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Sam Nassor Visual Development Artist The process of creating complex artwork has been made much easier with the help of Clip Studio Paint's fantastic capabilities. I like how customizable the software is, all shortcuts and modifier keys can be set to different functions easily. And when I'm painting, I like the way colors blend together by using the Mix function in the brush customization menu.

I also love using the inking brushes for my line work. They have a very natural feel and a high response to pressure sensitivity; going from thick to thin lines in one smooth stroke is quite easy, especially when using the Stabilization slider that allows you to slow down the brush stroke for more precision. I often keep the color wheel palette on top of the canvas so I can quickly choose the right colors. Raokriom kniga teni nastoyaschaya chernaya kniga. I also use other advanced color palettes like the approximate color and intermediate color palette. Both really help choosing colors in different lighting situations. Juaco Garin Director & Producer Our animation studio has the mindset of combining the artistic and expressive values of traditional techniques with the efficiency and speed of digital tools.

When comparing animation software, the characteristics that influence us the most are its ability to use timelines, symbols, automatic interpolation or composition. However, when doing traditional animation, the most important thing we look for is what we will be doing the longest: drawing. That's why Clip Studio Paint EX is so attractive to us, since its drawing tools feel very real and the animation interface is strongly based on the procedures of traditional animation.

(Note: A few years ago, I wrote a piece on DRACULA that was later revised and published in our first book. With the arrival of the third book in that series expected later this week, if felt like a good time to finally share this piece.) By WALLACE McBRIDE It’s fair to say that nobody has much interest in adapting Bram Stoker’s 1897 novel,. The character has been making dramatic rounds since that first, hastily organized reading was staged at the Lyceum Theatre just a few months after the novel was published. The reading was a cynical affair, designed to secure the theatrical rights to the book, paving the way for a series of slipshod adaptations for more than a century.

Sure, a few directors have paid lip service to Stoker’s work, most famously Francis Ford Coppola’s 1992 adaption that spackled over the original source material to make room for backstory and subplots not even hinted at in the original novel. The book has more in common with THE BLAIR WITCH PROJECT than in any of the films produced by Hammer, and therein lies the problem: Dracula is mostly absent in his own novel. It’s difficult to create a compelling villain who spends most of his time as the topic of others’ conversations. Arguably the most important movie to spring from Stoker’s book is the 1931 Tod Browning film, the connective tissue between earlier stage productions written by Hamilton Deane and John L. Balderston, with Universal’s cinematic (frequently operatic) sensibilities. Few of Stoker’s ideas made it into the final film, which bears little resemblance to the epistolary novel. A solicitor named Renfield (no first name is given) falls under the thrall of a mysterious Count Dracula while visiting his home in Transylvania to discuss leasing an English abbey.