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#composition with circles and lines
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Modern Art GIF By Kev Lavery
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kadoodles-on-ao3 · 1 year
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Thought it would be fun to share that for Christmas my bf got me a custom-made Xenoblade-concept-art puzzle and we're working on it together :)
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pendragora · 9 days
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Placing Dimensions and Eye Directions Analysis for Season 2 Posters
Disclaimer: before we go forward, I want to remind everyone that I am a random person on the Internet and this is a simple interpretation that I created using my knowledge on composition, dimension plains and perspective in drawing. If you choose to add input – please, be respectful about it, it’s an open discussion; as the creator of this take, I am not going to take any insults, hate or negativity over a simple fandom post, so be warned that I will block such on sight. If you find my ideas and analysis unpleasant for your perception of the characters – please, disengage and feel free to block me as well. Let’s all be civil :))
In this post I will talk about the placing of each team individually, towards team members and then each other. Along with that, I will be analysing characters’ poses and line of sights for each of them individually since it is telling a pretty compelling story. As a reference I will be using a merged image of all posters together in one (credits to @liv-cole for the image that I saw here and @ara-meyy for showing it to me when it first appeared on Reddit)
Let’s first take a look at Team Green and their stance:
The far back is taken up by Criston Cole and then Aegon on the Iron Throne. First and foremost, the farthest in the whole plain. He does not line up with anyone in the picture and his placement makes the most sense – in the canon of next seasons, Criston will take the position the Hand, which does put him so close to Aegon with his sword at the ready. He the final line of protection for the king, however, his eyes are not directed to the side – in the direction of Team Black.
However, he is placed slightly behind Aegon and his throne. His eyes are also looking forward at the angle that makes him look beyond the banner of Team Green and, in order, is directed at Aemond, not Team Black. The sight is not the one you would describe as of certainty. I could go off about the shot being not the most pleasant, but I could also theorise that Criston’s sight is telling us about the caution with which he could potentially treat Aemond in further seasons.
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Aegon’s position on the poster is slightly closer to the viewer than Cole’s but still is further than Aemond’s or Alicent’s. His figure is quite interesting and, in all honesty, contrasting to what we saw in the sneak-peek of the second season. He looks both relaxed and tensed on the throne. The general language of the way he is seated is aloof, he is not wearing his crown, but is holding it as a window into his future. He comes off as the transition period between the man we saw in the sneak-peek and the previous season. He is tensed by his duty, by the Iron Throne, but his hedonistic nature has not left him yet.
What is most interesting is his line of sight. If we look at his eyes, they are not directed at anyone at all. They go straight throne the circle of his crown and off into the distance. He is not on the same field to look at Rhaenyra or anyone else. His look is one of absence. Being the king on the Iron Throne, he is isolated from the conflict by his posing. The reasoning for it might be 1) his transition period into an active participant of war (before Blood and Cheese), 2) his present reluctance to be in this conflict that was established in previous season or 3) mostly his absence in the season after his character goes through dragon fire. Perhaps, we would see more of his struggles as the king and, if lucky, even the progression from an unwilling heir to the king that takes charge and makes decisions.
Interestingly enough, his line of sight goes beyond all of Team Green members and out the frame before it reaches Team Black members. If it is not his future he is looking at, it is like a prison cell’s window at the freedom he could have, perhaps?
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Next comes Aemond, who is in the most front of the picture. What’s important to note here, his figure is the closes to the viewer and is actually on the same dimension field as Rhaenyra. He is stood between her and Aegon which makes sense since Aemond will be a driving force of the war (which also affected the number of episodes we will see him in). He is not the focus of the conflict, but he is the line of defence for his family and a force to reckon with. His hand is above the hilt of the sword, he is at the ready to draw it and, unlike Criston, his stance is not cautious but confident. He also has his lip corners up in the poster, enjoying the thrill of war, the hold of power that he has.
His line of sight is directed straight into Rhaenyra’s face, not anyone else. She is his primary concern or, perhaps, a target, because she is the main threat to his family and his brother’s ruling. Among his team, he looks like the most natural and merged into his role of protector. Note that this does not oppose Aemond and Rhaenyra, and, if it does, it is a one-sided conflict in which Aemond is involved while Rhaenyra is not an active participant.
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The last in Team Green and the closest to Team Black is Alicent.
It is clear why she is stood in front of everyone in the team, but she is much further in the background. The placing of her dimension makes her stand a layer above Aegon but two layers deeper than Aemond. She looks reserved and worried, and such placing shows that she is not Rhaenyra’s main opposition. She, as was shown in the previous season, would stand in front of her kids to protect them, which places her front-line in team’s order, but it is no longer her conflict, no longer a rivalry between her and Rhaenyra. Unlike the book version, show!Alicent is not the mastermind, but a scared and devoted to her cause mother, and when the time comes for war – she gives way to her children (being placed in the background) but still shows that she is present and protective of them (being the first in line).
Her eyes are terrified and teary, looking at Rhaenyra. It shows very well her stance in the show, that her motivation was the fear for the life of her children before Rhaenyra.
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Now off to the Team Black.
Since we are going from left to right, I’m going to start with Rhaenyra, who is also the representative of Team Black.
Surprisingly so, her and Alicent have similar poses, but the position translates a different message. While Alicent is one of resolve and acceptance of her position in the background, Rhaenyra’s pose is showing her leadership. She is showing herself as the queen in this poster and, it is really hard to miss, but in a way her stance reminds me of 8th season Daenerys (I personally dislike the parallels because I think Rhaenyra would be better off as a stand-alone character, but hype train is a hype train).
She stands tall, she wears her crown, she is dressed as a ruler and as a dragonrider. What is interesting, though, is that her line of sight is directed forward. Since she is on the same plain as Aemond, they both are the closest to the viewer and share dimension, she is not looking at him. She is looking forward, past him. My ideas for this are 1) she is looking at the Iron Throne in the background, not even Aegon, but the throne itself; 2) she is looking into the future, since, in Western culture, the idea of looking forward is associated with the future. Her sight shows determination and readiness for battle or her looking forward for her victory. The entirety of Rhaenyra shows here that she is the rightful heir in her own eyes and she is going to take what is hers.
The idea that her sight goes through both Aemond and Aegon and ignores them, in a way, reinforces the narrative that they are irrelevant to her, they are not the threat and, because of that, be the things the other way, she would not have them executed because they simply do not matter to her this much. It is not a battle between her and her siblings here or her and Alicent, but it is a story about her battle for the throne, as it seems.
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What also caught my attention is that both Daemon and Alicent stand distant from Rhaenyra, practically within the same distance from each of her sides. It is purely my take here, but perhaps it is showing the relationship that she lost or is going to lose (given the rift that awaits her and Daemon?).
Now moving along to Daemon. Personally, I expected him to placed closer to his queen, given the establishment of their relationships, but in the poster, he is one a layer deeper into the background than she is. His overall posture of, not protectiveness towards his queen, but rather protectiveness of himself gives mixed signals as if it is not him being Rhaenyra’s shield, but her being his. Given what happens in canon between them, it might be foreshadowing.
However, what drives the point is his line of sight. He is looking up and forward, and, unfortunately, the way he is placed behind Rhaenyra makes it seem that his eyes are directed not at her, but at the crown. His general expression is not of a man that is preparing to protect his loved one, but one of a man who is scheming a way out for himself, there is a fleeting concern and calculation in the way he looks. For the sake of not hurting anyone’s feelings, it is purely my take and my reading of his character in the poster, take me as biased.
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Daemon is ready to strike, but strike who?
Following figure is Rhaenys.
Rhaenys has a reserved pose and a look that is peeking at someone or something. Given the background from the show, there isn’t much to say about her in the poster. She strikes me as an unwilling participant of the war, but a participant that is going to do her bidding and show her strength. Rhaenys stands tall, truly like the Queen Who Never Was, and her stance shows that she will be a force to reckon with too, considering she is a dragonrider and a skilled one at that.
Her eyesight can indicate two things: she is looking forward, with a tilt of her head, which potentially places Alicent at her line of sight. It makes sense in a way given their confrontation in two instances in a previous episode. It feels as if she, as a mother who lost both of her children, asks her how far she is willing to go to protect who’s dear to her. It feels like in this there is a conflict of two mothers that is established: the mother that lost everything and now fights for what is left of her children (since Baela and Rhaena are indirectly pulled into the war as well) and the mother that will lose everything in the future. Alternatively, Rhaenys could be looking at Aegon and the Iron Throne, but at this point of her development as a character, that makes little to no sense.
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Lastly, Corlys. Just like Aegon, he looks isolated from the conflict, but for different reasons. Initially, I had a thought that he was looking forward, and, considering that he takes place further in the background than anyone on Team Black, he could be looking at Aegon and the Iron Throne, but upon close inspection I concluded that Corlys is most likely looking outside the window. It perhaps is foreshadowing for him later on searching a way out of the conflict or out of the list of Rhaenyra’s supporters.
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Now, to the parallels between the characters.
Aegon and Corlys are literally the last men standing of both their teams – both on the poster and in canon. They will be the last surviving men of their respected teams, having only Alicent outlive them both.
Daemon and Aemond being opposed only by their placement as the second from the centre of the poster – perhaps, a foreshadowing for a battle that they will clash in; Aemond is looking forward and, like in canon, anticipates the fight and goes in confidently while Daemon is looking out for himself specifically and does not acknowledge Aemond as a threat for himself.
Rhaenys and Alicent – a conflict between two mothers that already lost everything or will lose everything, the Queen Who Never Was and the Queen in Chains, both trapped in this conflict because of their children or what is left of them (grandchildren).
Aegon and Rhaenyra and the way they treat their role – Rhaenyra merging into her role as a queen and wearing her crown proudly while Aegon looks through in as if a window outside his prison.
Overall, the teams display different attitude.
Team Green looks like a well-established line of defence around Aegon: his Hand is by his side; his brother is the main force of protection and then his mother who would sacrifice herself to save him. Their placement is to protect Aegon from the threat of Team Black.
Team Black appears, to say the least, not as the protection for Rhaenyra, but people who hide behind her, which surprised me. It looks rather fickle, with Daemon and Corlys being anywhere but present to protect their queen. They also form a perfect line from the back to the centre that shows that it is not only Rhaenyra’s fight, but it is also not them fearing Team Green, but having a goal to get back the Iron Throne.
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mishapen-dear · 5 months
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rough art tips to learn and then break at your leisure.
the distance between your eyes is roughly one eye. the corners of your mouth dont extend past the middle of each eye. ears are roughly in the middle of the tip of the nose and the eyebrow. the eyes are in the very centre of the head. the neck is just a Little slimmer than the width of the head (varies with fat distribution, but fat tends to build up under the chin). hair is easier to draw when you plot out the hairline and then where it parts. leaving appropriate distance on the side of the face (cheekbone area and back to ear) contributes to making characters look more realistic/hot as hell. i dont know specific tips for that so use reference. an amazing reference/study site is lineofaction.com . if you think of the face in planes it makes it easier to construct (look up tutorials). if you draw a spiral like a tornado it can help you figure out awkward perspective for extended limbs (look up foreshortening coil technique). tangent lines are when two lines intersect and cause visual confusion (when it looks like a line that defines an arm is part of the line that defines a building, for example) and avoiding them makes your art way easier to comprehend. quick trick to good composition: choose a focal point (where you want your viewer to focus), detail that area the most, and make sure various elements of the piece are pointing to that focal point. you can use colours to contrast hue, saturation, and brightness and make certain elements of your drawing stand out. drawing in greyscale can help you figure out values. using black in a piece isn't illegal but you should know what you're doing when you do use it- it desaturates a piece and if used as a shading colour can desaturate and dull whatever youre shading too. if you use almost-black lineart and then add black to darken the very darkest areas it will do a lot to add some nice depth. the tip of your thumb ends just above the start of your index finger- your thumb also has two knuckles and all your other fingers have three. if you see an artist doing something you like (the way they draw noses or eyes or hair or anything else) you can try to copy that and see if you want to incorporate it in your style <- this is ENCOURAGED and how a lot of us learned and developed our styles. there are ways to add wrinkles to faces and bodies without making the character look a million years old, you just have to keep experimenting with it. The smile wrinkles around your muzzle dont connect to your mouth or to your nose; there should be a small space in between smile or nose and the wrinkle line. eyes when viewed in profile are like < aka a little triangle shape. think of the pupil like a disk and apply foreshortening to it (it looks like a line when seen from the side instead of a full round dot). subtle gradients can add a LOT to a piece. texture can also add a LOT. look up Tommy Arnold's work (his murderbot pieces are some of my FAVOURITE) and zoom in. find those random little circles he added and try to figure out why he added them there. light bounces. there's lots of way light bounces. sometimes it even spreads through the skin. i do not know these light tricks yet but i want you to know that they exist. draw a circle to indicate hand placement, draw a straight line between that circle and the shoulder, and then (normally at a right angle) draw a straight line on top of that line to find the placement of the elbow. elbows are normally placed Just above the hip when standing and your arm is at rest. there are no bad colour combos if you're brave enough about it, just fuck with the saturation and brightness until it works. keep playing. try new things. add your own tips to this post if you want or even expand on some ive mentioned here. good luck go ham etc
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thefandomlifechoseme · 4 months
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consider:
professor!Jaskier, who teaches in the winter, and travels with Geralt in the summer.
it's winter, jaskier's got to oxenfurt in good time, his students are polite and attentive, and they've been going missing. not many, and not often, but alice didn't turn up to that guest lecture she'd insisted she'd be going to, peter hasn't turned up in a week, and catherine never came to that meeting the other day.
his colleagues think it's some monster. he has to talk them out of hiring a witcher, citing the fact that they don't know what it is, witchers don't take contracts on people, and, oh yeah, it's winter. the only witchers currently available for hire are the Cats, and it's incredibly unlikely that their caravans will stop by oxenfurt.
now, jaskier's been travelling with his beloved emotionally-constipated witcher for a fair few decades now. it might be a monster, some necrophage, or a werewolf. but it probably isn't. there's a reason witchers don't work in winter, and it's that monsters hibernate. and besides, the dates that the students went missing don't line up with any particular cycle, lunar or otherwise.
they do however, line up with the dates for a fae festival. now, jaskier isn't saying that the fae did this, but the fae did this.
so, he checks the next relevant date, sends a letter to yennefer, triss and one for when geralt hits the path again, as a precaution, because he's not an idiot, no matter how he likes to play the part.
he brings an iron dagger, enough food and water for 2 weeks, his best lute, his composition notebook, his path notebook, and, begrudgingly, some of valdo's less terrible works and a few of essi's latest ballads, because they have different styles of performing, and he waits outside that mushroom circle he found a few years back.
he hopes that they're only after some music to live their festival up.
(they are, thankfully, and, aside from all the word games, mind games, and actual games, it's fairly easy to get their leader to sign a contract with him stating that they will play at this festival and his festival alone, they may, willingly play at other festivals if they choose, that they're all free to leave after the allotted dates for the festival are up, and that this contract will be good for 1,000 years irrespective of any changes in leadership, with him personally, and that any changes to the contract must be verbally, and explicitly signed by all the people involved in the signing of the contract.
it's actually fairly entertaining.)
(yen and triss have a go at him later, of course, and geralt has him go over all the loopholes in his own contracts for their next five years on the path, supposedly to help him get the most money he can, but they both know it's so he doesn't accidentally leave a loophole in any other contracts he might make with the fae. but it's out love and relief, more than anything.)
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tomlinfonda · 7 months
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"Why are artists so butthurt about AI art? Horse carriage drivers didn't complain when they invented the car, they were just grateful that the technology evolved and made it easier to get around."
Art is not a carriage, it's not a vehicle. Its purpose is not to be efficient, to do a practical job with as little effort as possible. Art is not something that can be automated, because its artistry lies in the humanity of its creator. Art is wonderful, from a baby's first drawing, inexperienced and unskilled, to the paintings adorning the ceiling of the Sistine Chapel.
If you consider yourself an AI artist, I ask you: are you proud of yourself when the computer has completed another image that you will claim as yours? Do you look at it and feel the joy of having created something?
Does the generative process teach you how to see the world better? With every image created, do you evolve? Do you understand the planes of the face better now than 1000 images ago? Do you know what rim light is, and where to put it? Do you understand light sources? Tones? Could you take a piece of paper and shade a portrait by yourself?
"AI software is just like Photoshop or Blender, the next step in artistic technology".
It's not though, is it? A digital artist uses a pen to put colors on screen, chooses where to put each brush stroke, when to smudge or use the liquify tool. A 3D sculptor manipulates basic shapes into characters just like a traditional artist molds clay. An AI "artist" doesn't make any of the thousands of choices that lead to the creation of a real piece of art.
"But art is hard, and I'm not good enough."
Neither am I! Man, I'm not the worst artist in the world, but I'm not great, still not at the level I would like to be. Sometimes I draw something and I look at it and realize that it sucks ass! Sometimes I post a drawing online and realize that I drew a character out of proportion, that the light source is not consistent, that I've shaded outside the lines! And you know what's great? That I get to have an understanding of what I did wrong! I get to evolve! I redraw something from 5 years ago and realize that my composition is much better, my shading more believable. And I know that in 5 more years, I might redraw it again and pride myself in how much I've evolved.
I've been drawing since I was a baby, and I still have a long way to go. And that is also fine, because art is a lifelong pursuit, growing, changing, just as I am.
It's okay to not be good. Hell, it's okay if you don't even try to get better. By drawing, you WILL. It's inevitable that, by practicing, you'll learn.
You know what will not make you a better artist? Software that will generate your "art" for you. The result might look more complex than what your skill level allows you to create right now. But it doesn't look better. You could draw a crooked circle on xerox paper and it will look better than all the AI art in the world. Because you made it. Have some faith in yourself. Your vision has more artistic value than what that computer generated.
"If you're afraid that AI will steal your job, learn to draw better!"
I'm trying. Are you?
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iztea · 3 months
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How do you get the ideas for your backgrounds?
mmm ideas.... sometimes i draw the background directly from a photo reference (the happy case) so there's not a lot for me to change and i can have a rather peaceful painting process
othertimes, the BG is tied to the subject/concept/scene I'm thinking of, so it only makes sense that i have that as the background
for example, for this fem skk art, i knew i wanted to have chuu kneeling in a crater after destroying a city so drawing that background was just a logical follow-up because i already had the entire idea in mind
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Here, I wanted to have Akiangel sit on a building, watching over the city. The ominous sign with "the day of salvation" and crow came later after I found this picture on Pinterest, so they helped further develop the concept, but the main idea was there and so on
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The third background option happens when my painting doesn't depict a certain irl scene or landscape, nor do i have any particular references i can use. In that situation, I first and foremost think about the general composition, the shapes, how they flow with each other, how I can tie them to my main theme and what sort of symbolism or little easter eggs i can throw in there just to keep it fresh and interesting for the viewer ( aka the person reading this aha ;;) :-* )
For this piece, i started with a big circle for the background, and then I started breaking it up in pleasing, cloud-like shapes and swirls that constantly keep your eye moving around the picture (i mean hopefully lol). The composition was inspired by a) Dazai's Mayoi card ofc, that trad Eastern illustration style with the circle and then branches of trees, and also .. kazuha's splash art ok i admit it bshsj
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for this one, the roses came much, much later. Again, I added that sort of golden arcade to better frame the focal point or the main subject of the scene which was ofc her face and/or outfit. Then, since it still felt rather empty, awkward, and directionless, I tried finding a pleasing, spiral line that would compliment the already existing shapes and that would, again, move your eye all around the composition. I figured since her outfit already had those small roses stuffed in her belt, those curvy lines could become some bloody, spikey roses and boom! here are the theme and elements for you: blacks-roses-blood-deadly-sharp-gold etc. I then had her crush some of those roses in her right (ik it's the left hand shut up) hand to balance out the busier left side
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and a last example, sometimes I draw multiple character poses in one piece and they sort of become my background. Yet I still have some blank spaces left so i gotta figure out a way to fill them out. Here, since the pose where he's all curled up was inspired by the TDIPUD light novel, i drew him as a "corpse" in a pool of blood, and contrasted it with some nice flowery-ish patterns and swirls that sort of come from within that bloody mess ( someone also mentioned it looks like a womb which I found very interesting as well ). The cats also helped fill out the space. On the left side, i added that swirly black sun that drips into three squares that gradually fill up with straight blackness and raindrops falling below inspired by the "a conviction that the sun will never rise again" line. I don't think I should go into detail with the symbolism cause it's pretty obvious and not that deep so i won't but yeah, and that's my BG all filled up!
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I do this with most of my BGs, it's mostly just abstract shapes; I'm very fixated on making the overall composition look okay and for the piece to send a message ( most of the time ), so i don't think of backgrounds as a separate entity, they are part of an already existing idea, generally speaking.
This kinda turned into a composition discussion midway......... sorry about that....... To be completely honest with you, I have plenty of BG ideas, they kinda just spawn in my brain so i'm not exactly lacking in that department. Having to draw them and finding refs is the hard part for me
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esmiara · 10 months
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How do you come up with your poses? They all seem so cool and I struggle with coming up with anything/finding references.
Posing huh? This is quite an interesting topic so let's have a real talk about it. Though it won't obviously cover every single details there could be and explanations may be sloppy, I am no real art teacher after all. By the way I apologize in advance if there is any messy spelling or grammar mistake as english is not my first language.
To begin with, let's say the key words here are force lines, simplicity and body langage. Anatomy is a whole another topic so I won't talk too much about muscles and bones, as we are mainly here for posing.
Firstly, what are force lines? To put it simply, a force line is the core line guiding the figure's movement but also the whole composition, thus also guiding the eye itself toward (or away) the most important parts. With shipping, Soukoku in particular (since they have different temperaments), I like to have two lines that complement each other, via either inner or outer curves.
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But those are whole compositions and we're not in a composition class either. However, when it comes to a single pose, the same principle can be applied. This force line can guide your whole body and even become your literal spine. As the spine is the most essential part of the human body (and non-human living body), it will act as the central part which the rest will follow naturally. Don't be shy and use a stickman for your overall structure! If you have a hard time simplifying the overall movement of your figure, try drawing it in a smaller size first. It doesn't matter if it looks ugly, you'll clean it up later.
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If you're still struggling with your understanding of structures, try to decompose a reference picture (go check Pinterest, it's a true gold mine) with simple lines to determine where and how are positioned the spine, ribcages and main bones then transpose it to your own drawing as a guide.
"But how do I get those dynamic lines and cool curves??", you may ask. Well, have you tried figure drawing and more specifically gesture drawing? You can of course take a class with a nude model (they don't bite don't worry and you will focus more on the art part than the nude one), but you can also do so with tons of videos, pictures and even websites such as Line of Action, which allows you to have a custom built-in timer when drawing. To have only a mere 30 seconds to draw may sound terrifying but trust me, it's not that difficult. The point of drawing a whole figure in 30 seconds (or more) is to force yourself to simplify and avoid to focus on unimportant parts that aren't essential to the overall understanding of the pose. This will put you in a focused state of mind as well as training your hand muscles (this is a great warmup exercise). Feeling a bit uncomfortable on your wrist or feeling like you can only do tiny strokes one at a time instead of big elegant lines? Well firstly... stretch your wrist regularly, drink water and stop drawing every once in a while, this is very important, may you be a beginner or a professionnal artist. Secondly, try drawing on a bigger format! It will train you to use your elbow and shoulders to draw big lines more easily, like getting a bigger compass to draw a circle. I for example draw mostly with my elbow and shoulders, even unconsciously, as this is way more comfortable for me.
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That's great we are talking about a lot of technical stuff. But what about the actual drawing you want to do? Well first, you need to decide which feeling you want to convey. Is it a scary scene? A gentle one? What do you want to depict? Is there something in particular you want to focus on? Something is needed to act as the solid base and this applies to everything, not only posing. Let's take a look at some examples with what we have seen with force lines and see more of the thought process behind my own poses.
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And that's about it of what I'll tackle in this single ask ahah. This is basically a lot of brainstorming and thinking as well as taking inspiration from how real life people move, especially when it comes to body language. I took it a bit too seriously but I do hope it was of some help!
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cocogum · 10 months
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The three missing zoldycks.
It has been a widely known fact that Maha is the most unknown zoldyck in the bunch. Which I find that assumption to be actually false. Granted, the guy is a mystery just as much as the Dark Continent itself but he’s not the only one in the family who is deemed as mysterious. All we know about the guy is that he’s stand-offish, is an enhancer according to the Hunter’s Guide and doesn’t frequently interact with his own family.
Besides him, we also have Zigg Zoldyck and Zeno’s wife. Yes, Zeno’s wife has been mentioned only once, very early in the story.
When Gon, Kurapika and Leorio get on the tour bus for Kukuroo Mountain, Coco Loo (the bus guide) mentions that the family currently consists of five siblings, the parents, a set of grandparents, and a great-grandfather.
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We know Maha couldn’t have possibly been the great-grandfather of the family because in this small diagram made by Zeno, we can see Maha positioned above the great-grandfather which makes him the great-great-grandfather of the family instead.
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Maha is not only NOT mentioned in the numeration of Coco Loo but his position in the family relationship diagram being labelled as “basically untouched” encourages the fact that he is laid aside from the family.
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As for Zigg, he has been mentioned by Coco Loo’s numeration as the “great-grandfather” and Zeno’s wife as a set with Zeno when Coco said “a set of grandparents”. Coco Loo has also specified in her explanation that the composition of the Zoldyck family is a recent one meaning that the members she just enumerated are currently alive.
Maha’s existence and place in the family has strangely not been stated by Coco Loo almost as if he wasn’t even alive to be mentioned and yet, we saw him fully active and well when he joined Kalluto and Illumi’s assassinations of the Ten Dons.
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Whether it was Maha’s choice to be cast aside from the family or not is up for debate.
When it comes to Zigg, all we know about him is that he was the one responsible for bringing the calamity Ai from the Dark Continent back to the known world which must’ve slowly gained consciousness as the generations went one by one. (For this topic, I considered Zigg to be the great-grandfather of the family since he seems pretty young in this panel while Netero is an old man compared to him.)
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We don’t know where he currently is, all we know is that he is still alive but NOT present in the zoldyck family relationship diagram.
As for Zeno’s wife, she remains a complete enigma.
We’re 400 chapters deep in the manga and we don’t have a clue on who she is, how she looks like, where she is, what is she like and especially what is her connection with the family. Not only that, but she is such a mystery in fact that we don’t even know her name or her relationship with her husband Zeno. You’d think that for being the grandmother of the family you’d have a place in the zoldyck family relationship diagram and yet she’s nowhere to be found. She doesn’t even have a circle of her own with a heart line directed towards Zeno like how Silva and Kikyo’s line looked. All we know about her, is that she is alive thanks to Coco Loo’s explanation of the family composition.
So in short, here are the three missing zoldycks ranked from the most mysterious (1) to the least mysterious (3).
1. Zeno’s wife
2. Maha Zoldyck
3. Zigg Zoldyck
(I chose to rank Zigg as the least mysterious zoldyck since we know more things about him than his other vague relatives like who his allies are and what he accomplished.)
PS: Also I should mention that Zeno’s wife’s silhouette in the anime doesn’t count as a hint on what she could look like since the manga never showed her design.
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hipstafootprint · 7 months
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Composition – Brick, Circle, Line, Shadow · Duisburg · 2018
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arabriddler · 7 months
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Or how I fudge and find out my way through making digital paintings.
art program used here : Procreate ( but the method can be applied to other programs )
original painting time ≈ 3 hrs
*note : English isn’t my native language in case something is confusing or wrong. Don’t hesitate to ask for more details regarding anything
**more important note : take breaks, drink water, don’t push your hands too hard.
Base
I start off by sketching where the bodies and objects are. Nothing too detailed. I’m just arranging stuff around and figuring out sizes. You shouldn’t spend too much time in drawing this and they shouldn’t be detailed so you can easily move the elements around without exhausting yourself beforehand ( also to avoid getting bored when you’re just starting.
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composition is a little complex to figure out but for this one I made the characters around the middle point to create some sort of guide for the observer’s eye movement.
2. Initial sketch (optional)
I usually make one sketch for a drawing unless it has little details or elements I’m not used to drawing. For this one it was figuring out the clothes and the details on them. Again, don’t pressure yourself to make this look perfect or right. You’re just figuring out where things are.
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As you can see, the sketch is pretty rough, not all the details on the hands are drawn. The eyeliner are still there and the chair is just a shape. Lots of lines are overlapping and.. you basically get the idea.
3. Second (final) sketch.
I wouldn’t call this a lineart. Linearts are more careful, less rough, cleaner. I like using sketches more than linearts because I like the rough sketchy texture they provide, and also it’s less restricting boring for me personally . Although we keep in mind this is the drawing we’ll color. So we’re more careful about it. I draw the details and clean the sketch.
also don’t be like me, I forgot to draw the cane here and was upset about it :(( didn’t notice till days later. But also sometimes I do change things here. This one wasn’t on purpose though.
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it’s important here to avoid chicken scratch by using less strokes. For example. Instead of drawing a curve with say a hundred strokes, draw it with one and then clean up anything wrong. You make have to redo one stroke a hundred times to get it right, but it’s cleaner and softer. ( it helps with drawing hair )
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Nothing is wrong in art but it depends what kinds of effect you want. You can use both methods to give different vibes, draw different things. But it’s important to know how to do them. oh and, it is one stroke but it’s fast. If you linger on it the line will come out woobly and shakey. If you do it fast it’ll come out clean.
4. Blocking.
You go back over the drawing here to fill in black spaces. Maybe if someone has black hair or for shading, you can also add texture on things like walls and etc*. I like leaving some white spaces when doing this because black is very reflective irl, so it gives some shine to it. It honestly depends on what the black element is, something’s are shiny some things are not. But it’s pretty fun
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**when it comes to texture this is an example from another drawing
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5. Grey scale coloring.
I have already a plate on hand of colors from white to black to use in my drawings. You can use three or more. This is the one I use
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Circles to indicate that if you have white, grey, and black, that’s enough. why grey scale? The thing about grey scale coloring is that it helps figuring out contrast. You don’t want all your drawing to be of similar tone, when you have contrast, it helps make elements pop and differentiate things.
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"Joseph Nelson." Roboflow Blog, May 15, 2020. https://blog.roboflow.com/when-to-use-contrast-as-a-preprocessing-step/
I’m honestly still figuring out how greyscale works but, looking at real life pictures is one way you can know how to do it. See how light is distributed where whites and blacks are used. One key element is to figure out where light comes from, and shading according to that . The light source isn’t very strong with this drawing so it was more of a simplified shading. If something is over the other, shade underneath. That’s the simplest way to figure out shading
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before coloring, I did change the sketch to a more grey color and set the layer to multiply. What multiply does is that it darkens the color underneath it with a hue of the color in the multiply layer. I know, confusing, so here is a picture.
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Sorry, got a little detailed there. back to our drawing.
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As I said, the light source wasn’t very complex here to give more of a photo shoot vibe, but I can show another drawing with a more natural strong light
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Places directly getting the light get very light colors like white, the ones opposite use very dark grey or even black.
of course the coloring here isn’t very realistic, I have, after all, colored the character, kristen, in lighter colors than everything else. This is because I wanted to create a sense of contrast to make her pop out against the background. So don’t limit yourself, play around.
6. gradient map
gradient maps replace the grey scale colors into other colors on a specific range, you can use a gradient map offered by the program or one you make yourself. How to chose them? Depending on the vibe you want to translate. I have synesthesia so I sort of follow my gut when it comes to this, but you can also look at movies and pictures and see what colors they use and what feelings they give. Or just go warm colors give warm feelings and cold colors give cold feelings. Or just whatever you like. Just have fun with it
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See? It looks pretty fun. Heck you can even stop here even. Note that I merged the sketch layer and the grey scale one into one layer so it can change the color of the sketch layer too. Also sometimes id use the blur tool to blend some things but I didn’t use that here.
another thing to note is that if you leave things empty in the greyscale drawing they won’t change color in the gradient map, that’s why I use white in the empty spaces. Or sometimes I don’t if I’m unsure if I want to keep something white/black or not.
7. Coloring.
here, I add another layer and set it to multiply and basically color it in over the drawing. I have the colors for the characters on hand to use, and they change according to the gradient map.
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note that it will look weird and wrong at first but just keep going, trust the process. The colors will fit in together.
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Also notice the difference between the colors in the drawing and the colors on the color palette. Cool no?
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And this is how the whole thing looks. You can also add details in here. Like the drawings on the vets and Ed’s bow tie. Makeup, blush, lipstick, nail paint… etc etc.
8. Details
I add another normal setting layer here and basically go back over the drawing to add details, fix mistakes, draw over things to make them pop off or look more hard than soft.
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I mostly like going over the hair and facial features in this step, and also adding highlights and shine.
I also felt that the background was a little too empty, but I didn’t want something too detailed so it wouldn’t take the attention from the characters. so I added a pattern.
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9. Finale touches. (Optional) sometimes the drawing is done here, sometimes it’s not.
I’d maybe add overlay and/or add layers and to highlight light sources, or add a multiply layer to emphasize shadows like in this example.
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for this drawing I didn’t do that as I was satisfied with the lights and shadow, but it still felt too… rigid.
so I added a textile texture as a multiply layer so it would look more…Touchable?
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And…that’s it!
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If you like this, you can check out the original drawing’s post ( or support me on ko-fi? ) 👀👀👀
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kamiart · 11 months
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Finally getting around to making the full evos for my Faeran starters, so here's 1/3: the Flamb line <3
———
Flamb - The Lamb Pokémon - One of three starters in the Faeran region. Flamb are little Pokémon full of energy, that love to bump their heads into friends and trainers that they are close to. When agitated, the orb on their neck burns brightly.
Embaal - The Circling Pokémon - Embaal are known to circle around foes relentlessly, ramming into them from all sides until they are eventually knocked out. Their fleece is prone to covering their eyes, so trainers must trim it back frequently.
Pyramber - The Battering Ram Pokémon - Pyramber's sturdy fists are often compared to battering rams, capable of punching through concrete walls with ease. With a composition similar to marble, they are prone to chips and cracks; with older Pyramber's fists being a key sign of their age and battle experience.
———
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stopthatfool · 5 months
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You said don't get you started on Ice's helmet or you'll be mean... please be mean. Please be mean to him. What is so disastrous about his helmet design?
my time has come. i will be mean to him. (thank you for getting me started on this. it bothers me every time I watch top gun.) this is also gonna be so long. yippee!
stopthatfool's issues with Tom "Iceman" Kazansky's helmet! aka this bad boy right below. (I'm sorry if anyone loves Ice's helmet, it's just not for me)
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The placement of his name. WHY is it on the side? Both him and Slider have their names on the side. That makes me think it's a squadron thing? (the VF-213s) but regardless i don't care cuz i think it's stupid. (again sorry if someone thinks its genius. ok i'll stop apologizing)
My biggest issue with the fact it's on the side is that it creates this uneven weight distribution. The side with his name feels considerably "heavier" than the side without.
And the thing i don't understand is that Ice's name is evenly numbered!! He could fit 3 letters on either side of the line that comes down the helmet! the letters wouldn't be unevenly distributed, so I don't know why he felt the need to put it there!!
Here, I have "annotated" his helmet and provided other viewpoints of his helmet!
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The font/typeface! Ice.. is that ARIAL?? and it's not even bolded??? so not only is his name to one side and weirdly small... it's skinny and unbolded. (like you're THE Iceman. Don't you want your name big and bolded? I shouldn't be searching for your name when you're Mr. Iceman!)
Looking at his helmet head-on, part of his name isn't even visible.. like ok ICEM!
And then! There's this weird switch up in the shapes and line types that he used-- the angular and sharp points of the lightning bolts and the half circles surrounding the squadron logo (is it a logo?? idk im gonna call it a logo)
What i think Ice is trying to do here is create a "connection" between the circular part of the logo and the lightning bolts as the bolts go all the way to the back of the helmet... but in my opinion... it's not working. like at all.
The comparison between the harsh lines of the bolts and then the curves is just kind of hard on the eyes (for me anyway). I just don't know where to look. Should i be following the leading lines of the lightning bolts? Or the curves of the half-circle things? Or should I be following the line of the lightning bolt in the logo?
And all throughout that... i barely end up seeing the name on the helmet.
Continuing off the logo... for Top Gun 1986, Ice and Slider are in the VF-213 squadron, but the movie switched the logo to the VFA-25s that looks like this on their flight suits-
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(yes that is the best quality image i could find from the movie my bad) So why does the logo on his helmet look like this???
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WHY do the fingers look like that. they look like hotdogs im so sorry. (logistically it was probably easier for the decals to be printed and then applied like this. but. we're not talking about technicalities here. right now i'm tearing apart the entire composition of Ice's helmet.)
I like version of the logo on their flight suits soooo much better! It's got more "rhythm" and flow to it that the lightning bolts lack! Plus no hotdog fingers.
Ok ok, now on the colour scheme. The harsh and bright blues I don't mind. Like yeah, you're The Iceman, punch me in the face with blue. I can forgive that. The thing that really bothers me.. is the silver/grey base of the helmet.
It's this really harsh grey that really doesn't help with the already harsh blues. I think he should've continued with the blue he has going. cuz this grey ain't working, king.
Ok, anyway. Since I should be studying, I'm obviously doing anything but studying. So i redesigned ice's helmet. ya idk.
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it's kind of wonky.. but whatevs (ignore how the lightning bolt on the side view doesn't line up with the front view) (and ignore the inconsistences in the lettering. i was lazy and did it by hand)
I also didn't want to completely change/get rid of the aspects of Ice's helmet. So the changes aren't huge (except for maybe the name placement/"font")
ok I changed the background colour (finally, it's less all up in your face now) I continued with the blues and lessened the intensity just a little bit. I really wanted his name to be front and center!
Now the colour scheme is also consistent. No random black lettering (again, in arial???) there's now black in both his name, the outline of the lightning bolts and the logo!
Now his name is evenly distributed! See how it fits on either side of the line that comes down the center of the helmets from '86? See how you can actually see his whole name? See how it's heavier and fits the whole "iceman" theme better? (at least in my opinion)
Come on, Ice! You should've used the leading lines provided by the lightning bolts to guide people to your name! There's now a fun little overlapping moment!
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(ignore how i forgot to dot one of the i's in distribution whoops)
No more weird half circle things! No more conflicting leading lines! But! I decided to extend the arm of the squadron logo to continue the line of the lightning bolt as it moves backward. I think this makes the circle of the logo fit better, while simultaneously creating that "connection" he was trying to get in his actual design.
The lack of half-circle things also allow for the logo and lightning bolts to just "be." There's no distraction. it's not overly "busy" anymore (like maverick's helmet). It's simple, but he's The Iceman! He doesn't need it to say/have more!
And the use of the "actual" logo seen on Slider and Ice's flight suits creates that sense of movement that was absent before! Plus no hotdog hands!
Is this new proposed design perfect? Absolutely not! The logo and the lightning bolts still create a weird point of almost intersection that still bothers me. But I think fundamentally, there's always going to be issues with these two components: the circle will never quite fit in, and the lightning bolt the hand is holding will always "cut" the whole thing in half, creating a weird separation in the helmet, that will always bother me.
Anyway, this was a lot of fun! (I love being mean to these guys. they need their egos brought down a couple pegs!)
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amalthea-fictions · 1 year
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Hi!
Can I request something fluffy for Aaravos with an elf reader, who really likes to sing and dance and just wery artsy? Maybe they are trapped togedher or something.
If you don't want to write this, that okay too. Have a nice day!
I LOVE THIS! I'm sorry I took a while to do it, but I wanted to do Aaravos justice ✨ (He's so ELOQUENT it makes him hard to write). I hope you like how it came out!!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Curious.  
That’s how it begins: he finds you a curious creature. When the silence of the library is disturbed by humming, he glances up from his book. His eyes find you tip toeing across the room, hands brushing the shelves as if they were your ballet bar, entranced in some secret dance that stole you far away from the world.
He would quirk his eyebrow at the curiosity, but return back to his reading, undisturbed. 
Amusing.
The more he observes your idiosyncrasies, the more they begin to worm their way into his heart. He begins to expect the way you dance around the kitchen as you make breakfast, your toes just slightly touching the soft ground and prancing onto the next counter where you have your ingredients for baking. He comes to recognize the songs you hum, and the times you would invent new ones to your repertoire. And the days you pull out your paints and canvas and sit for hours by the skylight window, he would allow himself to simply observe your process: the way your hand guides the brush as if gliding across ice is, perhaps, its own sort of magic. And maybe, just maybe, his lips curl upward fondly at the thought.
Endearing.
As the days pass by, you find new creative and artistic ways to keep yourself occupied. Aaravos helped you pull all of his books on music and theory from his collection, which you’ve used to teach yourself how to play the lyre sitting otherwise alone on the shelf.
He again allows himself to watch your process as you learn– but, more and more, he begins noticing the softness of your fingers. The tenderness with which you treat the instrument, the gentle ministrations of your hands. 
One day, as you sit hunched over the instrument, your hair falls in front of your face. With a small chuckle, Aaravos magicks it back behind your ear for you. Surprised, you glance to him across the room, and find him smiling back, eyes soft. 
Enchanting. 
One dusk, he finds you backlit against the light of the setting sun, staring at your canvas. Paints line the floor, but your brush does not move. Rather, your chin rests in your hand.
“Painting, are we?” He asks.
You don’t look up from the canvas, biting your lip. “More like trying,” you sigh. “I can’t seem to get this one right…”
Aaravos circles around you, glancing at your work over your shoulder. “What are you attempting to capture?”
You shake your head. “It’s… a little embarrassing. But, instead of a traditional painting, I wanted to try and make an abstract. I’m trying to capture the feeling of dreaming on canvas. I just… it’s still missing something, but I can’t figure out what.”
Aaravos tilts his head thoughtfully at the assortment of deep blues and purples that line your page. Then, he motions to the empty half of your painting bench, the silk fabrics of his robe glossing against your shoulder as he does so. 
“May I?”
You nod, and he sits down with you. He’s close– his shoulder is pressed against yours, and you feel warmth from his entire body. 
He contemplates the composition for a moment, then smiles. “I believe I may help. If I may?” 
He reaches for your brush, and you move to hand it to him. But rather than take it, he gently clasps his hands around yours. You feel your cheeks grow hot.
He whispers the words of a spell, and guides your hand across the canvas. As the brush moves, it brings with it a swath of light and color to the page– as if the aurora borealis itself has illuminated the essence of your painting.
Your eyes grow wide at the sight, the dancing colors reflecting across your irises.
Aaravos smiles, admiring the beauty of not simply the painting. 
Captivating.
He comes to enjoy your company more than his studies alone. Craves the sound of your laugh, resonating from deep within your throat. Adores the slight curve at the edge of your lips that reveals when you are about to break into a full smile. He helps you in your kitchen dance now, sometimes holding his hands gently above your waist to steady you in your spins or curtseys. His hands are soft and warm, and he always meets your gaze with soft and gentle eyes.
Except– your perceptions of time differ. This imprisonment is but a blip in the totality of his existence; for you, it is growing more and more arduous. And as his heart grows fonder and fonder of you, so is it more and more pained to watch a beautiful bird remain caged.
One night, he awakens and realizes you are not in the sleeping quarters. He finds you in the middle of the floor of the library, your hands wrapped around your knees, your chin tucked to your chest.
“Little star?” He calls to you. “Are you alright?”
You do not answer, for when you try to breathe, your lungs betray you and you hiccup for air.
He frowns and sinks to your eye level, watching as you frustratedly swipe at the tears on your face. 
“Tell me,” he says softly, reaching forward to catch the tears with the pad of his thumb. His hand is warm on your clammy skin. “What is wrong?”
“I’m sorry,” you sniffle, using your hand to wipe at the tears on your opposite cheek. “I… I know you’re trying your best to get us out of here. But… I suppose I’ve had too much time to myself to think.”
“Ah,” he says, and begins brushing your hair from your eyes. “I understand all too well the dangers of being let alone to the machinations of one’s own mind.” 
You nod, and he allows a comfortable silence to fall between you before probing more. “Please, little star. Would you share your burdens with me?”
You inhale a shaky breath and nod, bringing one hand up to his, still on your face. He is tall, and his hand engulfs your own small ones. The presence is warm and comforting. 
“I began to wonder…” you begin, steadying your breath through tears. “I started to think about what I would do, once we are out of here. And I realized– I don’t think I truly have a place in this world. What value can I contribute outside of these walls?”
Aaravos frowns as you keep going, the words spilling out now.
“No one ever supported my hobbies the way you do. The world has no place for an artist, or a dancer, or a musician. What good is an artist to a world of practicians? Where do I even belong?”
You hiccup again, and his thumb strokes your face. His touch is tender. 
“Is that truly what you think of yourself?” 
You cast your eyes down and nod. 
For a moment, the silence of the library is suffocating. But then Aaravos clucks his tongue and chuckles. You look up, shocked. He’s– he’s laughing at you?
No. His eyes are sparkling at you. 
“Perhaps,” he says with a gentle smile, “I can put it into perspective for you.” 
Then, with a swish of his hand, the library radiates to life.
He’s projected the stars of the night sky –no, the entire galaxy– into the air. You gasp as solar systems twinkling planets spin around you. You hold your hand up to one of the stars, and feel your expression lighten in spite of the tears on your cheeks when you brush a dancing star off its path, sending it twirling in another direction.
“Now,” Aaravos asks. “Which of these is the most important?” 
You furrow your brow. In the time you’ve been here, you’ve come to know how Aaravos loves his riddles and trick questions. So the answer comes easily to you.
“None? They are all equally important?”
He smiles a sly grin, the expression that reveals he knows something you don’t, that the riddle answer is not what it seems.
“Not quite,” he says. “Consider: what would all the stars in the galaxy be, without the spaces between them?”
You are silent as you contemplate the thought. 
He watches the gears in your mind turn, satisfied. He leans close to you, his nose practically brushing yours. You can see the stars dance in the reflection of his eyes.
“If all the people in this world are stars, you are as vast and pure as the spaces between them. Without people like you, the galaxy would be meaningless.”
You swallow, and feel his breath hot on your face. 
“It is your creativity, your personality– the radiance of your very soul that allows the other stars to simply exist. Although not traditionally acknowledged as important, or beautiful… it is the spaces between the stars that I find most wondrous. Most–
Enrapturing.”
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cranity · 8 months
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hi hi! i love your art so much & specifically how you use shapes, especially when you’re drawing heads and faces. i was wondering if you have any tips about how to incorporate shapes this way! pls feel free to ignore if course!
Thank you! I was mulling over this trying to figure out an answer that makes sense. I usually go for what "feels right" which is not a great answer lol so come deconstruct my choices with me in real time--
When i'm drawing figures i'm never aiming particularly for realism when it comes to movement. I go for flashy, poster perfect-esque compositions, so if having Vash's coat-tails flit around him unnaturally don't make sense but it looks cool, then i'll go for it! I think i'm always looking for a solid silhouette so whatever pose the character is striking, you can tell what's going on. Finding the right balance between making a silhouette with too much vs not enough is not something I know how to explain, but something I believe is important! :']
I also tend to extend a characters "energy" outward:
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you can see in all these corners and edges everything points outward and even curves a slight bit away. I think this is one of the reasons people tend to call my art sharp/spikey! I don't tend to shade/render my work a terrible amount, preferring a flat graphic look most of the time or just playing with blacks (which is a whole shape language in itself) but when I do, all the shadows and highlights shapes tend to take on a spikey/lightning bolt shape even tho it wouldn't look like that in real life!
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It's just really pleasing to me and I like how it looks! The spikier something is for me, the better! If you couldn't guess at this point, starts/lightning bolts are my favorite shapes haha Another thing I tend to do is avoid is curved lines. They're definitely still there! But my flow is more jerky straight lines so that if I drew a circle in my style it'd look like a messed up pentagon with soft points, that basic rule in my art brings forth funky shapes that otherwise wouldn't be there if I was trying to stick to realistic shapes This probably didn't answer a lot ToT but I hope my rambles brought something to light, whatever that may be!
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ton-618-ton-618 · 19 days
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2024 March 10
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A field of snow leads up to a dark circle. Light rays eminate from this circle. In front, standing on the snow field is a person and to the left is a folding chair and a bag.
A Total Eclipse at the End of the World
Image Credit & Copyright: Fred Bruenjes (moonglow.net)
Explanation: Would you go to the end of the world to see a total eclipse of the Sun? If you did, would you be surprised to find someone else there already? In 2003, the Sun, the Moon, Antarctica, and two photographers all lined up in Antarctica during an unusual total solar eclipse. Even given the extreme location, a group of enthusiastic eclipse chasers ventured near the bottom of the world to experience the surreal momentary disappearance of the Sun behind the Moon. One of the treasures collected was the featured picture -- a composite of four separate images digitally combined to realistically simulate how the adaptive human eye saw the eclipse. As the image was taken, both the Moon and the Sun peeked together over an Antarctic ridge. In the sudden darkness, the magnificent corona of the Sun became visible around the Moon. Quite by accident, another photographer was caught in one of the images checking his video camera. Visible to his left are an equipment bag and a collapsible chair. A more easily visible solar eclipse will occur in just under four weeks and be visible from a long, thin swath of North America.
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