ARTH 2010 – Prehistoric Art 2 – Painting

So here is our friend the map again and we're going to look at cave art in several sites way down in Altamira, Spain, which is up here at the top of the boot and Lasko, France, in the middle of France and a few other places as well.

So just to review paleo – old, meso – middle, neo – new are prefixes.

They indicate a prehistoric time period that they represent.

So I also didn't talk to you in the last couple of lectures about the art historical dating.

It used to be that it was always say BC – Before Christ, and AD, which is latin for Anno Domini.

So if you become an art historical scholar and you look at primary sources that are dated back before the nineteen seventies or eighties or maybe even nineties, I'm not sure when this got changed, you'll see BC and AD year of our lord.

Now we say BCE – Before Common Era, and CE, which is Common Era and as it says here sometimes anthropologists use BP.

So if you're an anthropologist you're using that but art historians we use BCE and CE.

I ended the last lecture with a look at some low relief sculpture.

This is high relief sculpture and it's made out of unbaked clay.

This is a high relief sculpture that's made out of unbaked clay and is 25 feet long.

This whole thing is huge.

Think about how long 25 feet is.

And so basically what these artists did is there was clay in the bottom of the cave floor and they just dug it up and shaped it into these bison.

So we don't know much about the people that made these but they found footprints all around them so maybe there were ritual dances and look how they carved it.

Even the bottom of the main there's little in size lines.

So they're already trying to make it a little bit naturalistic.

I mean they're very life-like.

Just think about the fact that these have been in the bottom of this cave for 15,000 years.

Here's our low relief sculpture again.

And so, I thought I would start with those two sculptures to kind of transition into this talk about painting.

And again, remember, this world is dominated by animals.

We think they painted them on the cave walls as a form of magic.

Maybe they could control the animals by painting them on the wall.

Maybe they could ensure successful hunts.

Maybe they'll be used for teaching.

Maybe they make sure that they were healthy herds.

Perhaps there were even things about husbanding the herd, making sure that you don't kill too many of the female animals, for example.

Make sure that the herd is healthy so every year when you come back to hunt there'll be plenty of animals for everybody.

The 19th century and if you've taken a humanities course or you maybe take literature or English or theater yet we know that in the 19th century there was a great love of beauty and there were also lots and lots of different ideas about what art was.

And so, humans as is their want will put their own interpretation on why artwork is making, in particular painting.

So in the early, in the 19th century, they thought perhaps this was a love of beauty that people just wanted to paint.

It's interesting to read old artist historical books and see different things they say about prehistoric art.

In the early 20th century a lot of historians thought maybe they were fertility rituals or sympathetic magic and in the nineteen-twenties became religious expression.

Then, in the later twentieth-century this is when begin, we begin saying, "let's interpret this".

So in the late 20th century and this is the the study of art history that I ascribe to is I like to call myself a social art historian.

That is to say, that I believe that art is the product of its culture and that to exist inextricably and that we learn a great deal about the cultures that created the art but also we can think about the fact that art is affecting the culture as well.

So just to look at what some of these theories where I put some of them up on these slides so you'd understand and it's fun to look this stuff up, it's fun to look up for instance this idea of sympathetic magic.

There's this idea that things that look the same have actual physical influence on each other and the things that are in contact can act on each other from great distances and one thing that I think is pretty interesting about this is if you look at modern day theories of quantum physics or chaos theory isn't it interesting if you take that a whole adage "the wing of a butterfly that flutters" in Japan causes a tornado with the other end of the world.

Could there be something to this sympathetic magic? Sometimes the animals depicted weren't food animals.

So this slide just gives you a list of the cave painting sites.

Chauvet has the oldest footprints anybody's ever seen and they're dated to 24,000 BCE.

And the paintings if you can go online and look up Chauvet Cave and again I don't have access to that many images for these power points, plus it's a lot of material to get through but it's really worth looking up Chauvet Cave because look how life-like these are, they're moving, you can just imagine these bison running this herd and the drawings are so life-like.

These drawings and Chauvet do have a lot of human figures in them.

And there's so many different kinds of animals here.

Maybe you'll even find some that I didn't list there.

Look at the two bison that are fighting at the bottom.

Cosques Cave was discovered by a diver.

Can you imagine being that diver that was swimming around and found this little cave opening and he swam in that little shaft and then came up and found this cave with all these paintings and 25,000 year old hand prints.

Just imagine what that would have been like.

Maybe this was colored but these images are so life-like.

We know this is a stallion, we can, it completely says horse.

You see the main little bit of shading, undercutting under his face and really the only way that you can see this cave now is to go online, which I encourage you to do.

So what did they use for painting? They blew out of a little tube and maybe they put their hand up there to make hand prints, they also maybe had sticks that they painted with.

They could have made brushes out of all different kinds of materials, maybe animal hair or vegetable matter, we know today our finest brushes are made from kolinsky sable and they had a multitude of animals to make different kinds of brushes out so they had all sorts of resources at their fingertips and these are their natural materials you can find these today you could make your own cave painting on the, on the, on a rock using different kinds of ocher and if you heat ocher up you can get all these different shades of color out of ochre.

If you're a painter it's fun to play with this stuff.

We have evidence that they did things like – they made sponges out of maybe some type of plant material just by the kinds of marks that are made, they made their own crayons.

They found 19 crayons at Lascaux.

If you go to there's some museum there, I think, you can go and see these 20,000 year-old crayons.

So here's a little drawing.

This drawing is in your book too.

We'll revisit Pech-Merle again.

We think they probably ate their horses and I just put Pech-Merle here because I wanted you to see the hands.

So if you look right above this spotted horse up here that little hand print, the hand on the slide earlier, this is a was a detail of this painting.

Pech-Merle is actually best known for its painting of horses and they threw rocks at these paintings that were covered with ocher.

Some people say the circles are decorations, others that maybe they're marks left by weapons, perhaps they would have a ritual where every time someone killed a horse they came to put a spot on this one.

Again we do know that they had some type of ritual where they colored rocks with red ocher and threw them at these paintings.

You can see the little red marks there.

Altamira was discovered in the second half of the 19th century and the paintings in this cave are 12,000 years old and again, mostly bison but naturalistically painted portraying movement.

So we've got large gaps of years between the dates of these caves, don't forget that.

The thing that's interesting and different about Altamira is that there were bumps in the roof of the cave and that the artists created the figures by taking saying "oh, these bumps are the shape of a bison" so they turn the bumps into bison.

And so here it doesn't even look as if it's standing on the ground it's almost of it as if it's falling.

One interpretation of this is it has to do with a hunting method where you would herd off bison off a cliff.

You can see a person underneath this one gives you a sense of the scale on the right you see the little man underneath the roof of the cave.

This was actually one of the very first caves with paintings to be discovered and because they look as though they're floating that's why they believe it might have had to do with the cliff drive coupled with the knowledge that native North Americans actually practiced this.

So even 10,000 years earlier and we already looked at Chauvet but we can see the movement here.

So we've got a long tradition of this kind of painting.

There's a 10,000 years spread and you think about the action and again this was 10,000 years earlier from Chauvet but we have this idea of profile.

They can say so much with just a few simple lines.

Lascaux is one of the best-known caves and it's very large, this is a diagram as if you chop the top of the mountain off and you saw all the different chambers inside Lascaux.

Again, I said this earlier, most people agree people didn't live inside these caves.

They would live at the mouth of the cave where they could be sheltered but inside the cave it's dark, it's damp, it's narrow and so it's most likely that these insides were used for ceremonies but also I love to think about this because we, again, we have a nomadic culture so they perhaps they would come and gather these different places once or twice a year, they, lots of clans would come and gather together even if they had different rituals and things like that but also perhaps they were recording stories, perhaps they were recording messages, perhaps it was a prehistoric version of a Facebook wall if you will.

This is the Hall of the Bulls inside the Lascaux cave and they would have had to have scaffolding, they would have, it's so high up this is a really large chamber is too high for somebody to just reach up and paint.

They would have had to build something to stand on to make all these paintings.

So it meant that they have to plan ahead, they'd have to have enough light in there to see what they were doing and speaking of light this is another thing to think about because we see these images very clearly and that's because when somebody documented this get ready to write the book they took really good cameras like the ones that are shining on me right now in this video and they lit everything up really bright so you could see it really really well but the prehistoric people that were in conducting their rituals or making these paintings would not have had bright electric halogen lights they would have had little lamps like that ibex lamp that we looked at or perhaps torches but it would have been very flickering, very mysterious, very dark so as the light flickered across these bulls on this ceiling it would have added to this feeling of movement because they would have been going in and out of light and shadow and we see all different kinds of sizes here but if you be really really quiet and you sit and you think about this and try to just use your imagination, can you hear the sound of that herd? And another thing, so here's this narrow passageway and they've also found traces of hallucinogens and some of these sites so you can try to use your imagination going through this narrow passageway out into that big chamber as part of this ritual and so your experience is heightened by the torchlight, by you know whatever substance you might have ingested.

This is an engraving of a foreshortened view of a horse and on the right there's a drawing to really show you what it looks like it's a view that's really really hard to draw if you've ever taken a drawing class you know what I'm talking about but look how well this artist understood this foreshortening.

It's, you know, you can take yourself right up to Masaccio here.

The black-and-white diagram on the right is just highlighting the engraved legs there.

The shading and the movement.

So also, we think that these images tell stories and there's several different interpretations of this – your book has one, there's other interpretations online and so I'm not going to go into telling all these stories.

You can see some of them on the slide, something you read and I encourage you to look up and see all the different stories for this but let's just look at it.

Here we have this bird headed man remember our lion human and you know we definitely know he's a man, we can see the phallus there and the bull now has the bulges gored him or is about to kill the bowl is this a spear thrower or is this some other kind of bird what is this animal we're here.

The Bison has been disemboweled, it will soon die but did it kill the man first, is the man even dead, perhaps this line of dots at the bottom shows a good hunting location, are they a way of counting? Again, going back to the idea – are these paintings are something that people would return to again and again? So were they added to over time.

Most likely they were.

Graffiti, if you will.

So we could have shamanism, we could have simply a story of an event as the stag in the slide before.

This image is all the way at the end of a very narrow shaft ,like that when I showed you in a picture a little bit ago.

And actually many of these images are that way.

So are they perhaps different stops on a ceremonial journey.

So many many of the images at Lascaux are telling stories and we can use our imagination to imagine what those are.

Nail Art – Twilight Sparkle – My Little Pony Design

HI, I'm Kirsty Meakin from Naio Nails.

and in this video, we are gonna do another My Little Pony and we are gonna do, Twilight Sparkle.

So i have already created a stiletto nail and i have created that in Warm Beige I am going to use Lust for Lilac, this is from the Urban Graffiti Gel Polish Range I'm going to cover all of the nail, and i'm gonna do two coats of this, and i will cure each layer I am gonna pop on some Purple Rain, glitter dust Only a little bit up in that corner and a little in this corner Gonna seal that with top and base, making sure i cap the edges Just gonna take off the sticky layer withe the gel residue wipe off solution So this nail is ready for paint, sometimes i matte it off, i'm just gonna paint straight on to it today some times i don't, I'm just gonna go straight for it today, to be honest i'm not matting it off because it's not extremely detailed I don't think it is anyway, so i'll be all gravy.

I'll be all gravy doing it this way.

Colours, Palette at the ready, so for Twilight Sparkle we need Violet, Lilac, White.

obviously, black and white, always need a bit of black an white when you're doing any kind of painting magenta ma[pping out the design again always do it, gotta do it, always map out the design with a wash just so you have the composition right, so you can fit everything on the nail, else it will all go wrong Face Round shape Little snout coming out Hair She has A fringe So i have just put on a base colour, we are obviously gonna have to put on another colour, because that is not opaque enough, clearly So we have got to wait for that to dry now, another layer, so we are gonna concentrate on her hair for a min The hair consists of a navy colour, some purple , some pink, so i am gonna put in the navy colour So i can do that while While the sort of base colour, for her Skin, fur what ever you wanna cll it so don't forget, no sort of detail at the minute basic shapes and a bit of basic filling singing do you know who sings that? Nope who is it then? Drake You don't know who Drake is? No Adam A Drake is a duck Who films, doesn't know who Drake is Ladies and Gentlemen, we need to educate this boy Right, now for the eye Mouth Nose While the eye starts to dry before i can put the detail on or anything like that, i need the paint to dry see I can't start putting detail on oir it'll all just squish noise i'm gonna put the cutie mark here So we have a pink star So we've got this pink star and we've got these little white bits coming off it, so what i am gonna do, is paint these little white bits first This will also help you map out where everything is gonna go So i am just gonna go from the middle and out So i am pressing on the brush lightly and then bringing it up, which will bring it to a point then it's also got some little white starry things around the outside aswell So we've got a purple iris NOw to do the shine in the eye Now i am gonna seal that with Top and Base It's gonna bring out all of the colours aswell this is Just gonna take the sticky layer off With the Gel Residue Wipe off Solution Gonna pop on Some cuticle oil Rub that in all around There you are, that's Twilight Sparkle all finished.

She's a bit crazy she is with that crazy hair do I hope you enjoyed this video, if you did don't forget to subscribe Give us a thumbs up and a like, don't forget to add us on INstagram and Facbook and i'll see you next time.

Design Festa – Japan’s Largest Art and Design Event

(energetic music) – So we are right now infront of Tokyo Big Sight and it is Japan's largestconvention and exhibition center.

And what are we here for today, Chris? – We're here to see Design Festa, which is Asia's largest art festival.

– Wow, I'm looking forward to seeing all the creative stuff inside.

Is it your first time here? – It's my third time, actually.

– Third time, wow.

– How many times have you been? – It's actually my first time here, so I'm gonna leave allthe guiding to you today.

– Well, you have a treat in store.

– Okay.

I'm looking forward to what'sinside, so shall we go? – Let's go! – [Angela] Toyko Big Sightis always packed with different events throughout the whole year and today, we will checkout the Design Festa event.

When you enter, you canpurchase your day pass at the ticket box for only 1,000 yen.

There are a lot of people, so it may help to come a bit earlier.

Also, grab a pamphlet soyou don't get lost inside.

And before we go inside, let's hear about thisevent from the staff.

– [Angela] So let's start off by checking out the student zone.

When you first walk in, youwill see a lot of booths and students showingoff their creativeness in all sorts of ways, whether it's drawing or selling products that they have made themselves.

So let's go and hear some of the students' voices.

– Wow, look at this one behind me! It looks really interesting.

– So, are you guys friends,university students? – No, I'm not a universitystudent, I'm in the high school.

– [Chris] Oh, you're high school? – Yeah, I'm still 16.

We're in the same art club.

We're in the same school.

So, me and my friends our four just bring our artwork here.

– [Chris] This is a character of yours? – [Student] Yes.

– [Chris] What's his name? – [Student] It doesn't have a real name, but we just call him oyaji.

(student laughs)- Oyaji, nice.

– [Student] This is kindof like a new style.

Mainly we just draw these girls.

Also, there's other, like, many artists at this event, so we just like to meet other people and see more of the artwork, so it's gonna influence us.

So that's gonna be a very good experience.

– [Angela] So, anothermain thing you want to see at the Design Festa isthese live paintings, where people paint right in front of you.

(happy music) What have you found, Chris? – So, this says (speaks Japanese), which means lavender puke.

– [Angela] Wow, that's interesting.

Let's go see what it is about.

– [Angela] They alsohave stage performances, so don't miss that out.

(happy music) Now let's go in the Design Festa area.

There are many exhibitorsselling things they make here, from accessories to crafts to figurines.

– We found these interesting mugs, very beautiful mugswith these big handles.

It's just really ergonomic.

It's really light, really easy to hold.

– So there's just lots of these interesting things around, if you just walk around you're bound to find something you like, find something that interests you.

– It's a snapshot ofyoung, Japanese creativity.

Just all kinds of quirky,interesting stuff.

So, one thing that really strikes me is just the amount ofanimals you see here.

Cats.

This is just cats.

I think we've seen about five, at least, just doing cats.

Then you've got places just doing dogs.

Then you've got places doinga whole variety of animals.

Japan does animals.

That's a strong theme thatwe've identified today.

– [Angela] You willalso notice many people in interesting costumes walking around, and it's just a really fun event, and you can see all different types of creativity andartwork, all in one place.

So we hope you enjoyed the episode, and don't forget to subscribefor more weekly updates.

Gwen van den Bout – Conceptual art and design

I’m Gwen and my Urban Craft is creatingnarrative experiences.

The experience you get from my work goes beyondseeing.

It often address all the different senses.

You might taste or smell or touch an artworkand enjoy a tactile experience for instance.

To me, the most important thing is to create experiences for people.

When people visit an expo or enter a space,they should walk out differently than when they walked in.

It’s important to have them feel something, or go through something,or have them come to an understanding.

That is why my works never have a specificor intended purpose.

My work is born out of experiments.

It is very research-oriented.

I look for materials or techniques.

I see if I can develop new materials, and basedon these findings I start to create.

I wonder how I want to show and present an experience.

What do I need to communicate to the viewer? Right now, I present glass objects.

The idea came from my previous project called 'Being Unpolished' for which I also used glass.

It came spontaneously when I worked with mould techniques and making glass in ovens, which I find really interesting.

With every piece of art you make, you create a new work of art by using a certain technique.

On the one hand, I'm busy with my own work as in this exhibition where I present objects coming fromown fascination.

But I also accept commissioned work.

Festivals or events that want to offer a certain experience to the visitor.

The boundaries between commercial and independent work is what I find particularly interesting.

These areas come increasingly closer to each other and sometimes overlap.

I find this boundary super interesting because you can create an autonomous work in a commercial setting and vice versa.

How create Pixel Art For Games – Tutorial – 8Bit Graphic Design #2

HEY THERE GUYS WELCOME TO ANOTHER VIDEO AND TODAY WE'RE GOING TO MAKE SOME SORT OF RPG WARRIOR OKAY, SO LET'S GET STARTED NOW YOU CAN SEE THAT I ALREADY HAVE A DOCUMENT OPEN OK SO THIS IS IN LE PHOTOSHOP YOU DON'T HAVE TO USE PHOTOSHOP FOR THIS YOU COULD USE ANYTHING YOU LIKE GIMP IS FREE ALSO DON'T FORGET PHOTOPEA NOW THIS DOCUMENT HERE IS 38 BY 25 YA IT'S VERY SMALL I'M GOING TO MAKE A NEW LAYER YOU DON'T HAVE TO MAKE A NEW LAYER BUT I LIKE TO WORK WITH LAYERS YOU CAN SEE THAT THIS IS MY PENCIL TOOL YOU CAN USE THE BRACKETS TO INCREASE THE DIAMETER FOR NOW I WANT IT TO BE ONLY ONE PIXEL AND WE'RE GOING TO START BY CREATING THE SHIELD FIRST WE'RE GOING TO MAKE THE SHIELD ABOUT THREE PIXELS WIDE THIS IS GOING TO BE THE CENTER OF THE SHIELD THREE PIXELS OKAY, THAT LOOKS NOT TOO BAD SO FAR LETS CREATE THE HEAD OF THE WARRIER NOW YOU DON'T HAVE TO BE ULTRA PRECISE YOU CAN MAKE YOUR OWN VERSION THESE ARE MERELY GUIDELINES THIS IS GOING TO BE THE HELMET THE EYES MAKE THIS A LITTLE BIGGER SO WE CAN SEE WHAT WE'RE DOING AND WE'RE GOING TO MAKE A LINE DOWN HERE JUST BELOW THE SHIELD LET'S DO THE FEET WHOA DRAW A SWORD AND I'M GOING TO GRAB THE RED COLOR AND LET'S MAKE HIM A CAPE THE SHIELD IS GOING TO BE GREY GIVE IT SOME HIGHLIGHT LET'S PAINT THE REST DARK GREY LIKE BATMAN ONLY THAT HE'S NOT BATMAN WE'RE GOING TO DO THE BELT GREY LET ME SEE LET'S ADD SOME DIFFERENT KIND OF GREY HERE LET'S DO THE FACE OR THE HELMET WHOA THAT'S A LITTLE TOO DARK LET'S MAKE HIM A LITTLE LIGHTER WHICH MEANS THAT I'M GOING TO HAVE TO MAKE THIS DARKER MAYBE THE SHIELD A LITTLE DARKER TOO THAT'S NOT TOO BAD THERE MAYBE I CAN DELETE THIS PIXEL HERE AND THERE IS OUR WARRIOR LET'S ANIMATE HIM MAYBE WE CAN DUPLICATE THIS WE ARE GOING TO ANIMATE IT SELECT THAT AND I'M GOING TO PRESS V PRESS DOWN MAYBE WE CAN CHANGE SOME OF THESE PIXELS I THINK THAT LOOKS NOT TOO BAD THERE LET ME BRING OUT THE TIMELINE AND LET'S CREATE A NEW FRAME IN FRAME ONE I'M GOING TO SHOW ONLY LAYER ONE AND IN FRAME TWO I'M GOING TO SHOW ONLY LAYER TWO LET'S MAKE THIS LOOP FOREVER AND I'M GOING TO CHANGE THE SPEED OF THIS TO MAYBE 1/2 A SECOND PLAY IT OKAY SO LOOKS LIKE WE'RE LOOSING THE BELT WHEN HE GOES DOWN SO WE HAVE TO DRAW THE BELT AGAIN GRAB THE SAME COLOR LET'S TRY IT OUT YOU CAN SEE IT THERE IN THE PREVIEW WINDOW IT LOOKS LIKE THE CAPE IS NOT MOVING SO LET'S FIX THAT FRAME TWO LET'S BRING DOWN THE CAPE TRY IT OUT HERE IS OUR PREVIEW WINDOW AND THAT LOOKS NOT TOO BAD OKAY, SO YOU CAN SEE THAT THIS IS EXTREMELY SIMPLE THERE IS NOTHING TO IT IF YOU LIKE THIS VIDEO HIT THE LIKE BUTTON AND IF YOU DIDN'T LIKE THE VIDEO SMACK THE DISLIKE BUTTON DON'T FORGET TO SUBSCRIBE THE THE CHANNEL FOLLOW ME ON TWITTER AND I WILL SEE YOU IN THE NEXT VIDEO BYE NOW.

Fashion Matching Nail Art – How to Match Your Nail Design to a Designer Dress – Nail Tutorial

hi I'm Kirsty Meakin from naio nails in this video my gorgeous model has brought in a beautiful outfit, she's going to a very special occasion and what we're going to do is we're going to much the nails to the outfit this is the outfit what do you think it's a bit gorgeous i'm going to take elements of the outfit and use that as my inspiration to create a set of nails so I'm going to start by pushing back the cuticles on these beautiful gorgeous nails they will be gorgeous by the end so we're just going to do the prep at the minute so push back the cuticles removing any nonliving tissue from that nail plate and I'm gonna take a white block and remove the surface shine and take the file I just make sure that these sides are abraised because the quiet short it's hard to get into those sides with a block you can remove the shine with a soft file dust dust dust dust dust, we're gonna sculpt these nails, just going to quickly wipe over with some acetone I'll just remove any oil from the nail plate and also get rid of any excess dust.

prime with the nail dehydrator are going to do this on all of the nails then i'm going to use the acid free primer and i will do two coats of this on all of the nails applying two coats to prevent lifting i'm going to do each nail individually so you can see how each nail is created and we're going to start with the index finger so the tab is on the back of the form i'm going to snugly fit sculpting form we're going to do a soft stiletto by that I don't mean when you touch it it's going to be really soft I mean it's not going to be quite as pointy as a stiletto but it definitely won't be an almond we're gonna go to a number two, so you can see how that's going to come straight out the sidewall here so i'm going to use the copper rose cracked ice Mylar so the reason that i'm using this color is because on the dress it's got that gorgeous deep flesh color and it's very similar to this and we will be using warm beige and we've got and we've got warm beige I've got some clear as well I've got max adhesion liquid, we've got that gorgeous cracked mylar which is beautiful or b-e-a-utiful i'm going to put a really thin layer of warm beige on so I don't want you to have a background that transparent, i was it to have a solid background, i want something natural sitting in the background rather than having a clear nail ok we got then layer that natural color that and what we're going to do now is pick up the mylar with a bead of clear just like that and we're going to spread this around now you can see why I needed just a soft natural color in the background we're going to cover the whole nail with this gorgeous product we need to add any more you can just add a little bit exactly the same as we did with the first bead just picking it off get it and move around and put it exactly where you want it once the acrylic starts to dry that you have applied with that adhere it to the nail then we're going to encapsulate this now in clear you know try to do it in one bead and then pot and press the bead down over the top of that nail you've created encasing all of the cracked Mylar, thus giving you the structure of the nail I'm gonna pinch this nail just to give it a nice curve, a nice c curve popping it on at the widest point so it can give that a little bit of pressure to gently bring that nail in, we'll take the form of now we're going to use the e-file now just to refine this then we're going smooth this back area out by the cuticle just gonna remove any bulk that we don't need gonna file this into shape same filing technique guess I always do side walls, cuticle, i'm just going to wipe over that with acetone, thats going to smooth the top surface out.

beautiful now wait til we see with mega gloss oh my days this gonna be so shiny it's gonna be so sparkly are you ready just look at that talk about into the LED lamp I'm going to finish this now we're cuticle oil they are there's a gorgeous fullnail of Mylar beautiful This will go with the outfit perfect and will add a little bit of bling, on to the next one.

Tracer and Overwatch Character Design EXPLAINED – The ART!

Tracer.

Arguably the most iconic character in Overwatch.

She is on the box art after all.

She's cool, she's funny, she's spunky, she'sunique, and you can get all this just by looking at her at a glance.

But, how does one go about making a characterwith this much personality SO recognizable? Well I'm going to tell you how because thisis.

First of all, a little bit of character design101.

Now, who is this character? It's MARI-OH GOD.

What happened? Well anyway, if a character is designed wellyou should be able to tell who they are JUST by looking at their silhouette, or the basicshapes that make up that silhouette.

And this isn’t even one of his iconic poseshe's just kinda standing there at an angle and you STILL knew it was Mario.

And if you DIDNT.

stop this video rightnow and go play a Mario game.

Then work aaaall the way up the timeline tillOverwatch.

Ok? Ok.

Let's take these beautiful concept illustrationsby Arnold Tsang and silhouette them out.

You can still totally tell who every characteris, even when they're not next to each other.

This is really important in character designbecause you want every character to be recognizable at a quick glance.

In fact, every characters in game assets werecreated completely from scratched.

That means all the character models and animationswere made from the ground up to fit each character's unique style and personality.

Normally, base assets for game charactersare copy and pasted.

That's how you end up with weird quirks likeALL the men AND women characters being the exact same height.

Hey, remember when Ubisoft said animatingwomen was hard? LOL! Now lets take just the tank characters.

You'll notice right off the bat, they're huge.

But not only are they tall, they're also muchwider than the other characters.

They're intimidating.

You don't want to fuck with these guys.

You'll find most of their weight in the middle,in their core, and it'll need to be distributed downward to the legs in order to hold allthat weight, with the exception of DVA because she's pretty light on her feet.

Now lets look at the offensive characters.

Offense is a pretty broad roll, but more orless these characters are looking a lot more.

human shaped.

Now of all of these, you can probably tellright away which one is the fastest.

It's the small size and the long skinny legsthat give it away.

She's like, what 70% leg? Tracer's pose here is also one of energy andfriendliness.

She's completely open.

She's waving.

She doesn't even have a weapon in her hand.

Then you have the polar opposite here withMcCree.

Hand in front of his face, he's peaking outfrom under his hat.

He's closed off.

McCree is strictly business.

Another major factor in character design ishead shape.

Think about it, a person's HEAD is the firstthing you look at.

most of the time.

Comeonnow.

Eyes up.

What are you doing? Across the entire roster of Overwatch characterswe have many head shapes.

But let's take a look at JUST the head shapesof all of the offensive characters.

Some much more anthropomorphic than others.

Here we've outlined the basic head shape,and what features DEFINE them.

Genji is defined by his angular armor andV shaped eye slits.

McCree is defined by his giant hat that cutsright across his face.

Pharrah is perhaps the most basic with herhelmet off.

Her helmet adds a lot more angles, but leavesher jaw exposed.

More on that in a minute.

Reaper's head shape is probably the most obscure.

He has a normal shaped head under all that stuff there,but I'd say the triangular hood is what defines the basic shape.

You can see it especially well after you silhouette him out.

Soldier 76 is defined by his visor.

Men tend to have harder, more angular jawswhile women tend to have more rounded jaws.

That's why Pharah having her jaw exposed makessense.

If we left it up to the basic head shapes,then thats it, all the men would look more or less the same, and all the women wouldlook more or less the same.

Now with all that said, we're left with Tracer.

Tracer is defined by her goggles and moreprominently her spiky hair.

It's what helps you notice her at a glance.

It helps you pick her out of a lineup supereasily.

Hell you can even pick her out of a lineupof other spiky haired characters because of the unique shape of her spikes.

THATS how effective this design is.

Her physical appearance isn't the only thingthat gives her personality.

They had to take all this personality andapply it to her animation.

She's ready to go, knees bent down low, she'sitching to get started.

She's FAST, but LIGHT and floaty.

Her jump gives her a lot of hang time andslams her down, but she catches it with her legs cause they're STRONG as FUCK.

One unique thing about the animation of Overwatchis that every character model rig has what they call "noodle bones," or simply adjustablebones so you can do stuff like THIS! This allows the type of smear frames you'dsee in 2D animation like anime.

It allows animators to give their work someextra life, some more bounce and character.

Being able to squash and stretch objects andcharacters at will is part of what make's Overwatch's in game animation look so cinematic.

It's all about those little details.

And you can see those details in her jumpanimation.

Look at that.

HORRIFIC looking torso.

Tracers run cycle show's her floatiness.

She almost looks like she's gliding along.

Her legs are coming up high and she has aslight bounce so she's definitely pushing herself, but her feet look like they're justskimming the ground.

Very very graceful.

We can compare this to the polar opposite,Reinhardt.

You can totally FEEL the weight here as heSLAMS down, almost like the animation speeds up at the end of each step.

It's ALMOST as if, you can tell a little bitabout the characters just from their RUN cycle.

HEH!? HEH!? (yaknowwhatimean?) If you think about it, this game is reallyall about the characters.

It's a team based shooter with like, 2 gamemodes.

The variety comes from switching between allthese unique characters.

We feel like we know them, even though there'sso little information about any of them.

All we have to go on are their voice lines,and of course, their design and animation.

Ok some of them have these animated shortsthat are like REALLY cool and emotional and breathtaking but even THOSE don't give thatmuch away.

If anything they're more of a celebrationof these character's design and animation! And all of these traits being applied to Tracer'sdesign and animation are what make her so easily recognizable, so easily readable atfirst glance.

It's what makes us fall in love with someof these characters even though we have very little to go on.

And this type of emotional connection is whatsets Overwatch apart from all of the other hero based shooters.

That and the perfect balance between gametypes.

And you know, that it's a GOOD GAME.

I'm sorry.

ANYWAY WHAT DO YOU GUYS THINK about Tracer'sdesign and animation? If you liked this video and want to see morelike it please give it a like and write in the comments GUYS I LIKED THIS AND I WANTTO SEE MORE LIKE IT PLEASE, THANKS SO MUCH, HUGS AND KISSES, BOB.

Oh yeah by the way HI, I'm Bob Wulff froma little itty bitty YouTube channel called the Wulff Den.

If you like hearing my sweet, beautiful, innocent(FUCK) voice be sure to check out some of our videos where I just talk about games andstuff.

I also do creative streams 3 ish times a weekover at twitch.

Tv/bobwulff.

Come hang out over there and talk art stuffs.

Aaaand of course you can follow me on [email protected] if you wanna see updates on all that.

If you want some sweet perks you should checkout the shoddy cast patreon.

For just 3$ a month you can get these videosearly AND participate in exclusive chats.

Isn't that fuckin NEAT? Thanks for watching GUYS, and hopefully I'llsee you in another video, yeah?.