Bex, Salted Lizard

January 12th 1999, Viktor Vodyanoi is baffled that 50+ new members joined The Hex litterally overnight.

"??? Thought was Isaacs until seen in same location."

A picture of Amir next to another Volt "Just that fast???"

Chroma "Dragon?!?"

Viktor adding a picture to the cork board, "??? Horses??? Blind?" Two hours later he marches in and crosses that out. "NOT BLIND."

"It's standing in front of you, what do you mean?"

"Our bullets just go through them! Literally! And it just froze half the squad in a dome!"

“no that’s not dramatic and cheesy enough”

“getting warmer”

Drawing A to Drawing B: -the most obvious change is the exaggeration of the line of motion in the character.  

In Drawing B the line of motion is much more pronounced, creating more drama and movement to the whole composition

-The arms are open wider, showing more confidence and exuberance in the character, exaggerating their emotions so they can be more clearly read without having to look to the face for emotional cues.

-the legs are wider apart, adding to the aforementioned confidence but also giving the character a solid foundation, visually speaking.

-The head is tilted back and overlapped by the chest, adding a touch of dynamic perspective to the drawing.

Drawing B to Drawing C:  -Most obvious change is to zoom in on the character.  Character framing is just as important as what the character is doing.  Zooming in can help infensify emotions.  this shot is ALL about this character and what they’re feeling. -Because of the zooming in, the arms/hands would have gotten lost, so instead of making the canvas wider, the artist has elected to rotate the character slightly, bringing a dynamic angle to things and more intensity to the close shot. -While the character is more upright in this shot compared to Drawing B, in Drawing C the chest still slightly overlaps the neck, preserving the feeling of being slightly below the character (putting them in a position of power relative to the viewer), which helps maintain confidence and power in the character. -the chest is exaggerated to carry the majority of the body’s line of action so even though you cannot see the legs, our brains are able to fill in the gap and envision that line of action. -The cropping/framing of the character allows for a more interesting composition/negative shapes created by the positive (character) on the negative (background), creating more visual interest as well as a circular motion to the composition through the arms, across the face to the negative space for the eyes to rest in before dropping to the hand in the background and back through the composition again.

Flirt With the Fish - Submitted by SeesawSiya

big brain: I was born in the late nineteen hundreds

giant brain: I arose from the final years of the 20th century