I did it! I did the thing!
Well, a portion of the thing. Here’s about 40 seconds of my reboard of Let It Go (aka all of tonight’s work). Done with ball-point pen and white out on index cards.
NAGAKIN CAPSULE TOWER
Architect : Kisho Kurokawa
Location: Tokyo, Japan
Start Project : 1970
Project Complete: 1972
Aida showed me this cool trick a while ago and its turned into a HUGE staple with how I light things now! Gradient Mapping in photoshop is a subtle way to change the colors in your work and works just like a photoshop mask layer! Meaning, you can change the transparency and how much of what part gets the color influence.
Gradients are also 100% customizable but photoshop is programmed with a few core staples for dramatic and vibrant lighting. The key is finding the saturation you want or like for the art you’re working with! I cant really teach that. 8D
hope this helps others! Play with your lighting!
This is as close as you’ll get to a tutorial by me, a tutorial by someone else about a thing I showed them!
snoca asked: I saw you were discussing how to balance pacing, readership, and a full-time job when making webcomics, and I wanted to point out someone who I think manages it pretty well. Ashley Cope's webcomic Unsounded works when read in one go and when read along her update schedule, which she maintains by updating regularly until the chapter is finished and then taking a scheduled hiatus to manage her buffer. Do you think that sort of model would work for Platinum Black?
It wouldn’t work for me, no, I’ve already stated how I plan to release the comic, in short sequences so the full scenes can play out at the pace I want.
And while many comics do manage to make enjoyable updates that also read well in an archive, they undoubtedly read differently depending on how the reader consumes them. For example, I’ve been following TJ and Amal for something like four years now, it reads very well in the weekly updates and very well as a collected paperback. However, the sense of scale of the trip is completely different when you read it all at once. When you’re following the updates it feels like they’ve been traveling together for months because you’ve been reading about them together for years. Then when you read the paperback in one sitting it’s very apparent they’ve been together for all of like three days. This can work for or against you in the sense that on one hand it makes your story seem bigger and more impactful but on the other that feeling sort of like everything is moving in slow motion can mess up readers’ sense of gravity. Like, if you’ve been reading TJ and Amal for years you might start feeling like they’re an old married couple and wondering why TJ isn’t professing his love to Amal from the rooftops, but if you take a day to restart it from the beginning in one go you realize “oh yeah it hasn’t even been a week that would be super weird”.
I find this same sort of thing is true in animation, it’s like you’re analyzing movements in hyper slow motion and you make all sorts of executive decisions about what parts of the action you want to emphasize and make all these very lovely drawings, but then when you play it back at speed it feels like things are all moving too slow because you got too absorbed in the individual frames and overdid it. It’s a very common problem with student films that everything moves too slow and nothing really pops because everyone is still figuring this out for themselves, It’s all about that sense of scale.
T.O.P - Unpublished Photos for Elle (Aug 09) Magazine!
REMINESCENCE | Sasha Marini and Aurelien Muller by Brice Hardelin for Vangardist November 2013
(1) Zara suit, shirt and tie Smalto (2) Smalto, scarf Zara
(3) vest Smalto, Zara scarf (4) Smalto, necklace Zara
accessories: unnamed shop