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lychgate · 1 year

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Oh heck, my apologies (for not proofreading and/or being specific)

I was thinking more about like how do you figure out lighting, colour picking and the methods you use to finish up a piece. I was also really curious about your favourite anatomy tips and how you do so many dynamic poses.

Uhh tl;dr

I am fuckin stupid and I'm sorry

Lighting, colour picking, methods for putting the colours down, anatomy tips, and how do you do dynamic posing so well??

I only draw busts and it's making me mad :D

HMM lets see: I don't color pick unfortunately, it's not a method I use so I can't help u there sadly. As for lighting and shading, I don't really use any tutorials but I just apply the same types of questions to it that I would to any other part of my work while drawing, which are broad question types like : - where is my light source - is this piece calling for any unique light source? (universal/generic lighting is just fine to keep using!) - how MANY light sources do i have, and what are their distances to my figure - what's the MOOD of the piece, is dramatic lighting necessary - if im just here to have a bop and do an art what light source do I want to play with for practice If it was something like a more polished and finished piece I'd definitely be thinking on these questions harder, or multiple revisions and potential references would be pulled up. But normally for references I just refer to my memory of shows that I've seen, since it's a LOT of visual library, and animated or live action, light source is heavily calculated. So you'll get a good display of these ranges you can apply. Lately I've been watching The Bad Batch and I'll always recommend that and clone wars as good examples of environmental lighting, especially given the style of animation they do with how shapely their figures are. It's a good simplified breakdown of the planes of a figure, so paired with their hard lighting choices u get an even exaggerated easier format to look at for guessing light source. (very reminiscent of comics like the more stylized/cartoon you get in art the more u can push and pull these dynamics. or like easier to spot then live action)

SO UHH, im disclaimer: not in any industry and im sure gonna be missing some terminology, but I just nabbed some random images off the google of bad batch to show case a few broad categories of lighting:

Multiple light sources are ur most common type, and to me the most fun especially when it's like Two light sources. U can often play with the fun lighting types like rim lighting, u often have a warm side and a cold side for contrast/directions sake. The distance of the light determines how sharp or broadly lit something will be, and the size of the light can determine how much of that light hits the figures. So Omega here is surrounded by the lights on their ship, there's likely a very broad top light that's gently lighting the entire area, but the reds and blues of the buttons and screens around her are what's shaping the figure more dramatically. You can see the blue is coming from the top/behind her, where the red is more in front/bottom side to her, since it's the way she's facing and looking at you/the viewer. The second one, still on their ship, features the more broad top down lighting, but the screens in front of them are more important as they're all facing it. both lights in this image are broad wide lighting, so there isn't much of a sharp focus.

COMPLEX LIGHTING to me usually just means 'there are many light sources of greatly varying distances and brightness' or that there's a lot of figures in the image so it's got a lot more to organize so that the whole image may look readable at the end. You get a lot of environmental lighting for these types, meaning like hey the SUN is one of ur major light sources. it is super fucking bright but it is also FAR away, it's lighting EVERYTHING. and closer to sunset/sunrise u get more direct, highly saturated light from it because of the angle it's often shining- there's a lot to play with for just an outdoor lighting! The three images I picked here are a more morning shot, a mid day shot, and an evening shot. Talking about the angle of the sun especially at the last image with the grookey on Omega's shoulder, which casts a shadow over her and her friend. But her friend is positioned in a way so that she's not entirely over shadowed, because we're here to look at all three figures, and their faces matter in this shot. VS the middle images which is more about the scene/setting as a whole, and the figures are all more or less equally lit/shaded according to just standing in bright daylight.

there's also this fun lighting type, singular light sources can usually add a WIDE RANGE of emotion to the piece, depending where you flash the light. You've probably seen tons of light study gifs or shots where a face is shown with one light passing around their entire face and it highlighting the different planes that illuminate based on where the light is. So the first image, the classic Morticia Addams eye drama light, is focused hard on the figures, and what they're looking at. The second image of crosshair is another type of foreboding emotion, but instead with the eyes in the dark. Singular light sources aren't always for drama or asking you to focus on one specific thing but I feel like end of the day, the sharper and closer the one light source is, the more the artist is usually asking you to focus on the scene for. There's also some examples here of multiple light sources being used for the same storytelling dramatic effect. There's crosshair's entire front lit up to focus on not just him but by extension the rifle he's holding, with a backlight to catch the edge of his helmet and the barrel, because those are where we want you to look. They're the most important parts of the image, and they wanted to make lighting appropriate for reading that. With the last image there's what's his face (bro i forget my b) looming over him in a common type of dominant lighting. With how the lighting is assigned to this scene his face is shadowed, vs crosshair's who is partially under that shadow. IDK IM RAMBLING NOW i doubt this is the concise easy to read tips anyone's asking for sorrY I am not a teacher. IN SHORT FOR LIGHTING I JUST think about shows I've watched. I won't go into anymore but I think a GREAT example of super well done lighting in all categories of art are the John Wick films. They're both lively, highly direct, and superficially colored to fit the mood of each character and scene. I'll suck these movies dicks i'm obsessed:

Anatomy I always generically recommend people continue loose study/education from skeletal and muscular anatomy cause if you can build a figure from the inside out, the surface is going to be loads easier. And then when I'm too lazy to look up any muscular break down cause I sure don't remember every part at every angle I kind of just fudge it which is super common, like how many of us draw an ear correctly to it's bends and shapes. I sure as hell don't I just like to draw them the way I'm familiar with lining it (unless it's some really polished piece) cause end of the day my ear is still getting interpreted as an ear. So If I can't recall which muscle overlaps the other given a certain angle I just take a guess and usually it's not something blaring if I threw it down confidently enough. Studying not just muscle though, but how all body types sit and tense and move is crucial. Like fat is obviously going to have a much different type of hang and sit on the body, and then there's deciding how much fat to muscle you want on a figure. There's also skin to consider- older skin is looser, scarred skin has a tighter more custom pull to the areas, skin otherwise is just a big elastic band around ur body. So when that becomes overstretched or cut in any irregular way it's going to have a much different look to the muscles and bones it wraps around. Muscle reference I don't have anything specfic to refer other then using actual anatomy charts. Some 3d modelers have made great reference to body parts with full turn arounds i'd suggest. Since big fantasy muscles can be exaggerated so much (and they should!) it's the only reason why id only Lightly suggest for observing other artists individual drawings of buff characters. cause lotta us are fudging parts and u will end up picking up an incorrect anatomical trait (we literally all do it, just a silly unlearning process once ur hand is so familiar and used to drawing something a certain way) I think something specifically that's really helped me slowly gain a very diverse understanding of the fat to muscle ratio is getting into sumo wrestling. (NOT TO PUSH MY FAVORITE SPORT BUT I HAVE SOURCES IF U WANNA HEAR ABOUT IT/FIND A SPOT TO WATCH) In sumo there's no weight division like other forms of wrestling, and because of that you can have a very diverse set of ways to go about your own style of fighting. Entirely setting aside the fighting STYLES, there's broadly the categories of how much fat do you want to put on and the advantages that has against your opponents, vs how much muscle, or where that muscle needs to build on your figure, height and the like also play into it but basically 'what is my body shape, how can i build/ play it to the advantages of how i fight my opponents'

so like terunofuji is a fucking MOUNTAIN of a man, he's the current yokozuna (top banana rank) and his sheer height and weight plays greatly into his fight style. All of them are fucking jacked and watching Sumo has been a great general visual library builder because: - its a huge sport so it has a lot of coverage and footage on high def cameras - they're mostly nude and you're getting incredible displays of muscles in slow mo as they collide, fight, and throw each other. s2g you'll have an entirely new appreciation for the human body and just how many ways it can shape itself from watching this sport.

Always a ton of fucking leg muscle but Takayasu is one of my faves i gotta show him.

with no weight limitations not only are you seeing all the different levels of weight to fat, but you're getting an excellent display of how fat builds and forms on different people. there is no one way to gain fat, its pretty cool how diverse it can form, where it prefers to store fat, how quickly someone might gain weight vs overtime, genetics, what types of fats you're storing, lots of shit to look up on! this last image is ichinojo vs enho who are like usually one of the biggest and the smallest wrestlers, and both play to their size and shape and have become very high ranked. ANYWAY THIS POST REALLY WENT PLACES HUH idek if i answered the questions right i think i gave more questions back but i tried to touch a little on my thought process and where ive specifically gone in the art study journey. For poses I really don't look up anything I just try to think of the figure and do a lot of preliminary sketches. No i don't have the 'picture a perfect apple in my head' noggin i too suffer from looking at a blurry void when i try to think of shit so yes im hitting a brick wall by not utilizing all the model posing references that are probably out there hsuogjdhk

#long post

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luminousbeings-crudematter · 8 months

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yo im cumming to simons cooking tutorial videos anon your reply was everything i imagined and better. he's such a dreamy and annoying dickhead i need him so bad. was wondering, does simon also wear his ring on a chain around his neck? is he ex military in this au? does his wife start exercising w him or does he have to drag her to go for a run with him to see the sunrise? what does simon wear in and out of the kitchen? id love to hear more of their dynamic they're probably my favourite couple atm... LOLLLL

THANK YOU SO MUCH FOR ASKING I LOVE TALKING ABOUT THESE TWO!!!

I have tried to answer them best I can!

Does Simon also wear his ring as a chain around his neck?

Yes! At first, both of you agree to do this because you want to keep your wedding private. You had a quiet ceremony, just the two of you, and you want to savour it. The rings also become a sticky issue when you get in your head a bit about what people will think. So you just continue to wear them around your necks. It never fails to make Simon's heart swell to three times it's size when he sees you from across the kitchen in the middle of a very busy service, fiddling with the chain. He knows that if you wore his ring on your finger, you'd be turning it round and round. It's only when you get hit on by a dude on a staff night out, that Simon gets so mad, and so mad possessive, he actually buys you another ring that you can wear on your finger. When you turn up to work with it and Soap sees it, he squeals in a pitch only dogs can hear.

Is Simon ex military in this AU?

He is not, though you do think that when you first start working for him. Simon's just a big boy.

Do you start exercising with him or does he have to drag you to go with him?

Oooh this is a good one! Big surprise, Simon is a bit of a gym bro. He's not addicted to it or anything, but recognises that the weird, unsocial hours he works means that any sort of meaningful routine to go to the gym goes out the window. He goes when he can, and the man's all about the strength training. In relation to you (the reader), you tell me! Are you a gym person? If you are, then here's how it goes: You try not to go to the gym together. He is...far too attractive and distracting while he bench presses your body weight and runs on the treadmill for so long without a break. You've been the beneficiary of his stamina though, so you can't complain too much. If you're not a gym person: You feel him wake up at the ass crack of dawn one day, and you just assume he's off to the gym, so you murmur a sleepy see you later babe. But he's sitting on your side of the bed, brushing your hair back and you smell fresh coffee, so like a fiend, you make grabby motions for it. He convinces you to go for an early morning walk with him, and he takes you to his favourite spot in the city. You kiss him with the sunrise at his back, and it makes him feel like he's a fucking God.

What does Simon wear in and out of the kitchen?

In the kitchen: Chef whites, always. Long-sleeved chef jacket (occasionally rolled up neatly to his forearms). Black chef's trousers. Timberlands. Out of the kitchen: Dark jeans and a black hoodie or black jeans and a black hoodie. When he's around you, out of the kitchen (and occasionally in the kitchen): Nary a stitch of clothing.

Thank you for your questions!! I love you, anon, you are so special to me!!

#ask #anon ask #alford plea #this turned out longer than i expected #sorry anon #I can't stop talking about them once I've begun!!#lumi writes

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fabrickind · 3 months

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📸 Finding Cosplay Photoshoot Locations Part 3: Indoors Vs Outdoors Locations 📸

Part 3 of my cosplay shoot location tutorial involves choosing based on one very practical concern: will you be inside or outside? Let's take a look at the advantages and disadvantages of both and how having a more or less controlled location can effect your shoot This one also has an example of a cosplay I chose specifically for a location, which was the Sakura Kinomoto Watery Card outfit! Sometimes you work backwards like that. Part 4 should be up later this week, so stay tuned!

Part 3: Indoor vs Outdoor locations

Private vs Public, Indoor vs Outdoor

Indoor shoots are usually going to be either an indoor location you rented (such as a studio or a hotel room) or your own home or the home or property of someone you know who gave you permission. Rarely will indoor shoots be in a public location, as even areas open to the public are usually still considered private property and may not allow you to do a cosplay photoshoot there. Outdoor shoots, on the other hand, are almost always going to be in public unless it is a fenced area of private property (such as your own backyard or a courtyard you have control over). One borderline case is wilderness, where you are unlikely to run into other people, but this may end up being a safety hazard depending on how remote the location is. I recommend not going anywhere too remote and sticking near paths and roads if possible, since getting lost in the wilderness or getting injured will be a lot worse in cosplay and with photography equipment than it would be if you were kitted for survival.

Controlled Location?

When shooting indoors, you will usually have a fairly controlled location. This means that you can choose who enters the area, can stop the shoot easily when you need to, and have control over the lighting and elements in the room. When shooting outdoors you will be in public to varying degrees, and thus have little control over who or what is in the area. You also won't have control over the weather or the position of the sun, and would likely need battery-powered lights if you want to add to the natural lighting.

Shooting in a private, controlled area gives you more freedom to do shoots with NSFW or violent elements such as fake blood or realistic weapons, as there won't be anyone around to be alarmed, offended, or frightened, and you won't run up against public decency laws. You can also use messy substances, such as confetti, scattered flower petals, or liquids, as you can clean up the location after far easier than you would be able to outdoors.

When shooting in a public location, also make sure that everything you wear and do is appropriate for the public. Very skimpy outfits might not be suitable, depending on the culture of your area and the exact location, and should be kept to areas where they are more expected if you live in an area that's conservative enough to cause a problem. As mentioned above, also keep realistic fake gore and violence out of public shoots, and be sure that anything you bring to an outdoor location is brought back with you.

Lighting

Shooting indoors vs outdoors has a trade off when it comes to lighting: shooting indoors almost always requires an artificial light source (unless you are able to get adequate natural light from windows, in which case you are tied to the areas that the light can reach), but it allows you almost total control of that lighting. This allows you to use specialized lighting effects and to choose the direction, intensity, and color of your lighting. Outdoor locations, on the other hand, have the strongest light source available to us on earth already built in: the sun. The sun can provide anything from diffuse, even light to harsh, strong light, depending on the time of day and weather. A good rule of thumb is that lighting is best close to sunrise and sunset and harshest closest to solar noon, and that sunny days have harsher lighting than cloudy ones (clouds are nature's softbox), but if you want a particular effect, you can manipulate the lighting with external lights and reflectors. I highly recommend using reflectors on outdoor shoots to bring more light to the face and to fill in harsh shadows. Discuss this with your photographer if you are hiring one.

Location Permissions and Costs

Before doing a photoshoot, make sure you have permission to do a photoshoot in that location! This process will be different for different location types, and may vary depending on region. Anecdotally, West Coast US, for example, tends to be fairly lax about shoots in public locations, but East Coast US tends to have stricter regulations. This guide is largely USA-centric, since that's where I'm mostly familiar with, so check your own country's rules, regulations, and culture, especially if planning to shoot in a foreign country.

Links to other parts: 1 Location Types, 2 Discovering Locations, 3 Indoor vs Outdoor Locations, 4 Location Permissions, 5 Location Logistics

#cosplay tutorial #cosplay photography #cosplay help #cosplay tips #cosplay advice #helpful things

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thunderjawsandlightning · 1 year

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Power in a Name: Nil and Aloy parallels

I've been thinking about the inverse parallels that Nil and Aloy have with social dynamics with their names, and how it gives them a level of understanding that is completely unique to them and how they regard each other. It's something that is unspoken between the two of them, and yet mutually understood, and it gives a level of emotional depth that is immensely cathartic upon the acknowledgement of each other by name.

**spoiler discussion for Horizon Zero Dawn and Horizon Forbidden West**

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Aloy has only ever wanted to know her mother's name; there's connection and lineage and community in the name of your family. For so much of the "tutorial area" in The Embrace and the events leading up to the Proving, her name is not important to identifying her: she is simply known as "motherless" or "outcast" or both. Lansra wants to deny her even being given a name during the opening cutscene -- it's only through Teersa's kindness and calm, firm insistence that she be named facing the sunrise with a Matriarch's blessing.

Across the games, Aloy is given a number of titles from the various tribes: Anointed of the Nora, Savior of Meridian, Hekarro's Champion. All these titles laud her accomplishments and put her on a pedestal of respect; the complete opposite end of the spectrum to when she first interacts with the tribes.

To the Nora, she has gone from the lowest social status in the tribe as an outcast, to Anointed in one fell swoop-- given a sacred status of near-worship and unquestioned acceptance due to the belief that she has spoken directly to All-Mother within the Mountain. This sudden switch is so jarring for her, and also a stark realization that while she thought she was looking for acceptance, she never wanted it like this.

The Carja have always held arrogant views on the other tribes; their advancement in technology and their organized militarization have given them a distinct advantage over all the other tribes, and with it, a sense of superiority. Their culture and their religion reinforce the idea that the Nora are simply savages, with the upper classes seeing them unfit to even deign faux-civil conversation (as seen in the Hunter's Lodge). In the face of the oncoming destruction led by HADES and the Eclipse, Aloy's victory is seen as heroic and put onto both a figurative and literal pedestal in a display of zealous admiration for her accomplishment at slaying Helis, Terror of the Sun, and saving Meridian from certain doom.

The Tenakth, viciously protective of their land and people, are already disinclined to allow outlanders to walk their Clan Lands in the aftermath of the Red Raids. Fashav tells us that without proper right of passage the Tenakth would attack Aloy on sight, no questions asked, regardless of the importance of her mission. Following the Embassy, the events at the Bulwark, and the defense of the Kulrut, Aloy quickly gains a fearsome reputation and accompanying moniker of Hekarro's Champion -- again, a title of her accomplishments.

Throughout all of her journey, she does her very best to be known by her own name, not by any grand title or reputation of great renown, but simply as the huntress Aloy. She rebuffs most greetings of her monikers with "Just Aloy." in a clear and direct attempt to be met as a person instead of by the sheer force of her reputation as told by others.

So much of her life has been under the weight of other people's perceptions of who they think she is: a larger-than-life-figure, a mysterious huntress with second sight, a formidable warrior even by the standard of great warriors. Even her perception of herself in shadowed by the width and breadth of Elisabet's legacy and sacrifice. Is it too much to ask for her to simply be seen and known as herself, and just as that?

---

Nil, conversely, has been known by many names, most of his own choosing. Names are evidently important to Carja culture, as many have epithets or titles to indicate their standing or calling, like Mournful Namman, Studious Vuadis, Javad the Willing, or Well-Traveled Aram. Nil seems to shed names as easily as Aloy does armors, changing and adapting and letting go of past personas quite easily. A name to the Carja is connection, power, and reputation. As we meet Nil, he introduces himself and is then known by a name of his own choosing: one that literally means "nothing". Every name we know him by is one made to embody a new persona, with no connection to his lineage.

Upon first meeting, he introduces himself by telling Aloy to "…call [him] Nil." Notice the wording: "call". Not "My name is…" His phrasing is distinct and deliberate, and majority of the conversation you have with Nil after completing the Devil's Thirst bandit camp is vague in terms of his origins, skirting around clear details and speaking in obfuscated references to past events. Through Janeva, Warden of Sunstone Rock, we learn that "Nil" is not his first name, although it remains uncertain if he was known by his true name or another during his time at Sunstone.

ALOY: Do you know a…hunter…named Nil? He told me about this place. JANEVA:Nil? That’s what he calls himself now? Is he well?

2. To the Carja, he is known by reputation and rumour, war stories and whispers; renowned enough that he is recognizable by common Carja Guard, and feared enough that they do not speak his name. It is likely he was given some kind of moniker or a name of near-boogeyman-like status, given the prayer of protection the guard mutters after Nil offhandedly addresses them.

CARJA GUARD 1: Isn’t that…him? From the battle of the Daunt? CARJA GUARD 2: Can’t be. Cinnabar Sands was before that, and there were no survivors. NIL: Well, I don’t like to boast. CARJA GUARD 2: O Sun, keep the shadow from falling upon me.

He knows his reputation carries further than where he walks, and while he acknowledges its connection to him, he still would prefer to be somewhat removed in its association, of the elaboration and hyperbolic storytelling of past deeds and, perhaps, misdeeds.

3. Addressing the animosity held by the neighbouring tribes from the events of the Red Raids, there is one tribe Nil holds to a status of respect and equal regard: the Tenakth. He highlights a kinship and mutual understanding of the need for a fight and the desire of spilled blood; one that Fashav echoes as well:

"As you may have noticed, violence is the native tongue of the Tenakth. To survive, one must master it."

He sheds the skin of Nil the Bandit Hunter for Red Teeth the Racer, to meet the Rebel defectors on equal ground, to fight for respect on their chosen battleground the way Tenakth warriors of the past had fought their way into his respect with their martial prowess and skill. The name he gives them is, again, one he chooses, with no obvious attachment to the past, only embracing the change and growth that is to come with reinventing yourself. Nil chooses to be perceived by the world in a way that is not derived from or reliant on his family name, the heritage that comes with it, or the socio-cultural weight it carries to be recognized as Carja.

---

Aloy is given many names by the tribes and people she meets on her journey, but only wants to be known by her own name, to know her own heritage and lineage. In seeking that out, she is both empowered and staggered by the knowledge, and it changes her perspective on who and what she feels she has to live up to -- her tribe's expectations, her predecessor's hopes and wishes for the future world, her own expectations of herself. In the face of that knowledge, she doesn't leave herself the room to consider herself, but still wants to be acknowledged as an individual. Nil does so, and savours the knowledge of her name like a gift:

ALOY: …Nil? NIL: Aloy. They told me your name, I said hair like a splash of blood, tenacious as a Scrapper’s jaws. [Main Quest: The Looming Shadow]

Nil gives out new names to be known by --names of his own choosing -- in an act through which he is deliberately shedding the weight, status, and legacy of his birth name, leaving it behind. Instead, he transforms into a different version of himself, one unburdened by birthright and tribal ties.

RED TEETH: That was a well-earned win. One that merits speaking face to face. ALOY: Nil?!? NIL: You have to admit, I put on a good show. [The Stillsands Gauntlet race, Condition: Win]

Nil knows implicitly that he can share this secret with her -- the secret of his identity as Carja, a danger in hostile Tenakth Clan Lands. And Aloy still trusts him, still respects him, to keep his secret, even with the secrecy of his bloodied history hanging in slight tension with the circumstances and the environment he's found a home in. Even so, she still calls him by the name he asked to be called by:

ALOY: I’m glad you found your thing, Nil. Relieved, actually…I think.

And what a catharsis it is, then, to be known and recognized by the name you yourself value, by the only other person who could understand the weight and power in a name:

NIL/ RED TEETH: I’ll leave you to it. See you when you feel the need, Aloy.

#cor writes #cor's meta analysis #horizon zero dawn #hzd #horizon forbidden west #hfw #aloy #nil #hzd nil #hfw nil #horizon meta #no i will never shut up about this #they're parallels 👏 they're character foils 👏they're narrative reflections of each other👏#there's power in a name and names have power #but that's also another meta i will get to eventually

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