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It's been just over a year since Deltarune chapters 3 & 4 released! I did the 3D work, which mostly means Tenna 📺 I figured it's been long enough to share some "behind the scenes" stuff, starting with a look at the Maya file for his static poses...
I'd individually render the poses to get that early 3D shine ✨ Here's some of them at their original resolutions! I would work from text descriptions from Toby, and sometimes there'd be a Paint sketch to help out. Gigi drew the concept that I modeled from and some poses too!
I had a lot of fun pushing myself to match the dynamic poses Toby had in mind for Tenna - making him so crazy and expressive was something I couldn't have done without his prompts. He'd draw the faces on afterward too, which really brought Tenna to life!
(lots more after the Read More cut...!)
Here are some of the Paint sketches Toby drew to help me with specific Tenna poses! I love seeing his drawings LOL, genuinely really good and evocative 👍
There was a time when I was struggling to capture what he wanted for these specific Tenna poses… Until Toby acted them out himself, and I thought, "Ah, it's like that. I understand." and then I was able to make them just how he pictured them.
When looking through the renders and choosing what to share, I laughed at these two… Remember when Tenna had a gun? Remember when he bent over in a very specific way that might remind you of another, different image? No? Maybe you don't…? Well. Don't worry about it.
These ones are cute… Tenna is pretty cute sometimes! Has anyone ever thought this? Actually, before people knew he was going to be a strange 3D sprite the Whole Time, I was worried people wouldn't like the style and it'd sour people's views on him. I'm glad that didn't happen.
Toby thought it would be funny to have Tenna do some really smooth, mocapped animations sometimes - specifically free to use ones that often pop up in other things. An extra funny part to me is how many frames these take up in the game, and how his tails are stuck to his legs…
Speaking of mocap, Toby wanted Tenna to use custom mocap animations as far back as 2016 - Ten(na) years ago! I got an Xbox Kinect at the time and learnt how to set this up, but then never used it. Here's a look at messing with mocaped stuff again in 2022. So Normal.
Don't bother trying to help him here, he's just being dramatic 🙄
I particularly like these poses - I think I improvised most of these just based off the context they get used in… I always liked posing his tie and coat tails as if they were also parts of his body he could move. Which I guess they are?
After I rendered out the individual poses in high quality, I'd force the color palette to be limited to just a few shades and then I'd shrink the result down to pixel sized sprites. Like these! I'd tidy them up a little, but they'd really get improved on at the pixel scale by Clairvoire.
As well as Tenna's sprites, I also worked on his intro "movie"…! Seeing people be completely overloaded by this on first playthroughs would always make me laugh. In game, there's a ton of extra editing done by Everdraed, but my unedited cut looks like this ⬇️
This was the entire storyboard I had to work from, and I'm realizing now that there's the note "put him in car etc" that I never did and actually don't know what it would mean exactly. Working on this had me listen to the accompanying audio many times, but it's good so it's okay.
Here are a bunch of random clips of the Maya project for Tenna's intro movie. This is how movies get made, I think!! Yeah… Just like this.
Say it with him, folks!!
For the 3D Ralsei clip from the intro, Toby really wanted it to look a certain way, and drew more sketches for guiding me with this part than any other. They genuinely helped.
Remember how Toby's original storyboard has the note "covered in slime and shrinks"? That meant I had to learn how to make 3D slime. You can see my tech advancing here.
I'm really happy with how the final Tenna animation at the end of the intro movie turned out! It wouldn't look as good if it wasn't for some 2D animation to reference from SmallBuStudio, so thank you to them for the help! Tenna is cute… Huh, I already said that…?
Phew!! That's a lot of Tenna. I hope it was fun to look through my posts! Oh, one more thing - the Fangamer Mr. Tenna Figurine just straight up uses the 3D model I made, which I think is really funny and cool and nice. Check it out if you want! Thanks for reading!
u think ocd therapy is impossible to do yourself and that it's all too big to start but you can get workbooks or even just try small things.
a lot of my ritual behaviors are "checking"
self-guided ocd exposure therapy can be as simple as resisting the urge to check if your door is locked more than once and sitting with the discomfort until it passes without engaging in any reassurance rituals.
it can look like sending an email and resisting the urge to re-read it over and over again obsessing over your wording, sitting with the discomfort until it passes without engaging in any reassurance rituals.
some of my rituals are also "avoidance"
in which case it can look like checking your email inbox you've been obsessively avoiding because you're anxious about receiving a specific email you don't want to see.
and YEP! ☝️
sitting with the discomfort until it passes without engaging in any reassurance rituals.
it might be hard to believe, but learning distress tolerance for things like "checking" with emails and door locks actually prepared me for the Big Ones like harm and sexual OCD themes.
I think this article from 2007 is a good introduction to the basic concepts of exposures:
Self Directed Treatment for OCD The Irony of Doing the Opposite By Paul R. Munford, Ph.D. I remember a movie in which one of the char
that SAID, a lot has changed since 2007! the idea that exposure therapy can (or even should) prevent fears from every happening has come into question!
now the conversation about OCD exposure has turned to training distress tolerance:
...rather than aiming for the decline of anxiety (habituation) during exposure, the inhibitory learning approach to ERP teaches people how to be open-minded toward experiencing anxiety and fear when these experiences inevitably show up.
Indeed, fear and anxiety (and other emotions in OCD such as disgust or guilt) are universal and even adaptive experiences, not something that need to be “fixed” or gotten rid of. Most importantly, even if they can be unwanted, intense, and distressing, these emotions and thoughts are safe.
From an inhibitory learning perspective, fear extinction (and long-term improvement in OCD) depends not only on learning that feared stimuli are safe, but that it is also safe to experience the emotional response that is triggered by these stimuli.
It should be noted that all of the following procedures are still currently being researched. While there is evidence to suggest that they c
And remember at the end of the day I AM NOT a specialist. I am discussing my own OCD journey and referencing the available material on OCD exposures.
I'm not always right, and I can't know what's best for you.
Which is why I haven't recommended any of the old workbooks I've completed, because some of them are old enough that there are better ones to follow that I haven't gotten to trying yet!
I recommend doing your own reading from OCD-aware organizations:
The mission of the International OCD Foundation is to help those affected by obsessive compulsive disorder (OCD) and related disorders to li
Obsessive-Compulsive Disorder (OCD) is an anxiety disorder that causes unwanted intrusive thoughts (obsessions) and mental or physical ritua
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This whole project was heavily inspired by the work of Lina Shamoon/ Mirrors by Lina (website here, check out her very cool and much higher quality work). My spin on things is definitely not made as well as her stuff, but I'm still loving the effect.
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About this:
I saw the ghost bride hey arnold fanart timelapse and how were you able to know that the "blueish" colors felt right? (its right... – @impactrueno on Tumblr
How do you feel about picking a color, say a deep orange in this example, and using that for a "Multiplied" layer for shading a character in, again for this example, a sunset?
i got a similar ask about this a while back and i've been working on something to better explain what i mean because i'm not too happy with that guide anymore so i'm just gonna address both here!
in my original post i talk about choosing analogous colors rather than using layer settings, but you guys are asking about multiply layers so let's talk about that since frankly they do save up a lot of time and headaches AND they can help understand color more easily so we can pick the palette from scratch next time.
right, so we have our guy.
in the sunset example, a deep orange multiply layer would look something like this:
however, in my previous guide i said that usually warm lighting means cool shadows. this isn't always the case, however, because the color of your shadows are determined by your environment and bounce lighting. shadows on their own have no color because they're just absence of light, so the color we perceive them to be is what's being projected onto the subject.
this same sunset with cool shadows would look a bit like this:
if that looks more natural even though it doesn't match the orange of the background, it's because sunsets only look orange around the area the sun is in the sky, so the color of the sky that's facing our character here would not be projecting an orange glow onto him.
while it's not a hard rule, like i said, usually warm lighting comes with cool shadows. i think it's also worth keeping in mind that reference photos can look very different from one another because of editing, exposure levels, filters, weather and time of day, etc. so also take your own outdoors observations into account. always observe colors when you go outside if ever (don't be like me)
here's another sunset example except the sunset is now behind our viewpoint and facing the character from the front. he's not fully lit up, perhaps he's standing under something where the sun light doesn't reach him directly. i used a red glow to indicate sun this time only because i think it looks cool with the teal sky:
now addressing the ask with the "pikachu in a green house" example: yes, i suppose using a multiply layer that matches the color of the environment works. after all, like i said up there, shadows will usually reflect the color of the surroundings the subject is in.
this was a lot of blabbing about colors and i didn't even touch on values which is also super important!!! but i'd like to do some studies before i talk about that to make sure i'm not talking out of my ass. hope this helps though!!
also this was originally going to be a patreon exclusive post but the more i think about it, the less i like the idea of putting educational material behind a paywall. i think this stuff should be more accessible for the people who can make use of it. so i will only put out there that if this helps you and you enjoy my content, i have my patreon and ko-fi if you can afford supporting me with a couple of bucks so i can continue making stuff like this 🫶
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Hey artists, C. Spike Trotman, founder of Iron Circus Comics, just posted an invaluable thread on depicting different types of black hair. I’d do the thing where you screencap the whole thread and post it but it’s just too long (which is great because it’s a whole lot of useful information!) Give her a follow while you’re there.
Anyway, go check it out. I just wanted to save it and share it because I didn’t know how much I didn’t know!
This is an amazing resource, not only for artists, but for writers too! I love this!
{ID - tweet from @/Iron_Spike that reads, “Black Hair for Non-Black Artists: a Cheat Sheet Thread. Hi, folks! Just spur-of-the-moment decided to put together some reference for folks who want to draw/model black characters in their work, but arent confident they won’t make simple, obvious mistakes w/r/t black hair. END ID}