Watching Cap 2 on my PS3 :D Just bought the bluray yay~
The audio commentary is interesting.

Watching Cap 2 on my PS3 :D Just bought the bluray yay~
The audio commentary is interesting.

goddamnhella:

A post for the Winterheart readers!

See these? They’re Loki + his children coins, designed and minted by sandara. They’re possibly the most awesome Loki fan-thing I own right now. Cost me about US$20 each if I remember correctly. (Not available anymore, before you ask.) 

In my hand, they’re this size:

What does this have to do with Winterheart? Well, as most of you know, the end of the story is coming, and the idea that it could have a beautiful, limited release coin like this to go with it seemed too awesome to leave alone. And thanks to sandara and her genius, generous, coin-designing brain, it would be available for purchase by any reader who wanted one. (Hell, want one.)

So here’s my question: if there was a Winterheart-inspired coin designed and made available for purchase, would you buy it? Honest numbers are key here, as there needs to be a certain amount of real interest before this project could go ahead.

Please comment on this post or reblog it to register your interest. ♥

(via feikoi)

Tags: YES I WOULD

aleyma:

John Singer Sargent, Corfu: Lights and Shadows, 1909 (source).

aleyma:

John Singer Sargent, Corfu: Lights and Shadows, 1909 (source).

(via xfreischutz)

artrubzow:

Something I learned today. Hope it helps!

(via sadynax)

bluandorange:

stonelionhearts:

pARISA ffff i need those tags for accuracy help me

he does that wince-frown two other times in the movie; later in this same scene

and earlier in the film, during the conversation with Pierce in the bank vault. Yeah. That frown he does after he goes “but I knew him”.

That expression was 100% Bucky Barnes.

(Source: natashah-romanova)

storyshots:

Drawing from films

Drawing from films is a ridiculously useful exercise. It’s not enough to watch films; it’s not enough to look at someone else’s drawings from films. If you want to be in story, there’s no excuse for not doing this.

The way this works: you draw tons of tiny little panels, tiny enough that you won’t be tempted to fuss about drawing details. You put on a movie - I recommend Raiders, E.T., or Jaws… but honestly if there’s some other movie you love enough to freeze frame the shit out of, do what works for you. It’s good to do this with a movie you already know by heart.

Hit play. Every time there’s a cut, you hit pause, draw the frame, and hit play til it cuts again. If there’s a pan or camera move, draw the first and last frames.

Note on movies: Spielberg is great for this because he’s both evocative and efficient. Michael Bay is good at what he does, but part of what he does is cut so often that you will be sorry you picked his movie to draw from. Haneke is magnificent at what he does, but cuts so little that you will wind up with three drawings of a chair. Peter Jackson… he’s great, but not efficient. If you love a Spielberg movie enough to spend a month with it, do yourself a favor and use Spielberg.

What to look for:

  • Foreground, middle ground, background: where is the character? What is the point of the shot? What is it showing? What’s being used as a framing device? How does that help tie this shot into the geography of the scene? Is the background flat, or a location that lends itself to depth?
  • Composition: How is the frame divided? What takes up most of the space? How are the angles and lines in the shot leading your eye?
  • Reusing setups, economy: Does the film keep coming back to the same shot? The way liveaction works, that means they set up the camera and filmed one long take from that angle. Sometimes this includes a camera move, recomposing one long take into what look like separate shots. If you pay attention, you can catch them.
  • Camera position, angle, height: Is the camera fixed at shoulder height? Eye height? Sitting on the floor? Angled up? Down? Is it shooting straight on towards a wall, or at an angle? Does it favor the floor or the ceiling?
  • Lenses: wide-angle lens or long lens? Basic rule of thumb: If the character is large in frame and you can still see plenty of their surroundings, the lens is wide and the character is very close to camera. If the character’s surroundings seem to dwarf them, the lens is long (zoomed in).
  • Lighting: Notice it, but don’t draw it. What in the scene is lit? How is this directing your eye? How many lights? Do they make sense in the scene, or do they just FEEL right?

This seems like a lot to keep in mind, and honestly, don’t worry about any of that. Draw 100 thumbnails at a time, pat yourself on the back, and you will start to notice these things as you go.


Don’t worry about the drawings, either. You can see from my drawings that these aren’t for show. They’re notes to yourself. They’re strictly for learning. 

Now get out there and do a set! Tweet me at @lawnrocket and I’ll give you extra backpats for actually following through on it. Just be aware - your friends will look at you super weird when you start going off about how that one shot in Raiders was a pickup - it HAD to be - because it doesn’t make sense except for to string these other two shots together…

(via bluandorange)

I added the Captain America: The Winter Soldier chibis to my Redbubble shop!

Come buy them as stickers?

maruti-bitamin:

Watercolours I use the most. Inspired by @muttiy ‘s colour chart (also one acrylic gouache)

(via sadynax)

Look at the minimal amount of drawing tools I have brought to the office with me today.

Look at the minimal amount of drawing tools I have brought to the office with me today.

luxio:

tries to do things: becomes overridden with anxiety

doesn’t do things: becomes overridden with anxiety

(via enrychan)

Tags: yup me sigh