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#visual design
prokopetz · 29 days
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"Oh, great, another game falls prey to Yellow Paint Syndrome" well, gee, my guy, maybe if we didn't demand hyper-photorealism in every game regardless of context, modern platformers might be able to develop a visual language that doesn't require painting a sign on every single interactable feature to render it distinguishable from the clutter.
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svsss-fanon-exposed · 2 months
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Exposing SVSSS Fanon: 20/∞
SHEN YUAN WORE GLASSES IN HIS PREVIOUS LIFE
Rating: FANON - NEUTRAL
More commonly than not, Shen Yuan is depicted as wearing glasses in his previous life. I would even venture to say that it has become a key part of his character design, based on how common it is. However, this does not have canonical backing.
We have very little physical description of Shen Yuan's life pre-transmigration, as well as very little description of that life overall. It isn't mentioned whether he wears glasses or not, and he doesn't make any allusion to having worn them (for example, he does not remark on any kind of sudden visual clarity after transmigration).
Also worth noting is that he is not portrayed with glasses in either the donghua or manhua designs:
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However, it wouldn't be fair to say that it's particularly unlikely for him to have worn glasses or contact lenses in his previous life-- considering the fact that a very high percentage of young Chinese people are nearsighted (around 80-90 percent today, after steadily rising for awhile). It is more common in cities or wealthier areas, and for someone like Shen Yuan with his reading habits, in addition to studying, it would actually be very likely for him to develop nearsightedness at some point in time.
Therefore, even though it is not backed by canon, it could reasonably be argued that Shen Yuan could have worn glasses in his previous life. Nonetheless, nothing can be proven either way, so this depiction still falls into the fanon category.
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somario · 4 months
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Prototype
Finally decided to make a metalheart piece after getting inspired by desktopgeneration and other artists
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niccoguedes · 1 year
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This is the USS Enterprise.
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5style · 9 months
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Journey in a palette of earth and stone. Exploring the timeless settings of PARÉA Hotel, designed by Studio Andrew Trotter. Visuals by Klaudia Damiak.
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kawaoneechan · 6 months
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You know how the cartoons in King's Quest 7 (1994) were done by Animation Magic, who also did CD-I Zelda (1993) and I.M. Meen (1995)?
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I've been pondering how anachronistic the cutscenes in The Dating Pool look. Sure, 3D pre-rendered backgrounds are one thing but the characters are 3D too...
Now, the cutscenes in my game aren't animated like I.M. Meen and Zelda are, all you get is some limited animation cos I'm just one guy making a point-n-click adventure game that's supposedly from late 1993, early 1994. Hence the whole old-school "natively runs on MS-DOS" thing.
But still! Just as an example, here's a single slide from an early cutscene in my game, next to an overdraw I whipped up in like half an hour tops. One looks better, perhaps, but the other looks maybe more... time-appropriate?
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hauntedomens · 7 months
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words from hunger by adrienne rich
prints
instagram
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ghostsberry · 2 months
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the deal
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skyneverthelimit · 3 months
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R.E.M Concepte Art *My Dream Project*
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askagamedev · 5 months
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I feel like I or someone else asked you this, but do you think that gameplay will ever get to the point where it looks like the fancy prerendered cutscenes? Even the outstanding visuals we have now, don't really look like say, Sonic Unleashed's opening cinematic from.....Christ, 2008 was really 15 years ago. Anyway, Is there a way to match that that look in style and fidelity or is it just kind of a "physics" thing where that's basically not possible? What stops that if that's the case.
I don't believe that gameplay will ever look like fancy prerendered cutscenes because gameplay has certain needs that cutscenes do not, and cutscenes have certain needs that gameplay does not. Here's what I mean.
When you're watching a cinematic in a game like Spider-Man, what are you seeing on screen? Usually what you want to see is Spider-Man doing some amazing, spectacular action. Something like this:
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Note how closely pulled-in the camera is, so that you can see all the details of Spider-Man's body and posing. The camera zooms in to see him narrow his eyes. Look at how the camera movement can barely frame him, conveying how fast he is moving. You're not looking for where to go next, because it's all pre-planned out for you - the purpose of this short cinematic is to tell a story - Spider-Man has to get out of here quickly.
Let's compare that to what you see on screen when you are playing Spider-Man:
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See how the camera is framing everything very differently? Spider-Man takes up a very small amount of the screen. The vast majority of the information being conveyed here is showing the player exactly where Spider-Man is going and how fast he is getting there. We're seeing him move acrobatically through the air, but we're not seeing his emotions or his face. We're focusing on what matters - navigating through the city to wherever we (as the player) want him to go.
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The needs of gameplay are different than the needs of cinematics. Even if the technology improves to the point where everything is beautiful and gorgeous, it still won't look the same because the purpose of regular gameplay and the purpose of cinematics is different. Gameplay visualizes the things the player needs to see and engage with at any given time. Cinematics visualize the aspects of the story that the designers want to tell. Even if the tech can do it, the purpose of the visualization isn't the same so it won't happen.
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davidsaracino · 1 year
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ayyy lmao
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mihsanart · 3 months
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Concept art for a scene in my fanfic. It takes place shortly after Elsa freezes the kingdom, where she looks at herself through her ice mirror. And yes, it's based on Lisa Keene's concept art (one of my inspirations.)
This was meant to give magical but gloomy vibes - the vibes from the early frozen 2012 presentation and deleted scenes- But it ends up less gloomy than intended.
I ran into some problems with the chapter so I'm rewriting a huge portion of it (big thanks to my beta reader for pointing them out!)
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svsss-fanon-exposed · 3 months
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Exposing SVSSS Fanon: 19/∞
XUAN SU IS A LARGE, BROAD, IMPOSING-LOOKING SWORD
Rating: FANON - CONFLICTING
The common depiction of Yue Qingyuan's sword Xuan Su is of a very large weapon with a broad blade. However, this design conflicts with the actual text of the novel, which states that Xuan Su is a rather plain-looking longsword.
Upon the white stone platform, a black hem was evenly laid, a plain and rustic longsword held firmly beneath it. Several empty, upended medicine bottles lay scattered about. (7 Seas, Ch. 24)
The "longsword" here is 长剑,which is a specific type of sword with a straight, double-edged blade around 1-1.5m (3-4ft) long, 3cm (1 inch) wide. Therefore, the width of the blade would not be the way it is often portrayed, which appears to be closer to hand-width.
Furthermore, longswords in SVSSS can be worn on the back or at the waist. Typically, in terms of sword-combat, longer swords are worn on the back and shorter swords on the waist.
Shen Qingqiu looked at Xuan Su at his waist. (7 Seas, Ch. 21)
Because Yue Qingyuan wears his sword at his waist, it can be inferred that Xuan Su is not abnormally long for a longsword-- and it can even be seen that the swords pictured in artwork wouldn't be able to be comfortably worn at the waist.
"Plain and Rustic" in the above description is translated from 古朴,which implies an old-fashioned, primitive simplicity. Xuan Su appears to be an old, basic-looking sword-- an image which contrasts the strength of its power.
The only other description we have for Xuan Su's design:
The all-black longsword at his waist abruptly sprang an inch from its sheath, revealing a blindingly snow-white blade. (7 Seas, Ch. 6)
From this, it can be said that the hilt and sheath are black and the blade glows white. Whether the metal itself is white or it only shines that way, it is unknown.
The depiction of Xuan Su as a large, claymore-type weapon appears both in the EN official art as well as the promotional art for the donghua:
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However, this is not the first such depiction-- it has long been common in fanworks to give Xuan Su this distinctive, wide-bladed design.
Particularly, Xuan Su was also drawn somewhat large and broad by 老历茅台, a CN fanartist whose unofficial designs were very popular in early fandom, albeit this design was not so extreme as the later official versions, and seems to still fall under the specifications of a "longsword:"
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For visual design standards, it certainly makes sense to draw attention to Xuan Su by giving it such a distinctive appearance. The size of the sword denotes its importance and power instantly to the viewer, and since the novel itself never attempts to conceal the fact that Xuan Su is a powerful sword, it would make sense to reveal this to viewers in visual mediums, which would not have the benefit of Shen Yuan's internal dialogue to bring this information.
By making Xuan Su appear imposing and larger than the others' swords, it sets it apart at a glance, while also demonstrating Yue Qingyuan's strength and power even though we do not often see him fighting.
However, in the text of the novel itself, Xuan Su is not described this way, so these visual depictions still run contrary to the canonical description of the sword.
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somario · 1 month
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StrawBerry Milk (2024)
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courtingwonder · 5 months
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Basic Color Theory Overview Guide With Examples
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sohftea · 11 months
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some stuff for design class but my professor didn't like them so I am posting here :,)
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