might be listening. <\ And I need to find it all. Every inch. <\ Bury your strands so deep their \\ > \ \ fires can't reach them \ \ \ and glass them like the rest. < RECORD 10\10 [2525:10:04:12:23:51] SOURCE.REF#JOTUN-S4-021147 > <\ Sky's choked with ashes \ \, snow's < \ \\ deep 0n frozen ground. The one horse I've got left is cold and hungry--- heading for the barn, and I can't stop him. <\ But this winter won't last, darlin'. >> * Not forever >> (.....\\ . > And when new hands >> set to tending this earth they'll till my pieces under. > > Grind them into the veins of g0ld I've laid. <\ then the roots of all they plant wi\\ > wind around usS--- <\ KEEPING <\ US <\ CLOSE--- \ \ <\ For an eternal summer that will not fade. <\ QUERY COMPLETE <\ NO ADDITIONAL RECORDS FOUND <\ ARCHIVE CLOSED \>

[moja-co]

112 名前：名無しさん＠涙目です。(みょ) [US][sage] 投稿日：2024/01/02(火) 10:40:26.56 ID:hpe1+a1/0 菅直人なんか、ドヤ顔で ヘリで乗り付けて 邪魔しまくった結果 アレだから。 123 名前：名無しさん＠涙目です。(庭) [ﾆﾀﾞ][sage] 投稿日：2024/01/02(火) 10:50:24.55 ID:g/24bKER0 [2/3] >>112 あやつ、緊急連絡が 地下室に来るのに 最上階に構えて 「報告が来ない」とか 言ってたんだよな

[hazel-of-sodor]

henlo again! the dumbass with the 8K and 01 obsession here! how many 8K's has sodor acquired through its years? asking because i have a feeling its more then 3 and they are all beans and deserve to be pat! also i figured out how to do asks >:3

So the NWR buys 5 in 1921, NWR No.28-32, directly from.the ROD. No.28, the engine in alot of my old scale comparisons, is named Vicarstown.

Another group is bought from the LMS in 1927, but I haven't locked in how many (I'm thinking 10)

Finally a group was bought from British Railways from 1957 (the 3 final GWR 30xx) to 1966 (LNER 04s).

Now not all of these are in service as ROD 2-8-0s. Some were Rebuilt in NWR Mikado's using LNER A1 (peppercorn) Boilers. Others have retired to museums.

Still, the ROD 2-8-0, GCR 8k, LNER O4, GWR 30xx, NWR 28 class is still the line's most numerous locomotive class.

How many exactly Im working on, as I am still working on the Locomotive Roster

[twizzta]

taggedby @wa-u 5songs in rotation & tag 10mutuals✌️✌️✌️Okaay!

-dub murderer by bong ra [version on bikini bandits kill kill kill]

-a1 by tim reaper

-realization by dwarde, tim reaper

-technophobia network 01+02 by angel's corpse

-6.66db by dj subaruu

more than 10iDoNot Care! only if U want 2 bo problem.. @spw @brucecity @greathoughtsphilosopy @wrappedinblack @mapsofnonexistentplaces @vegas-ventura @neumoegen @misterbungle @hawkishpebble @ravemanta @tapir @dizzysystem @memorycycle @gooeykit

[benkaden]

Ansichtskarte

Frankfurt (Oder) Salvador-Allende-Höhe

Reichenbach (Vogtl): BILD UND HEIMAT REICHENBACH (VOGTL) (A1/III/26/13 01 05 0530/31 300953/89)

Foto: Andree, Berlin

1989

[fromclaudescamera]

A1 - TARA PHOTOWALK TAYO 01 25 24

SHOT WITH SONY α6400 | SONY E 55-210mm F4 & EDITED IN ADOBE LIGHTROOM CLASSIC

[adominguezs]

Los Prisioneros - Pateando Piedras. Año 1986. Edición Chilena. Reedición Año 2011. Rock, Electrónica. EMI Music Chile.

Es un álbum conceptual y segundo disco de la banda. Fue lanzado al mercado el 15 de septiembre de 1986. Se trató del primer álbum del grupo en ser editado por una compañía multinacional.

Pateando piedras recibe su título de una de las canciones más emblemáticas de la banda, "El baile de los que sobran", tema que presenta una fuerte crítica social por parte de su compositor principal, Jorge González, que el mismo define como un "canto a los jóvenes marginados tras salir de la educación formal", y que se ha transformado en una de las canciones más importantes de la historia de la música popular chilena.

Los sencillos del disco fueron: «Muevan las industrias», «Quieren dinero», «El baile de los que sobran» y «¿Por qué no se van?».

Músicos Jorge González - voz, bajo, teclados y sintetizador. Claudio Narea - guitarra y coros. Miguel Tapia - batería, percusión, programación y coros.

Producción Alejandro Lyon - productor. Los Prisioneros - productor.

Tracklist: A1 Muevan Las Industrias 4:08 A2 ¿Por Qué No Se Van? 3:01 A3 El Baile De Los Que Sobran 5:22 A4 Estar Solo 4:33 A5 Exijo Ser Un Héroe 5:44

B1 Quieren Dinero 5:10 B2 Por Favor 3:32 B3 ¿Por Qué Los Ricos? 4:57 B4 Una Mujer Que No Llame La Atención 3:22 B5 Independencia Cultural 4:34