Love. Pride. Positivity.
Check out my side tags for my art, my hedgehog, and quick links to common tags I use.
My main fandoms are Overwatch, Marvel, LotR, Pokemon/Legend of Zelda/Nintendo.
My Battletag is HanzosNipple; message me if you want to play, or say hi if you run into me!
Tumblr Dashboard Image Display Sizes (Updated July 13, 2015):
Photo Post: 540 by 810 pixels for dashboard view. Use 1280 by 1920 pixels for high-res version (except for superwide panoramas).
“Tall” Photo Post: Tumblr takes a 300-by-810-pixel version of your image then stretches it by 80% using HTML height and width attributes to make it 540 by 1458 pixels. Image quality may be diminished. Aim for uploading at least 710-by-1920-pixel images in case Tumblr switches to a better image size on the Dashboard. (It’s happenedbefore.)
Photoset: 540-pixel width for one image in a photoset row. 268-pixel width for two images in a photoset row. 177-pixel width for three images in a photoset row. Gutters are 4 pixels.
Audio Post: 169 by 169 pixels for album art.
Link Post: 130 by 130 pixels for the thumbnail image grabbed by Tumblr from web link (if available).
Text Post: As of March 30, 2015, inline images can appear full-width (540 pixels wide). Any inline images that are 300 pixels wide or larger will display as full-width.
Avatar: 64-by-64-pixel icon next to posts.
How to post art without tumblr making it look like a blurry mess. I can’t believe this is a website made for posting images sometimes.
one of the most reblogged comics i’ve ever made is on my tumblr with half of it blurry as shit and the other half not so pay attention to this stuff :/
SHORT STORY/ONE-SHOT/ONE CHAPTER/COMICS 101 CRASH COURSE RAPIDPUNCHES’ STYLE
I’m NOT an expert but I have some working experience I can share. You need experience to become great. Here is my set of instructions, tips, and notes towards making a 12-page comic.
My method is to work backwards. Personally I work “backwards” because the end is the only wholly necessary page or set of panels in the story. Everything in between is open to editing and hacking as the most important moments are emphasized and chosen.
I even plan/draw the end page first. The end is the last page a reader sees- so spend your freshest energies on making it as epic, memorable, poignant, and beautiful as #$%^&.
If you draw the pages from 1 to 12 sequentially you run the risk of fresh to burnt out- an uneven distribution of drawing skill. (treat the first page and the 2-page splash as you would the last).
Roughly… the steps to making your comic is
WRITE
PLAN THUMBNAILS
DRAW
…BEGIN THE WRITING (DO NOT SKIP NO MATTER WHAT) like this, in this order:
How does it end?
Does the protag succeed or fail?
What is the turning point of their story?
What the protag do that led them there?
Where does it start?
Who is this protag?
EXAMPLE:
Guy gets mauled by a bear.
This is a fail on the guy’s half.
The bear must eat something or he’ll starve to death.
It’s the guy’s fault the bear can’t find other food. He caused the avalanche that buried all the cabins.
The guy is yodeling in an avalanche zone.
The guy is some guy.
CREATING “THE BEAT SHEET” Take the above stuff and reorder it to make sense.
This guy yodels.
Echoes roll.
Snow slides down.
Avalanche buries the mountain.
Cabins are engulfed.
This bear has no access to cabin food and garbage.
Bear eats this guy.
Expand. Blow up important beats for emphasis. Keep less important beats brief.
This guy is hiking in the snowy mountains.
He comes across an avalanche warning sign.
There is nobody around but him.
A dumb expression forms over his face and he yodels.
Echoes roll but nothing nearby is moved.
At the top of the mountain the snow drifts twitch.
Guy, satisfied, hikes away from there still yodeling.
Frozen snow cracks.
Snow puffs billow and great slabs of ice crash down the mountain side.
Guy sees this and hightails it to safer ground.
Animals, people, are all panicking and getting pushed over by the rushing snow.
Cabins are destroyed.
The guy takes cover by an outcropping of rocks, fastens himself securely to the rock face, and waits for the avalanche to die down.
Avalanche dies down.
A lone bear shambles over from the other side of the mountain.
The bear goes to where a cabin used to be (only roof tiles are left). Bear sniffs a dish satellite.
Bear forlornly eats a food wrapper.
Bear tries to dig.
Guy comes down from the rocks he as climbing and sees bear.
Bear stops digging and sees him.
Guy runs.
Bear chases him down.
Bear eats the guy.
BEAT SHEET COMPLETED!!!
After the beat sheet, write up all the sound effects and speech bubbles and conversation/dialogue you want to be in your comic.
Since comics are a visual medium, highest priority is given to the beats. If a story can’t be told with the art without the dialogue– you messed up and it’s time to rethink your life choices.
Try to keep all your text chunks as short as a tweet. Professionally you don’t want more than 25 words per speech bubble and no more than 250 words per page.
Next is translating the beats to pages…
STRUCTURE OVERVIEW:
[1] point of entry, in media res, hero intro
[2][3] conflict. establish conflict, setting, and mood by the third page. [4][5] rising action/false resolution to conflict/investigation
[6][7] turning point/plot twist/epiphany (this one epic image, to page spread is pivotal, spend a lot of effort into creating this)
[8][9] aftermath/“darkness before dawn”/struggle [10][11] recovery/“rise and conquer”/“fall”
[12] resolution/final end/cliffhanger
[front cover][interior] [interior][back cover]
——————–
My maximum per page is nine panels but I’ve seen pages that have way more. I like to have about 3 to 4 panels per row or less but I’ve seen the “rules” broken before. Advanced comic book artists manipulate time with the number of panels and the size of each panel.
remember, DIAGONALS!!! open up an issue of batman, superman, spider man, deadpool or whatever youre reading theyre everywhere.
———-
…DRAW IN THIS ORDER:
Page 12,
Page 6 and 7 (this is typically one large image that takes up the space of two pages),
Page 1,
and then the rest.
ONLY “DEVIATION” ALLOWED:
Page 12 and 1*
Page 6 and 7,
and then the rest.
*Draw the first and last page as a spread in situations where the beginning of the story mirrors the end of the story.
Cover is dead last.
———-
(If at the very end you find out you need more pages and it’s absolutely unavoidable and totally necessary you have to add them in fours. Try to stick to 12 pages for this crash course.)
——————–
FURTHER NOTES:
Plan and draw the pages in spreads (the twos) since this is how it will appear in print and when you submit them to an editor for review guess what, the pages with an exception to the first and last will be reviewed as spreads.
You at most only need one establishing panel of the setting and environment (scene) per page.
Forget “true to life” perspective outside of the establishing panel). Practice diagonal composition of objects and subjects within panels. For dynamism.
You don’t have to present the text all in one go (one paragraph or bubble). You can and should break up paragraphs, sentences, and if you need to single out words– to make smaller, more easily managed bubbles to scatter through the panel.
Less important moments have smaller panels and or lesser detail. More details (or more word bubbles) slow down time. More drawn detail also creates a concentration of values (it’s darker and sometimes combines together as one shape or mass)
Know your light sources. Control the blacks. Control the values.
I’m running an Introductory Animation Workshop with creative arts students this Saturday (August 20, 2016) for The School of Creative Arts Open Day at Melbourne Polytechnic’s Prahran Campus. I’ve rotoscoped and broken down some of the greatest dance gifs to their basic poses and we’re going to collaboratively design characters then MAKE THEM DANCE!!
Come down, check out the campus and say HI!
I can’t wait to see the weird animated goofs that result from this workshop, I’ll post them in a couple of days so we can all be in awe of their hilarious spontaneity!
“I know that the spades are swords of a soldier I know that the clubs are weapons of war I know that diamonds mean money for this art But that’s not the shape of my heart ”
had a few anons asking for tutorials lately and after trying to organise all the random half guides i’ve drawn up over the past few months into one tutorial i’ve just decided to clean up a few and post them separately. So he’s some really basic notes on constructing faces/proportions etc.
Anyone wondering why your animals are looking a bit off, this is really useful. Sometimes it takes a long time to realise that even amoung the same families of animals, spines and hips and leg structures can have nuanced or heavy differences, and taking note of them improves the look of each species immeasurably.
Face shapes too. And as shown down the bottom, knowing your anatomy helps you to make really fucking sick-ass cool mythical creatures.
Furry fox and neko on the street in Harajuku wearing handmade and remake fashion as well as items from Body Line, Shimamura, and resale shops. Full Looks
Yea it’s clearly our “generation that’s making homosexuality a trend.” Seriously, pisses me off when people say that. look at this! It’s always been around, it’s not a trend, it’s real. It’s beautiful.
These are really beautiful images.
History Lesson: In America from about 1700-1920 there was a social rule that said that women did not have a sex drive. According to men, all women ever were asexual and only ever had sex because their husbands wanted it and as a good doting wife they would open up for him. That said, lesbians flourished in this time! Because it was believed that women did not have sex, when two women would share a house and finances together (called a Boston Marriage, look it up!) nobody thought anything of it. Because clearly they werent homosexuals since clearly women were incapable of being independently sexual. The more you know!
