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August 19 2017

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edhellin:

Rivendell matte paintings from The Fellowship Of The Rings  by  Yannick ‘Dusso’ Dusseault

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landscape-photo-graphy:

Photographer Akhil Suhas Travels 6 Months Across New Zealand With Gandalf Costume & His Photographs Are Amazing

“I wanted a recurring subject in my photos and with so many photographers visiting the country, I figured that I needed to do something to set me apart!” he said. “I was watching the LOTR for the 5th time when I figured New Zealand is famous for 2 things: its landscapes and the LOTR + Hobbit Trilogies. So why not combine the two by having Gandalf in the landscapes?”

 I tried the camera on a tripod with a timer shot, didn’t work for me…So, I started asking the people I met along the way if they wanted to put on the outfit.“ 

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fantasyartwatch:

High on the Hill by Alex Brock

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sleepycleric:

brunhiddensmusings:

kineticpenguin:

tenthcorner:

supapoopa:

peterfromtexas:

Reenactor throws a spear at a drone

What a time to be alive.

“The medieval warrior, realizing the consequences of his impulsive act, immediately approached the owner of the drone and offered to pay for the damage.

The owner of the drone was so impressed by the brilliant attack that he suggested organizing a competition for bringing down “dragons” with short spears next year.

Drone owners have another year to develop a unique “dragon-like” design for their flying machines.” (x)

I am 100% cooler with this knowing that the spear-thrower realized “oops maybe I shouldn’t have done that” and tried to make it right, and that the guy who the drone belonged to was cool with it

just so everyone knows, this has already been memorialized in a runestone


The runestone makes it so much better.

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turecepcja:

Photography by Cooper & Gorfer

Cooper & Gorfer consists of the artists Sarah Cooper (US, 1974) and Nina Gorfer, (Austria, 1979). The artist duo is known for their distinct painterly aesthetics and poetic hybrid image collages. Their work often revolves around issues of cultural identity and the genius loci, in search for the connection between people, story, and place. Their imagery is often based on and a result of comprehensive research travels in close collaboration with the subjects they are portraying, with the photographers carefully directing their productions.Cooper & Gorfer are photographers in origin but strive away from realistic representation. Using an advanced collage technique, they construct their photo-based works like paintings. They distort proportions and shift time and space, stage rigorously, and use stylized poses and gestures to break up the world into parts and rearrange them into an enigmatic and exaggerated ensemble.

August 18 2017

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natgeotravel:

Birds soar on a cloudy day in the Loften Islands, Norway.

Photograph by Lior Yaakobi

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lamus-dworski:

Outer gallery of a wooden church (decorated with Easter palms) in the folk museum of Sądecczyzna region in Nowy Sącz, Poland. Photo by Grzegorz Sabała.

August 14 2017

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treasures-and-beauty:

A fine Gothic Revival ivory mounted gilt and patinated bronze table casket, ca 1870, by Alphonse Giroux.

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fellandfaironline:

Some girls want a knight in shining armor, others just want backup. Get a man that can do both.

📷 @emory (at Olaran)

My mum calls me on the phone: So how the little one? Is he no longer afraid of you?

Me: Well, he wasn’t afraid of me before, but he’s starting now.

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theancientwayoflife:

~Half-Suit of Armor for the Field. 
c. 1575
North Italy, Brescia (?), 16th century

Decoration was critical to fine armor, and etching was the most commonly used technique. Here, the bands along the borders are etched. On the breastplate, pauldrons (shoulder guards), and tassets (hip and upper leg guards), etched medallions enclose profile busts reminiscent of ancient Roman portraits. The lance rest on the breastplate indicates that this half-suit was once part of a complete field armor for man and horse.
The etching technique used for armor was developed in the late 1400s. The metal surface was first coated with an acid-resistant substance, such as wax or varnish. An etching needle was then used to scratch a design into the surface. The exposed areas were then treated with an acid that would “bite” or etch the lines into the metal. When the coating was removed, the etched design was blackened for contrast.

Reposted byNicoo Nicoo

I was kidnapped by my friend for a short vacation in her cottage.

Her expectations: We will sunbath in the garden all day every day, while her 1 yo son sleeps peacefully.

My expectations: I’m terrible with kids, so I’m just gonna help with the dishes and cleaning, that way she might be able to finally have half an hour for a coffee, when he sleeps.

Reality: We are building a sandbox for him, while he judges us from the side and spills our coffee.

still the best vacation I had.

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treasures-and-beauty:

Persian shamshir, circa 1800, single-edged blade, a cartouche with inscription in Arabic & remains of gilding on a side, gilt-brass hilt, richly engraved with floral motifs, green, ivory grip scales, complete with sword knot in the shape of a green-&-gold cone

August 13 2017

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Mapmaking Part 1(b) - Civilization

script-a-world:

This is part 1b of the mapmaking tutorials. If you missed steps 1-5, go HERE. 

This is where we add in evidence of civilization to your world maps. Cities, towns, roads, ruins, anything at all.

STEP 6: CITIES AND TOWNS

Finally, actual civilization. Throw those suckers down wherever you want, BUT always keep the major land features in mind. Is it economically better for the capital city to be on the coast, or near the desert? If your country makes a lot of money from the ocean, there’s gonna be a lot of coastal cities. If you’re making a world map, don’t bother with anything other than the most important locations, but if this is a country/region important to your setting, fill it out.

Consider: Your story. Are your characters traveling a lot through named cities? If you’re making a map after you’ve already written things down, be careful not to contradict yourself. If a city is, say, a week’s ride on horseback from the capital city, don’t put it super close to the capital, or all the way across the country.

Also consider: Did larger cities change the landscape at all? If a city is near a forest, did they clear a large portion of it out? Are there certain parts of the land that are completely unsuitable for settling? What’s the population distribution?

STEP 7 (OPTIONAL) : MAJOR ROADS

Time to link all those cities and towns together. Again, keep the land features in mind.

Consider: Both the capital and the most economically powerful city in the nation (they don’t have to be the same) will have many more roads leading to/from them than a village. Cities/towns that are conveniently in the middle of many others will also get a lot of roads. Isolated villages might only be connected to their nearest neighbors and the nearest large city.

Roads merge and branch fairly often. Countries will have roads leading out of their border to major cities in neighboring countries. I would link all the major (or the oldest) cities/towns first, then connect the smaller settlements to the system (this better emulates how the roads would have actually formed over the years). Once more, be a little random, unless paved highways are involved that efficiently cut through the landscape.

Also consider: The landscape will decide where roads are laid. A road probably won’t cut through the forest if it’s easier to go around the edge. Don’t put too many roads through a huge mountain range. Chances are there’s only a few passes where a road can be put.

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Note how the roads go around the thick forest, and there’s only one mountain pass. Larger settlements (and towns conveniently in-between others) have more traffic. Roads merge and cross to make shorter paths between settlements. The city of Onaris in the middle has TONS of roads because it’s a convenient central hub for traffic.

STEP 8: NAMING

Another fun part. Name all relevant cities, major towns, big land features, neighboring seas, etc. If the part of the world you’re focusing on has a unique language or spelling conventions, show them off here. If you’re making a world map, don’t feel the need to name every little thing. Focus on the important areas. You can always add to your map later.


STEP 9: EXTRA STUFF

Things that aren’t TOO vital, but will certainly give your map a sense of realism:

  • A paper texture, if you’re using an art program. If you’re looking for parchment but can’t find any, a grunge texture might do if you recolor it brown/yellow.
  • Ink bleed (if you’re using an art program). This can be accomplished with a very small “outer glow” layer effect colored the same as your ink, set to either “multiply” or “overlay” or whatever looks best to you.
  • A compass (people will assume the top is north, but still)
  • A map border
  • A map key, if needed
  • Meridians and parallels (depending on your projection, getting this clean will be HARD unless you have special tools for drawing curves, or maybe use vectors to get them just right) [Note by Werew: If you have meridians and parallels AND a compass/scale bar, there’s a really good chance the compass and scale bar are actually inaccurate because it’s impossible to represent the entirety of a round world on a flat surface and have everything be to scale. An alternative might be to mark the north pole if it’s visible. Another alternative is not to care too much, because it’s your map and nobody is going to sue you if it’s not 100% accurate]
  • A scale bar
  • Fancy corner designs
  • Different colors for different neighboring countries
  • Slightly curved title text to better adhere to the things they’re naming. In the final image below, I curved basically everything except for “Vinera Forest” and “Bradad Tundras.” Even the continent name has a very slight arc to it.
  • Different fonts to signify importance. Again, see final result below.
  • Sea monsters in the ocean, if that’s your gig.

If you REALLY want some advanced stuff to make your maps stand out, try for these things as well. To get them to look realistic and reasonable, reference reference reference! And remember to include map keys!:

  • A topographical overlay to indicate elevation
  • A climate overlay to indicate different biomes
  • A population density/distribution overlay (helpful if you have multiple races/species going on)
  • Temperature map overlay
  • Political map overlay with clear borders between countries. Color it all in if you want. Add capital cities.
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Please note that this world map is a really old first iteration of mine and doesn’t have a proper map projection! Note the compass, border, corner art, and (frankly bad) meridians and parallels.

Also note how the mountain rangess in Thoan and Janting are actually part of one long chain.

And that’s it for the world and regional map tutorial! Coming up next is the tutorial for making maps of towns!

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met-medieval-art:

Flagon via Medieval Art

Medium: Pewter

Gift of Irwin Untermyer, 1964 Metropolitan Museum of Art, New York, NY

http://www.metmuseum.org/art/collection/search/468678

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