#this post was brought to you by wes anderson's fantastic mr fox | Explore Tumblr Posts and Blogs

spookyserenades · 1 year

Note

Hii <3 hope you are well! So... I've read Trouvaille, and I'm in love! 😭 I can't describe in words how much I liked this story, I wish I could convey everything in words. Its plot is VERY interesting, I read the synopsis and I was like "Hm, I've never seen anything like this, how fascinating" and when I read the chapters I really enjoyed it and was VERY interested in the story.

I was wondering how you managed to come up with a combination of ideas like ??? Ok, I've read several Hybrid fanfics, but combining supernatural and horror?? PERFECT! Everything I needed in my life and didn't know. And the vibe of this fanfic is ??? AAAAAAAAA IT'S VERY GOOD, I can already imagine the scenarios and everything is very good to read! I imagine the house as the one from the Ozark's series (even if the location of the series is not at all old, but I imagine Trouvaille a lot like that, the filter, the scenography, and I think it matches the story a lot. Well, at least when I imagine the story be like that).

I'm also IN LOVE with how you made the characters, all the hybrids being predators and the personality of each one I LOVE SO MUCH, I'm SO curious about them, I want to know EVERYTHINGGG!! It's amazing how UNIQUE each thing in the story is, and that makes it even better! Because I hadn't seen anything like it yet, it's so original and so beautiful 😭 For example, jungkook ??? instead of a shy and sweet personality, it's COMPLETELY the opposite, and I LOVED it, "rebellious" and a little "arrogant" perfectly matching his appearance, I don't know, I imagine that very well. As if it matches his age since he's the youngest (although jungkook is already past 15 with the rebellious phase LOL)

And taehyung is soo 🥺🤏 same with what the boys said about him LOL, SORRY, I CAN'T HAND IT IS SO CUTE! He reminded me a lot of Ice Bear from "We Bare Bears" 😭💓

And when the character had that nightmare, I thought it might be namjoon 👀 and when you posted the third chapter and you had the description of his eyes, I was like hmmm 👀 but anyway, I don't have many theories about that, because I bet you will tell us surprise with these things! Then I'm ready!

And about those "electric shocks" that the character feels when she touches Seokjin (or someone else, I don't remember very well) it made me think "are they Companions? 👀 or soulmates" but as it only happened with Jin, I was very excited doubt. We still don't know much, so it's hard to make theories. I can't wait for them to come around and we discover so much more!

When I think that the update is only on the 7th and 20th, I feel so sad 😔 LOL, but when you write these huge chapters, I get really excited because I know the wait is worth it! 💓💓💓

(I hope it wasn't too difficult to understand what I said, English is not my first language so I'm afraid of getting confused LOL)

HIIII darling, oh my goodness!! I'm doing very well, and I hope you are too! I just want to say, thank you so SO much for sending me such a beautiful message, you've brought such a smile to my face <3 I'm so happy you find the plot to be fascinating so far, I really wanted to have multiple layers in this fic to keep the reader on their toes!

Inspirations for this story are numerous! I've loved hybrid fics for a long time, and always wanted to write one of my own. I've drawn inspiration from many of my favorite forms of media, whether it be music, film, literature, or TV shows. The largest sources of inspirations come from the music of Deftones, films Constantine (2005 Francis Lawrence) Fantastic Mr. Fox (2009 Wes Anderson), books such as The Exorcist, Wuthering Heights, and Water for Elephants, and most of all, TV shows Twin Peaks, The X-Files, Yellowstone, and Ghost Adventures (LOL). I take some of my favorite bits of these shows and sort of weave them all together to create a plot, even if one thing doesn't seem to go with another. I think now, after having written this story for so long, all these inspirations seem to complement each other in different ways :) I'm planning on releasing a whole post about Trouvaille inspirations, including an in-depth look at how certain characters from my favorite forms of media influenced the hybrids in Trouvaille. I adore horror movies and all things spooky, and so I couldn't help myself by including some darker themes into Trouvaille!

My parents LOVE Ozark, I've never seen it myself, but after your mentioning of it, I looked up the house you were referring to. The vibe is VERY much like the setting I imagined for the Trouvaille house! It takes place in a town outside of Boston, Massachusetts, so it is a heavily wooded and misty sort of area. The house itself is an old Victorian mansion of sorts, but the outside areas of the home, including all of the densely grouped trees, are VERY much like that Ozark home.

I'm so happy you're loving Jungkook's character so far. He has definitely been one of my favorite hybrids to write about! Jungkook in real life definitely has those timid, sweet characteristics, but I totally see a bit of bad boy arrogance in him that I wanted to exaggerate in this story. You're right, it goes well with the fact that he's the youngest, perhaps having something to prove since he is the only hybrid who isn't a predator~

Taehyung is really a sweet little bear in this!! Ice Bear is a such a fantastic comparison, especially with Taehyung's stoicism and quiet nature. So cute <3

You're the second reader to theorize that Y/N's nightmares may be connected to Namjoon! You're totally right, the descriptions of both the eyes of the creature in her nightmare and Namjoon's are pretty similar. It's super interesting that you've both made this connection! I hope you'll tell me if you gather more clues from future updates :)

Seokjin is one of my babies in this story, I'd protect him with my life XD I love the concept of soulmates SO much! Its fun to write an OT7 story, because you have to come up with several ways to demonstrate different types of attraction to each member. Y/N definitely feels an electrical pull to Seokjin, but I wonder why... ;)

I'm so happy that you've shown so much love to each update of Trouvaille so far, and that you've sent me such a wonderful message in response. Reading all of your comments and theories have made my day!! I hope I was able to give you some more exciting insights to the story! April 7th will be here before you know it, with another hefty update :) I'd love to hear your thoughts surrounding Chapter Four when it drops!

By the way, your English is wonderful-- don't apologize, I could understand perfectly and you are so very kind and lovely! Thank you again for reading, enjoying, and taking the time to send in your beautiful response. Until we speak next time, I wish you nothing but happy days! <3

#so sweet!!!#asks #trouvaille #dana's thoughts

0 notes

adamgoestothemovies · 5 years

Text

Best of 2018

I watch a lot of films.

For close to five years now, I’ve been watching somewhere in the region of 100-150 new releases per year. At some point along the line, I started to keep lists of those films, then started to rank the movies on those lists, and eventually got into the habit of compiling end of year lists.

I shared these lists (and discussed them at great length in podcast form) in 2016 and 2017, and I wanted to do the same for 2018. With the Leftover Popcorn Podcast currently on an extended hiatus, that brought me to the post you’re reading right now.

Due to the quirks of global release schedules, the timing of these posts is always a little tricky. I’ve made a habit of finalising my lists just before the Oscars on an annual basis, as that generally affords the extra time required for many of the year’s most interesting films to make their way to me in Ireland.

As such, this list is comprised of my 20 favourite films that received either (a) a U.S. release in the Academy’s eligibility window for the 91st Academy Awards or (b) extremely belated releases in the UK and Ireland following late 2017 releases stateside.

Only time will reveal if 2018 was a particularly strong or interesting year for film, but I know it at least offered plenty of films that have stuck with me long after the end credits finished rolling. The year was filled with ideas, moments, shots, set-pieces and technical achievements that amazed and resonated with me in a wide variety of ways. Many of those highlights can be found in the 20 films below.

Before getting to the list, I have some honourable mentions. In no particular order, they include: Wildlife, The Favourite, Crazy Rich Asians, Hereditary, A Quiet Place, Three Identical Strangers, Beast, Shirkers, Mission: Impossible - Fallout, The Old Man and the Gun, Won’t You Be My Neighbor?, BlacKkKlansman.

20. A Star is Born - (Bradley Cooper)

The first hour of A Star is Born is as good as anything released this year and, as such, it’s by no means a criticism to say it falls off somewhat beyond that point. Still, Bradley Cooper’s directorial debut contains multiple moments that induce goosebumps. It’s not subtle by any means, but there have been very few films over the past decade that have managed to capture emotional extremes in such a truly cinematic fashion. Lady Gaga is sensational, Sam Elliott is a scene-stealer, and in the form of Cooper’s dog, Charlie*, a star is well and truly born

*In a year of fantastic canine performances, I think Charlie pips out Borras (Roma), Boris (Leave No Trace), Olivia (Widows) and Joy (Dogman) to be the best of the many good dogs.

19. Lean On Pete - (Andrew Haigh)

Andrew Haigh’s third feature sees the British filmmaker’s focus shift to the sumptuous expanse of rural middle America. In this touching story of a teenage boy and his attempts to save the eponymous also-ran racehorse, a delicate handle on the narrative complements stunning visuals to produce what should be the contradictory notion of an intimate epic.

It’s impossible not to fall for Charlie Plummer’s protagonist in the same fashion he has grown to love Lean On Pete, as the film’s central relationship reveals both boy and horse have equally been dealt a raw deal by their circumstances.

18. Happy New Year, Colin Burstead - (Ben Wheatley)

Ben Wheatley has emerged as an incredibly interesting and distinctive filmmaker over the past ten years, and that sense is only further heightened with the contained terror of the family gathering he portrays in Happy New Year, Colin Burstead. As an ensemble piece which takes place on the smallest of scales compared to High Rise and Free Fire, Wheatley’s latest was always going to live and die by its writing and acting.

Unsurprisingly, both are fantastic in a film that provides equal measures of comedy and unbearable discomfort for the audience. As an added bonus, it also includes easily the best end credits sequence of the year.

17. The Rider - (Chloe Zhao)

Chloe Zhao’s poetic, contemporary Western packs an abundance of heart-wrenching moments into a film that would stand as an extraordinary achievement even if it wasn’t for its real-life roots. As it is, this is more than just a film.

Although a slightly altered re-telling, the story of the Jandreau family and those who make up their social circle is brought to the screen by the real life figures in question. Zhao uses South Dakota’s largely untouched natural beauty as the canvas for this tale of struggle, and the search for purpose that unfolds from there isn’t easily forgotten.

16. You Were Never Really Here (Lynne Ramsay)

I’d be lying if I said that I liked You Were Never Really Here, which makes it something of a black sheep on a list of films that I otherwise loved across the course of the last 12 months. Some films aren’t supposed to be loved, though, and as Lynne Ramsay’s Taxi Driver-esque fable continues to rattle around my brain all these months later, I’ve come to appreciate it immensely.

This is a deeply unsettling film, but considering the subject matter, that’s exactly what it should be. Ramsay has delivered a film that showcases her masterful control of a very specific mood, and boosted by a stellar performance from Joaquin Phoenix, and Jonny Greenwood’s jolting score, it equated to one of the most memorable movies of the year.

15. Columbus - (Kogonada)

Swathes of cinephiles worldwide were already familiar with Kogonada’s cinematic tastes and sensibilities, thanks to his phenomenal video essays, but that didn’t make his feature directorial debut any less intriguing. In Columbus, Kogonada produced a film as considered as the architecture its characters swoon over.

There’s a stillness and a quiet to the film’s style and story structure, yet that doesn’t equate to a lack of heart or character depth. Haley Lu Richardson and John Cho’s sensational performances anchor the stunning visuals, ensuring their director’s own visual architecture never becomes something prosaic enough to overlook or simply pass by. This is close to as confident and assured as debut films can be.

14. Isle of Dogs - (Wes Anderson)

There’s no getting away from Wes Anderson’s particular tastes, tendencies and flourishes at this point in his career, and as a result, his work remains divisive. Having said that, as Anderson demonstrated in Fantastic Mr. Fox, animation offers an ideal medium for his ever exacting frame and the detail that populates his films. The result in this case is a visually stunning film with a wide range of charms, and something that’s undeniably its own thing in spite of the overt references to Akira Kurosawa and other Asian masters.

Beyond all of its artifice, Isle of Dogs possesses the kind of heart that critics often mourn the absence of in Anderson’s cinema. Anderson’s usual troupe of contributors also provide a fantastic voice cast, with the performances of Brian Cranston, Edward Norton, Bob Balaban, Bill Murray and Jeff Goldblum particularly lively as the film’s leading canines.

13. The Zen Diaries of Garry Shandling - (Judd Apatow)

Documentary portraits of famous figures don’t get much more complete or, indeed, interesting as Judd Apatow’s four-and-a-half hour love letter to the late Garry Shandling. Make no mistake, Apatow’s admiration for and closeness to his subject’s work is clearly evident throughout the film.

In spite of that, the film also manages to offer a look behind the curtain into Shandling’s personal life, and offer up an account of the toll that comedy and television can ultimately take on an individual. The film aligns itself with Shandling’s own clearly reflective instincts, and offers up a measured tribute which gives way to both laughs and tears.

12. The Miseducation of Cameron Post - (Desiree Akhavan)

Desiree Akhavan’s second feature offers up a beautifully efficient and affecting exploration of burgeoning sexuality, and the struggles of wider society in coming to terms with that journey of sexual identity. In a year when multiple films took on a similar shape in exploring the archaic notion of gay conversion therapy centres (and on a very different subject but with a frequently similar shape, the restrictive setting of rehab facilities for addicted youth), Akhavan’s film is directed with a grace and subtlety that elevates it far beyond its contemporaries.

Chloe Grace Moretz and Sasha Lane enhance their deserved reputations as young, emerging superstars in a film that’s incredibly well-written, yet avoids the urge to rely solely on lengthy, overacted soliloquies. Instead, this is cinema as it should be. Trusting in the visual nature of the medium, Akhavan’s film is filled with lingering glances and shots, all of which reveal something about the characters and provoke further contemplation on the movie’s ever-important subject matter.

11. Widows - (Steve McQueen)

Steve McQueen’s background as a Turner Prize winning artist translated to a great sense of precision in his first three films. All three of those features, in some form or another, explored what happens when physicality is pushed to its limits, yet in Widows that same theme took on an even grittier quality when married with the conventions of heist films. A move into genre was undeniably a bold step for a filmmaker of McQueen’s style and growing reputation, but then again when he’s capable of playing with generic norms as impressively as he does in this case, it would have been a waste not to explore those possibilities.

Widows stands as a rich text layered with thoughtful assertions on class, race and gender roles, but that doesn’t detract from this story’s potential as pure entertainment either. With one of the casts of the year, the performances are exceptional across the board -- although Daniel Kaluuya’s work still stands out as one of the very best supporting turns of 2018 -- while McQueen’s inherent creativity is on display for all to see as he transforms a brief and simple car journey into one of the year’s most impressive, insightful and memorable shots.

10. Shoplifters - (Hirokazu Kore-eda)

Hirokazu Kore-eda’s tale of unconventional family on the social margins of Tokyo contains all of the trappings and warmth of Ozu’s best work, yet accompanies it with a distinctly modern and sharp edge that increases both its relevance and resonance. Deeply affecting throughout, Shoplifters highlights the often absurd nature of self-placed social constructs and norms, as just one element of a story that’s already wildly compelling, touching and urgent on its surface.

The question of nature versus nurture is very much alive and at work in Kore-eda’s film, but in a nuanced fashion that is perhaps even more interested in how society and class serve, and fail to serve, certain demographics as a whole. What’s best for us, and what can ultimately be most damaging, may be impossible to pinpoint until it’s often too late, and Kore-eda’s film is only too happy to conclude with that unknown sweeping over the audience.

9. First Man - (Damien Chazelle)

The very same elements that have led to much of the criticism of Damien Chazelle’s La La Land follow-up, will almost certainly prove to be the same reasons it will be afforded much deserved respect and acclaim in time. A very literal nuts and bolts re-telling of mankind’s greatest achievement, First Man is not all that interested in back-slapping or myth-building. It might be easier for many to imagine Neil Armstrong as an exuberant and deeply satisfied man, but his life was more complicated than that, and as such Ryan Gosling’s much-discussed, muted portrayal likely hit on the appropriate tone. Likewise, it would be nice to preserve a fairy tale image of NASA’s untouchable geniuses, but the film and the real life story is all the more interesting for wallowing in the toil, and incredible sacrifices of life, that were a part of man’s journey to the moon.

Having persevered through the quiet, rooted inner-workings and heartbreak that built up to the moon landing, Chazelle treats the audience to arguably the most spectacular moon sequence ever captured on film. The film ends having gifted a sense of wonder for Armstrong and his colleagues’ achievements, but understands the endless failures were just as central to that singular moment. Unlike much of Chazelle’s previous work, this film is not prepared to merely bow down to a narrative of genius.

8. Private Life - (Tamara Jenkins)

A masterclass in performance and writing from start to finish, Tamara Jenkins’ long overdue return to directing balances divergent tones throughout in a film that is jam-packed with humanity. Telling the story of a couple desperately trying everything within their power to have a child, Jenkins’ film runs through the full gamut of emotions, although it’s more than comfortable in spending prolonged spells on the extremes of uproariously hilarious and heartbreakingly crushing.

Kathryn Hahn and Paul Giamatti anchor the drama with great warmth and a genuinely believable love, while the supporting performances on the margins jump off the screen to provide no doubt as to the authenticity of this world. Private Life is the kind of intelligent and instantly relatable every day drama that rarely makes its way to the big screen any more. It’s also perhaps the strongest evidence in a long time for why cinema should be eager for these stories not to be consigned to the realm of TV drama.

7. Burning - (Lee Chang-dong)

Burning is a mystery in every sense of the word. As a result, it arguably offers the purest dose of suspense that’s been seen on the big screen in quite some time. A sense of unease arises early in the film and only becomes more and more smothering as the action progresses. The lines are entirely blurred between the innocuous and ominous, and even by the film’s dramatic conclusion, for many they’ll remain equally unresolved.

In part, that’s the magic of Burning. It’s a film that not only drags the audience along with it on its journey, but displays a remarkable sense of confidence and control in doing so. The three leading performances in the film are spectacular, but Steven Yeun, in particular, is a revelation. Yeun’s Ben may be an incredibly sinister and manipulative villain, but it’s not a stretch to imagine his Gatsby-like figure being exactly who he presents himself as too. The film must be considered through the prism of the literary aspirations of its protagonist, Jong-su, and that creates valid suspicion. Regardless, Burning is an exquisitely crafted psychological drama and examination of social status along the Korean border, with equally stunning visuals to match.

6. Cold War - (Pawel Pawlikowski)

Inspired by his own parents’ love story, Pawel Pawlikowski took the intimate framing and crisp black and white of his Academy Award winning Ida, and applied it beautifully to a sweeping, European romance. Such is the power of cinema that Cold War feels truly epic. That’s all the more impressive considering it’s a deeply personal story captured in close quarters, which also zips in at a notably punchy 85-minute run time.

Combined with Lukasz Zal’s phenomenal cinematography, it’s clear that Pawlikowski has crafted a winning style. Still, the story is essential in providing the substance and, in this case, it’s thoroughly engrossing. Joanna Kulig is truly magnetic as the single-minded and enigmatic Zula, while Tomasz Kot carries himself with the effortless charisma and dignity of the archetypal, classic leading man as he embodies Wiktor. Every frame in the film would look at home in an art gallery, and yet Cold War carries memorable moments of substance beyond its aesthetic pleasures. Just as important to mention is the fact I never knew I needed Eastern European folk music in my life, and then this film’s enchanting songs took up permanent residence in my head.

5. Roma - (Alfonso Cuaron)

A true cinematic master, Alfonso Cuaron combined the bracing humanity of Y Tu Mamá También with the technical mastery of Children of Men to produce the most personal film of his career. In that regard, Roma may well live on to be viewed as Cuaron’s truly definitive work. This film captures the spirit that infuses his wider filmography with so much exuberance and life, while telling a story that has so much resonance in its own right.

A tribute to the childhood maid that raised him, Roma shines a light on the struggles of indigenous Mexican people, and the class and cultural divides that have long existed in Mexico City. Driven by an outstanding, naturalistic performance from first-time actress Yalitza Aparicio as Cleo, the film’s deliberate pacing provides the audience with the truest sense of the world in which its set, and the routines of its protagonist. Of course, it does this in a fashion which few other living filmmakers could dream of replicating. Cuaron’s camerawork is out of this world, particularly in the film’s two main set pieces, but just as relevant to the discussion that surrounded its Netflix release was the remarkably immersive sound design. I was lucky enough to catch Roma on the big screen, and there’s no doubt that it made the film an even greater cinematic spectacle. Having said that, the emotion at the heart of the film is deeply affecting, and it will therefore connect on screens of all shapes and sizes for decades to come.

4. If Beale Street Could Talk - (Barry Jenkins)

If Beale Street Could Talk is not only Barry Jenkins’ first film since his Oscar win for Moonlight, but it’s also the first English-language adaptation of a James Baldwin work. Combined, those elements make for an enormous weight of pressure and expectation, and yet Jenkins was more than up to the challenge of delivering beyond even the loftiest of expectations. Much like Moonlight, this is a perfect match of filmmaker and subject matter. Jenkins is undeniably ascending toward the status of being the premier cinematic chronicler of the African American experience. It’s particularly vital for that specific lens to his work to never be overlooked, either, as it gets right to the heart of the essential truths of his films.

Still, it all derives from a deeper understanding of emotion, society and relationships that ensure Jenkins’ cinema is also imbued with a layer of universality. Jenkins is a filmmaker of great empathy, and his collaborations with cinematographer James Laxton have seen him develop into the modern master of the close-up. Faces have rarely looked as rich and expressive as they do under Jenkins’ gaze, and it’s likely no coincidence that actors seem to find another gear for their performances under his watch. For this film, those elements all combine for a story rich with romance and tragedy, and one that’s sadly as relevant today as it was when Baldwin published the novel in 1974. To cap things off, Nicholas Britell’s score finds the most extraordinary balance between soaring romance and Herrmann-esque dread to emerge as cinema’s best soundtrack of the year.

3. Leave No Trace - (Debra Granik)

Debra Granik returns with her first feature since Winter’s Bone effectively launched Jennifer Lawrence’s career, and it was undoubtedly worth the wait. A quiet film with an ultimately pointed and heartbreaking message, Leave No Trace affords the leafy green environs of the Pacific Northwest the kind of breathing space society seems so unwilling to offer the film’s father and daughter duo.

Played by Ben Foster and Thomasin McKenzie respectively, there’s an arresting resilience and tenderness to the central relationship of Will and Tom. Living in public parks and deserted woodlands, Will and Tom don’t conform to the cut and dry definitions of family and home that the authorities around them are intent on enforcing upon them. Part of the magic of Granik’s film comes in the way it gradually channels the viewer to see things from their perspective. Why can’t contented people, doing no harm to others, be allowed to live in a manner of their choosing? Of course, the conversation is much more complex of that, and so, as Granik’s film ultimately reveals, is the telling of it in this case. On the whole, Leave No Trace is a truly mesmeric meditation on the impact of trauma, familial love and societal norms. Buoyed by McKenzie, who delivers one of the most astonishing performances of the year, it’s not a film that can be easily forgotten.

2. Minding the Gap - (Bing Liu)

It’s become unsurprisingly fashionable for American cinema to attempt to explain the ascendance of Trump, and the country’s wider social challenges, with on the nose films that offer minimal real depth or insight. Minding the Gap doesn’t fall into those same traps, though, largely because it seems like it never originally had aspirations to be as profound as it ultimately proved to be. As it turns out, simply charting the lives of a group of skateboarding friends over an extended period of time provides a fascinating look into the struggles of youth, and the baggage of history and circumstance, in small, forgotten towns.

Directed by Bing Liu, one of the aforementioned skateboarders, Minding the Gap’s subject matter ultimately proves to be remarkably complex and far-reaching for a 93-minute documentary set on the streets and in the homes of Rockford, Illinois. The young men’s interconnected lives ultimately give way to a shared history of previously undiscussed struggles. Among the young men’s commonalities are exposure to domestic abuse, experiences shaped by race, immense financial struggle, the confusion of modern masculinity, and, of course, a passion for skateboarding. There’s certainly some optimism to be found here, but there’s also an overwhelming sense of sadness for how these young men have been shaped by past acts and histories that were always beyond their control. If you wanted to even try to explain America in 2019, understanding those challenges would be essential. In truth, though, the same difficulties could be applied, and used as explainers for social issues, across the wider Western world. This is a deeply human story and, I’d argue, the year’s most touching film.

1. First Reformed - (Paul Schrader)

I’m not sure how many people were expecting it, but at 72-years-old, Paul Schrader remains one of cinema’s most vital and striking voices. With a deep well of cinematic knowledge to draw from, First Reformed sees Schrader borrow liberally from many of the form’s great masters, while still crafting an incredible story that is undeniably spoken in his own abrasive tone. Bergman’s Winter Light, Dreyer’s Ordet and Bresson’s Diary of a Country Priest are blatantly obvious inspirations, but the voice of Taxi Driver’s Travis Bickle, Schrader’s own most famous creation, is equally present in the character of Reverend Ernst Toller.

Toller is played masterfully by Ethan Hawke in the best performance of what’s already been a rich and fascinating career. A clearly measured and reasonable man, Toller’s journey ultimately brings him to breaking point as those around him ignore his message in the same way that he attempts to turn a blind eye to his ailing health. Schrader’s writing tackles global warming, and the prospect of impending doom that accompanies it, in the kind of blunt and unflinching terms that should now be unavoidable but tragically remains all too rare. By the same token, as Toller begs for consideration of whether God can forgive for the damage done to the earth, his preachings fall on the deaf ears of an immensely selfish world. In Schrader’s mind, there’s no question that drastic times call for drastic measures.

Even with such an urgent message, a fantastic script, and a generational lead performance, First Reformed wouldn’t be as great as it is without its stunning array of visuals. The film’s visual treats range from extreme close-ups that make a map out of Hawke’s wrinkled forehead, to the electric and lustrous pink of Toller’s heartburn medicine as it mixes with his whiskey, and to the vivid anger of the early morning sky. Quite simply, it’s a feast for the eyes, a jolt for the mind, and an assault on the soul.

1 note · View note

computerguideworld-blog · 5 years

Text

27 top character design tips

New Post has been published on https://computerguideto.com/awesome/27-top-character-design-tips/

27 top character design tips

Character design can be a tricky beast to tackle. Creating your own character from scratch involves a lot of creative thinking. Although many of the classic characters familiar to us all through cartoons, movies and ad look straightforward, a lot of skill and attempt will have gone into building them so effective.

From Mickey Mouse& apos; s famous three-fingered hands- drawn to save production time when he was first developed for animations in the 1920 s- to the elegant simplicity of Homer Simpson, character design has always been about maintaining it simple.

Get Adobe Creative Cloud

But aside from clean lines and easily readable features, what else do you need to consider for your character design? There& apos; s knowing what to exaggerate and what to play down, what to add to give a hint of background and depth, and what to do to develop personality.

And then there& apos; s the matter of the technicalities of how to draw your character design. If it& apos; s going to be used in motion or as part of a cartoon strip, you& apos; ll need to make sure it works from any slant( easier said than done, as this unsettling top-down view of Mickey Mouse demonstrates ).

For this article, we asked a range of leading artists and illustrators their advice on making memorable, unique character designs. Many of these tips come from Pictoplasma, an annual character design celebration in Berlin.

01. Don& apos; t lose the magic

Make sure you don’t polish all the charm from your characters[ Image: Laurie Rowan]

Many character designers will start their project with a sketch. And most agree decorators agree this is often where the essence of the character is captured. So when you& apos; re work up your design, make sure you don& apos; t lose that magic.

“I try to stick to my original depict style, because the instinct is to try and clean it up, ” says Laurie Rowan. “I don& apos; t like to feel like I& apos; ve created by characters; I like to feel like I& apos; ve kind of only encountered them.”

“When starting out on your character design, don’t get caught up in the details, ” says Pernille Orum. “Decide what you’re trying to communicate, then create loose sketches with movement, acting and flow. As soon as you start to tighten up the drawing, you’ll automatically lose some of the dynamic, so it’s important to have as much life in the early stages as possible. Movement is all but impossible to add later, so make sure it’s in the initial sketch.”

02. Step away from the reference material

While inspiration needs to come from somewhere, the aim is to create something original. So Robert Wallace- known as Parallel Teeth– suggests not having the reference material right in front of you as you work.

“If you look at something and then you try and hazily remember it in your intellect, that& apos; s when you end up inducing something new, rather than a pastiche of something, ” he says. Above you can see Wallace& apos; s new take on well-known festive figures, created for a Hong Kong department store.

03. Research other characters

For guidance, it can be helpful to try and deconstruct why certain character designs run and why some don& apos; t. There& apos; s no famine of research material to be found, with illustrated characters appearing everywhere: on TV commercials, cereal boxes, store signs, stickers on fruit, animations on mobile phones, and more. Study these character designs and think about what induces some successful and what in particular you like about them.

“When you work with characters you need to be inspired, ” advises Orum, “and you can do this through research. Your mind is a visual library that you can fill up. Try to notice people around you- how they stroll, their gestures, how they dress- and use that in your design.”

04. … but also look elsewhere

It& apos; s also a good notion to look beyond character designs when hunting for inspiration. “I like birds& apos; mating rituals a lot, ” chuckles Rowan. The odd movements can spark unique character behaviour.

“When I begin a project, I often start with the feeling I want to evoke, ” he adds. The process begins with the designer taking videos of himself as a reference, trying to capture something of the character idea& apos; s movement or posture.

Other inspirations include ceramics- an organic texture and muted colour palette stop his work feeling too clinical- and folk costumes.

05. Don& apos; t lose sight of the fact the original notion

Sea of Solitude is an upcoming game by Jo-Mei studio[ Image: Jo-Mei]

It& apos; s easy to subconsciously let our favourite designs influence us. Cornelia Geppert, CEO of indie games studio Jo-Mei, is a huge fan of The Last Guardian, with its unique aesthetic and great video game character designs.

At one point one of her team members had to say to her that their Sea of Solitude design was looking a little too similar to The Last Guardian. She appeared back at her initial artworks, and it brought back the feeling she had when creating them. The project changed back on track.

06. Exaggerate

Exaggerating the defining features of your character design will help it appear larger than life. Exaggerated features will also help spectators to identify the character& apos; s key qualities. Exaggeration is key in cartoon caricatures and helps emphasise certain personality traits. If your character is strong, don& apos; t only dedicate it normal-sized bulging limbs, soup them up so that they& apos; re five times as big as they should be.

The technique of exaggeration can be applied to characteristics, too. Anna Mantzaris& apos; hilarious Enough film( above) presents everyday characters in mundane situations, doing the things we& apos; ve all dreamed of doing on a bad day. “I think it& apos; s fun with animation that you can push things further, and people will still accept it as real, ” she says. “With live action it would look absurd. You can also push the emotion further.”

07. Decide who your character design is aimed at

Nathan Jurevicius’ Scarygirl features in games and a graphic fiction[ Image: Nathan Jurevicius]

Think about your audience. Character designs aimed at young children, for example, are typically designed around basic shapes and bright colours. If you& apos; re working for a client, the character& apos; s target audience is usually predetermined, as Aussie artist Nathan Jurevicius explains.

“Commissioned character designs are usually more restrictive but no less creative. Clients have specific needs but also want me to do my& apos; thing& apos ;. Usually, I& apos; ll break down the core features and personality. For example, if the eyes are important then I& apos; ll focus the whole design around the face, making this the key feature that stands out.”

08. Make your character distinctive

Matt Groening used yellow to construct The Simpsons characters stand out from the crowd

Whether you& apos; re creating a monkey, robot or monster, you can guarantee there are going to be a hundred other similar creations out there. Your character design needs to be strong and interesting in a visual sense to get people& apos; s attention.

When devising The Simpsons, Matt Groening knew he had to offer the spectators something different. He has pointed out that when viewers were flicking through Tv channels and came across the show, the characters& apos; remarkably bright yellow skin colour would grab their attention.

09. Create clear silhouettes

A silhouette helps you understand the character’s gesture[ image: Pernille Orum]

Another good way to make your character distinct and improve its pose, says Orum, is to turn it into a silhouette. “Then you can see how the character’ reads’ and if you need to stimulate the gesture more clear. Do you understand the emotion of the character and see the line of action? Can things be simplified? Try not to overlap everything, and keep the limbs separate.”

07. Develop a line of action

A line of action is the backbone of a character drawing[ Image: Pernille Orum]

One key aspect to consider when creating a character design is the line of action. This is what defines the direction of your character, as well as being a useful narrative tool and bringing a feeling of movement.

“Try to bring the line of action all the way out to the extremities, ” says Orum. “A ballet dancer is a good example: they emphasise the line from the tips of their toes to the tips of their fingers. The line of action is also easier to see in beings with fewer extremities, which is why mermaids are an ideal subject for developing a strong line of action.”

08. Make it personal

Geppert& apos; s Sea of Solitude video game is an exploration of her experiences of loneliness. Intensely personal though it may be, the game made a chord with audiences when it was previewed at E3 earlier in the year, because it deals with an experience that is so universal yet still strangely taboo.

“The best art is based on personal experiences. People can relate better if it& apos; s based on the truth, ” says Geppert. “It& apos; s not a made-up story, even though it& apos; s based in a fantastical setting.”

09. Find the posture first

Posture can say a lot about a character[ Image: Felicie Haymoz/ Wes Anderson]

Felicie Haymoz has worked with Wes Anderson on both of his animated features: Fantastic Mr Fox and Isle of Dogs. When embarking on a new character design, Haymoz likes to start by finding the individual& apos; s posture. This element can start the ball rolling on the whole feel of the personality. “I try to capture the stance of the character. Are they hunched over, or are they sitting straight-out and proud? ” She also notes the face is important to get right.

Read more of Haymoz& apos; s film character tips-off here.

10. Consider line quality

Straight and curved lines are read by your eyes at different velocities[ image: Pernille Orum]

The drawn lines of which your character design is composed can go some style to describing him. Thick, even, soft and round lines may suggest an approachable, cute character, whereas sharp, scratchy and uneven lines might point to an uneasy and erratic character.

Orum recommends balancing straight and curved lines. “Straight lines and curves gives your character design a rhythm. A straight line( or a simple line) leads the eye rapidly, while a curved( or detailed line) slows down the eye .& apos ;P TAGEND

It& apos; s also worth considering the balance between stretch and compressing. “Even a neutral pose can lead the eye by applying these two approaches, resulting in an effective character design, ” says Orum.

11. Use a joke structure

Rowan grew a name for himself by sharing humorous clips of his characters on Instagram, and went on to work on projects for Disney, the BBC and MTV, and earned himself a BAFTA award and nomination in the process. However, it was his less successful years doing standup comedy that provided inspiration for his trademark character animations.

“It& apos; s through standup I learned brevity. It& apos; s kind of a joke structure, ” he explains. Knowing how to frame the clip comes from past failures and successes on stage: “You very quickly learn how to hit certain phases, ” he chuckles.

12. Keep it simple

As well as knowing when to exaggerate, Orum is also keen to highlight the importance of simplicity. “I always try to communicate the designs with the fewest lines possible. It doesn’t mean that work hasn’t been put into creating the volume, placement and design of the character, but I try to simplify as much as possible and only put down the lines and colours that gives the necessary information.”

13. Consider all the angles

Hilda needed to work from all slants to appear in a cartoon strip[ Image: Luke Pearson/ Flying Eye Books]

Depending on what you have planned for your character design, you might need to work out what it will look like from all angles. A seemingly flat character can take on a whole new persona when seen from the side if, for example, it has a massive beer belly.

In the Character Design Crash Course workshop at Pictoplasma 2019, Jurevicius and Rilla Alexander asked attendees to sketch their character in poses held under other attendees, life depict style.

And if you& apos; re going to turn it into a comic strip, a la Luke Pearson& apos; s Hilda, it& apos; ll need to not only make sense from all slants, but seem good too.

“How to draw Hilda from behind without her hair swallowing her silhouette”, how to draw her beret from above; a long and drawn out battle with how her nose should look … these were all issues Pearson had to deal with when creating his character. The problems all ultimately led to design solutions.

14. Build it in 3D

If your character is going to exist within a 3D world, as an animation or even as a plaything, working out its height, weight and physical shape is all important. Alternatively, go one step further and create a model.

“Even if you& apos; re not someone who works in 3D, you can learn a lot by converting your character into three dimensions, ” says Alexander. It& apos; s a key part of the process the students follow at the Pictoplasma Academy.

15. Choose colours carefully

Complementary colourings create a pleasing balance[ image: Pernille Orum]

Colours can help communicate a character& apos; s personality. Typically, dark colours such as black, purples and grays illustrate baddies with malevolent aims.

Light colourings such as white, blues, pinks and yellows express innocence and purity. Comic-book reds, yellows and blues might run some style to devoting hero qualities to a character design.

“To choose effective colours, it’s important to understand the basic rules of colour, ” explains Orum. “Become familiar with the primary, secondary and tertiary colours, as well as monochromatic and complementary colours. One technique for generate an effective colour palette is to chose two complementary colours and work with them in a monochromatic colour scheme.”

“You’ll create balance because complementary colourings create dynamism, while monochrome colourings invoke feelings of pacify. You could also try a tertiary colour scheme, which adds a third colouring( for example, violet, orange and green ), and then work with monochromatic versions of those colours, but it demands more scheming and skill for it to work well. If you’re new to colour, try and keep it simple.”

To read more on this, insure our post on colour theory.

16. Don& apos; t forget the hair

Shape, divide and hairline are the secrets to drawing good hair[ image: Pernille Orum]

“Some years ago I went from detesting depict hair to loving it, ” Orum. “Previously, I used to view working out all the details and directions of the hair as a tedious attempt. Now I think of it more as a large, organic shape, which like a flag in the wind indicates and emphasises the movement of the character or its surroundings.

“Start by creating a large shape and divide it into shorter segments, while thinking about where the hair is parted and where the hairline is. Every line should help to define the volume, shape and direction of the hair.”

17. Add accessories

Props and clothing can help to emphasise character traits and their background. For instance, scruffy clothes can be used for poor characters, and lots of diamonds and bling for tasteless rich ones. Accessories can also be more literal extensions of your character& apos; s personality, such as a parrot on a pirate& apos; s shoulder or a maggot in a ghoul& apos; s skull.

30 inspiring examples of 3D art

Next page: More top character design tips…

18. Focus on facial expression

Facial expression is key to a character’s personality, as Tex Avery’s Droopy demonstrates

Expressions showing a character& apos; s range of emotions and illustrating its ups and downs will further flesh out your character. Depending on its personality, a figure& apos; s emotions might be muted and wry or explosive and wildly exaggerated.

“When you know the basics of depicting a face, play with the expression of the character, ” says Orum. “Use a mirror to read your own face and notice the subtle changes. Push and pull the eyebrows to show emotion. Avoid giving the face symmetry. The mouth will always prefers a side and it gives life to the drawing. And give the head a tilt to add nuance.”

Classic examples of exaggerated expressions can be found in the work of the legendary Tex Avery: the eyes of his Wild Wolf character often pop out of its head when it& apos; s aroused. Another example of how expressions communicate motions is deadpan Droopy, who barely registers any sort of emotion at all.

19. Give your character objectives

The driving force behind a character& apos; s personality is what it wants to achieve. This missing& apos; something& apos;- be it riches, a girlfriend or solving a mystery- can help to create the dramatic thrusting behind the narratives and adventures your character gets up to. Often the incompleteness or flaws in a character design are what make it interesting.

20. Build up a back tale

A scene can help reveal the identity of your character[ image: Pernille Orum]

If you& apos; re prepare the way for your character design to exist within comics and animations, then developing its back story is important. Where it comes from, how it came to exist and any life-changing events it has experienced are going to help back up the solidity of, and subsequent notion in, your character. Sometimes the telling of a character& apos; s back tale can be more interesting than the character& apos; s present adventures.

“If you’re experiencing problems when attempting to nail the essence of a character, try thinking of them in a certain situation, ” Orum advises. “Use the narrative to think about your character’s emotions before tackling the design, and add the details afterwards. Defining the scene is the best help when staring at a blank piece of paper, and it stimulates the process more fun, too! “

21. Remember it& apos; s not all about the face

Yukai Du utilizes hands to covey feeling[ image: Yukai Du]

Yukai Du is not what you& apos ;d call a typical character designer: none of her work features faces. Instead, her body part of choice is the hands. Having observe she wasn& apos; t good at capturing specific feelings within a facial expression, she turned to a different body proportion: the hands. “Hands are very expressive. You can tell a lot of tales with hands, and do it in a very subtle way, ” she says. Hands became her way of telling stories.

22. Make your character design flexible

Having decent software and materials to work with is useful, but not essential, when it comes to bringing your character to life. A lot of amazing characters were successfully designed years ago when no one had personal computers and Photoshop CC was just a dream.

If you character is really strong, you should be able to capture it with merely a pen and paper. Or, as Sune Ehlers sets it: “The character should still be able to work with a stick dipped in mud and described on asphalt.”

Top Photoshop tutorials 23. Get feedback from others

Show people your creations and ask them what they believe. Don’t just ask whether they like them or not. Instead, see if they can pick up the personalities and traits of your characters. Find who you think is the suitable or ideal audience for your work and get feedback specifically from them about it.

24. Make it honest

John Bond recently created a storybook based on his Mini Rabbit character[ Image: John Bond]

“A lot of my commercial project come out of my personal work. That& apos; s why I try to attain my personal work so honest to what I like. I think it comes through to the viewer that I& apos; m not just ticking boxes, ” says John Bond. The illustrator recently launched his debut picture book, NOT LOST, based on his Mini Rabbit character design.

25. Create the right environment

In the same way that you create a history for your character, you need to create an environment for it to help further cement believability in your creation. The world in which the character lives and interacts should in some way make sense to who the character is and what it gets up to.

26. Fine-tune your figure

Question each element of your creation, especially things such as its facial features. The slightest alteration can have a great consequence on how your character is perceived.

Illustrator Neil McFarland advises: “Think about the meaning of the word& apos; character& apos ;. You& apos; re supposed to breathe life into these things, construct them appealing and give them the magical that will allow people to imagine what they& apos; re like to meet and how they might move.”

27. Don& apos; t be afraid to make changes

Hilda in 2012( left) and 2016( right)[ Images: Luke Pearson/ Flying Eye Books]

Hilda has changed over the years, from volume to book, but Pearson explains that no one has pulled him up on it. “I like to think it entails the design is strong enough to withstand being pulled in all these different directions, ” he says.

This article contains content that was originally published in Computer Arts and ImagineFX magazine. Subscribe to our design publications here.

Read more :P TAGEND Amazing Illustrator tutorialsHow to improve your character drawing5 key trends in character design