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  • Imagine Manga

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    Vinicius Rossi
    900 vizualizări111 pagini
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    © All Rights Reserved
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    900 vizualizări111 pagini

    Imagine Manga

    Încărcat de

    Vinicius Rossi
    ok

    Drepturi de autor:

    © All Rights Reserved
    Descărcați ca PDF sau citiți online pe Scribd
    Indicator pentru conținut neadecvat
    din 111
    FANTASY smooth kin, How do I paint realisticlooking flowing and ves : oaee splashing water in Painter? 2 a Davi replies Thebet way to approach paling | enter Over the tp ofthe pouring wae. ‘nga airbursh This of water drops splashing in Pinte’ Distortion brushes ‘more oxganic and random movement tothe that the movement doesnt lookt0o aid unnatural dt pain the founda nd then layer the cool Be ‘water aver the op of the surfaces. Using the Blending brush called ust geayTievL BLENDING BRUSHES ‘Add Waterin Painter leeateasense small toue ‘of motion and direction tothe ImagineNation Question PAMPER EE What should I be lookin; a firework display? at when drawing from life? I've realised my character needs a background —‘help! Z How should I use photo samples to add texture and colour tone to my paintings? David replies ee inagrelate lper “Spon exe ed aloes te a ee Re Pee tiereee fine ti ih oreo the planes hat he nl ig wl Re thos ebling Ie oer ape Toon Tinh ny per ce wth tof perbateiaspeoy EaNg ut tage coming inca Ugh Samp bolande Pa beak ipa a aot mich theo ape od pepe thenesplane te Fl pabtin ny ioge. Oneal the plane ate xed - inept al ple lyr eta cen Sten end teri seetietes ‘ety On the Sen er bud he highs eoby eee esos cane Grairne atc ny tear LE crepancy Ye notbpng yong UNIQUE TexTURES Putting a character in its place I place the android on a wider canvas | choose a daylight source that ‘The ruined city is starting to tak 2nd then start roughing in shapes in corresponds with the lighting of th shape as ad layers of shadow and ye background, These are ust suggestions mechanical character and begin adding in ight details, but! feel that the character is flight and shadow, colour and tone. | rrore form and definition to the lobking a bit too s don't want to put in anything too spe background, careful not to add t packalrop, So | ack separate layers may end up i ‘an be altered outline sight ae focal nvironment in my chara Nay Goon Us rs? Answer Nick replies Mise meet the characteris elingapd how ant this to come nerose hough physical acide ‘When geting into Uhecharaciers head inthisway you ned wobeablew acton some eve with your pene Consider taking your skercbnok nto the oal els. Rather than simply copy the ‘uu, ry ind the essensa thst ‘able theauiene ro ee te atte of the person tha yon ening on pape, Back in he smd this knowledge ca Be exer nt agin charates Fist ImagineNation Artist QA Rowe can iD capture an attitude capture the atta and then build the forms ontop. The hea, shoulder and hands are good starting pois but pothingis moc efletive than ying tofeel in your enn body what the characteris experiencing Taketch {quickly and crest mile images and poses, dia axnbie them ‘oni one abst in Photon to seta ides of which pose beer ‘apres the aide Fm ooking for Thiscan then be howcopie,benen up ceanedup and inked rit th oj want this to come across Using a Colerase, carrine or Staeutier do sketches, spending ne more than tive minutes on each pose ask myself what the sh physical attitude, Tuscan red, or brown and 5 pencils ur of five half-size Vink with @ Japanose Pentel rush Pen or clean upwith @hard pencil either HE ‘oF H. When tt comes to inking stay confident when putting down the lines. Always look at he end destination, rather then your pen tip. you do the latter Youll get sueked int it and your line quality wil change, im concerned about the readabilty of the graphic shapes that 'm putting down To reduce the ambiguity of the shapes |laok for the simplest volumes by using C curves S curves and straights, Defining both the cross contours and small details sells the structural volume, | colour in Photoshop without affecting the line work I start with the flat layer by putting down the base colour. On the next layer on Multiply, | add the shad then proceed with a thir {adding highlights, ‘opaque quality tat Your questions answered... iat the best way watercol lour ur brush in n Photoshop? Rowde do I draw perspective in anatomy? Laurent Gilliard, France Answer David replies * want Bleed efectin | sayy rush sol make e (Ss, interes beac efter Tasks ‘pelo omenseaapcng ‘Sandan ny eran teu Now feel pad echt ben na dey bled look | Sates Because i after a uansparent ‘characteristic Taddtin the Dual | ada watercolour paper wextret9 Brash tage To create ths effect whieh found in the Hate Pickasoftedgegmnercbrush and menu unde Arstisusf seca large diameter. now seater ‘eto creates waste gradient, choose Overay so thar itcestes sharper eds which ae seen a finally choosing Linear burmto | waterole. Finally tt the Ppenpective butcan also beaided by | completethissageand theefiet. | Qpaciyio Men jessie, because your figure can be linear guides andor good reference ‘watercolour pigments ate want to apply wash effects anda positioned withina | material You mustalzoconsderthe | heawyand itn thegrooves ofthe | smal flaw iter at around fie pes ‘omposiion startby __perspectiveimposed on your Paper Thisiceasytomimie:just ! centwocreate ist, sDboxinitsplace This | composition, Viewing figure from, box will sar youoffwith guidelines | below imbues them with power, Yomatch to thecorestactural parts | fomabove they lose power There ofthefigue such a¢thespine.By | aloctoconsier when posing builinga body out of polygons you characters thieway but ca canusetheanglesin thebaxto guide | affecta composition thevatiows shapes of the figure and isfun play ven ith abox model, igures are around with, lfc to visualise a ‘xtreme angles without somekind of further reference. Software ike Posercanbe helpful in Save Selection) and sve itso can makeadjstmentelater on, These selecons male teaser o work on an Image, and ae particularly helpful for pining manga illsrations, because this syle needs clearly defined areas of colour, While selections ate sel, dont use too many orit wotlk natural. oe this image, veonly created selections forthe ‘wo main character outlines and skin. CColourthectherateasbyhand. A Workshops Use different hues to create shade. use colourte contol the oval feeling of an image. keto blend colours wit the nearest hue or the opposite hue on the colour nel createa feeling of depth. think thisis a beter technique than ‘using bright and dar tones ofthe same colourto crate shadows. This ‘sloucblendingexlnique is very popular in Japanese ustaton. Opiate site ‘When fm colouring halt alway try to create an impression of volume doit rae navidual strands just yt glvethe impression thatthe halt is waving in. ‘ertsin direction. This isa key partfthe manga syle. Have look at ny lapanese rang comic or cartoon for examples ofthis. (painting skin ‘While 'm paintingthe characters shin make sure check some reference pltures There are two parts to this step, | thefistof which involves creating sense | of volume. Once im saified with the | shape and lighting, i timeto move onto yw 2 rd J Prd [sneha ee ress os eee oe Rae “4 unnecessary detail * “Tying paint eal etal inthis ‘3 | tstobidden~ seriously! The main pats Choose your character colours | othischarctersface ar he ees and eal color fil oy characters to ake them jump out | eutemouth, soon pant the rea tuchground asthe were pat ofacollage Colour flsbep | between the eyes and ejrows and the ratcharnonyin the image and provide depth forcharacers and zon. Tis enough to draw aetion ‘objets. Lease some colour fom thecharacersothecolourfill | tothe eyesand mouth and show that this {gprs Theamount need ert depends now mich wantthe | frapenon’ face Donald more dtl character bien wid thetuground might we hs techniqu than you need, bec dings will ‘lends characterinathebackground tomaleanctherandoxt. — spolltelmage. MIE wen sac In depth Japanese art secrets Create depth Nov Fvegpall the deal need | iste tn crest depeh by erasing some ‘on fom the main character This is © desametechnige | ed 0a le Iracguound colous wo te stade ares, ~ Final adjustments sd de wha ed 10 cst nthe inl to make mage | lock exactly se way an Iebeen vd the pain rae, | leh ean make eto fla, try gt out of yh, When Trou tle Lean sce what eed + adjusting Thisiethe same technique | ue wi dicnal sch Adjust fad shading Acts pont lookat the image asa whole and decide if need oad ey shang often adda lle mere colourto area tha eed ito create sense of depth Another technique likes adding itl ofthe background colour to pars othe skin ‘thaare in shadow. This could come fom the opposite direction to the main light, source apply these techniques on separate layers so can adjust them let, ~ Let the line art shine focuson refining the shadowsand | ‘make sure theyelarge enough to create animpressionofolume. Dont worytco | eclous to make he blend i much about the smaller details suchas | dhebackground because the gi accessories thelineart will gve | dont wanthe to compete these depth ny opinion too much | withtheforgound character shading inatiny spacecan make the | Anyonelookingatthe picture mage lok heavy. shoul se the rot i fi Workshops AAR age MAKE THE UNUSUAL LOOK NATURAL Simon Dominic believes the sight of an ogre grabbing a meaty cow can only be done justice by ArtRage’s equally meaty natural media simulation Rage ies compact at Timitedcolous paleteelpstheeveall | say won'tbe using methods not found in surprisingly powefsl toot coloureonsistency, and how working | tational art far fom Artage’s fox simulating eal media | floma reasonably dealedskechean implementation of reerence, ayer eros sketching and painting, liminate the need for late changes transformations and selection masking ee) helped along in no smal par ‘orkingin ArtRage issu difeent are wel implemented and show you uniquely impressive brush engine. Inthis | from other packages lis implementation | how they can be enployed to pood elect ‘workshop explain howTracklethe | ofthe painting process through Asfarae che subject mater goes | juwvork creation proces, from colour | replication ofthe rea liebehaviour of | suspect mostaders would be eager 10 Puletesctup though theskechingstage | various medi means that artwork sean oprecarying cow (Eko I as) ‘othesimulmed i paintingand deal | creation erliant moreon rctional | sothats what Iwent with, Ifyou were stags Tildeimonstate how building | echniquesthan digital ones Thats notte. expecting goat, ean only pologise, —_ Sp | ¥ Getstarted = @JRoush sketch mas cow soe OS Sepang consul ogre prof hee omy inl pce ae Create a Samples palette tart Bante JoutOnthe canvas, Fuge am Oil brush (¢ < “Segenag tance gt seer eka tn Og biaccse AMM, «css ticcu. tor ete Workshops ‘Outline sketch ven Ye nied he gh seth, Ise that ayer ta around 40 per opi Terese new layer on top and sing the rough sketch as reference, ereatea moe refined ‘ullineabech, When this done, Arievethe rough sketch aye. There's nothing to stop you sketching serving ont asingle ver, oreven tothe ane, but his ales forrefinement without thems, Paint rough detail ead to start pati, st merge ayers with the canvas and upsize tthe Final dimensions. Fr most ofthe painting proces use my Medium Oilsbrush also make sur the Tools-Coler Options>Real Color Mending menistem x checked, Tse this gves more realistic pant mixing resus 200m ino 100 per cen and start | | with defocus ofthe pec: the ogi’ head. Wherever posible elect my clout fom the Samples pane, or pck em fom paint 'valreay hd doen This ensures ‘consistency and enables meto remain trueto my intial colour concep. Final sketch Canvas texture is sec wl form Ue basis for de painting, Hust upsiz se To make the image resemble carwax anal layer by 200 pe cent using Flt Resire the Painting For tuadiional media roughen the canvas theshtc Tne hc udne seth ayer to low opacity eee we texture dick the Properties icon onthe layer forthe inal serch and use he outine keh as eterenc. Notice Canvas layer inthe Layers panel and tha Ten applying shading tothe nal sketch as abasic value study, choose Edt Layer Texture. Tuncheck Use ‘which defines light an shade oy character. rom this point Canvas Texture and bump up the ‘1 net consider the dteson and eng of my ight sues, Roughness around 70 per cent. This applies only to new paintsttokes. Add an environment don't need de same level of Cow pattern! | Elipse ype and Shifedragtocrestea irelarselecton. then movethe | Selection to my deste place, and using the Medium Oils rush, addcolourto represent the planet boundary. To erate red glow around the rightmost planet. tse Eisinvert Selection and dared paintatthe perimeter. then remove the Selections using Edit» Deselect ll Fine detail Adding fine det inves the same process as rough dtl, excl decrease my brush size and make suet Square Head option is unchecked vary vii every pat ofthe image snd tty pin looks ends tsa thesettngson mybrushesforsubuly good time toad afew final highs ral for thi, dace dhe ddifetent effects. or delicate low-impact | Thinners onthe Ol Brush etings pane, which creates sgh ‘Jus reduce theloudingseting to two inpasto lok. Ther no need oreo comsctin in ths case frthree percent sothattheresuling | although yu cam do so by using FlitsAdjus. ayer Colour nally stroke Blends almostimmediaey with | leave the image fora few hours and come hick to i ane lan i, as ‘existing thicker pain. tomakesurethathaven'toverlooked anything. @ The finishing touches 83 PON OT tia stele MONSTER PORTRAIT Sometimes the best reference sources are staring you in the face. Here, a powerful fantasy creature is painted by Dave Rapoza) based on himself eran Cees eee Sperry Poe ter eee ean Pee arent eat Pere ere ne ens ee eas Se eae ey teen my oem s Pees ee err e eres ea aoe ee er eeen poe en ee Perret eae Snes eee nT ere ieee et eT ene es Presa ner ee re Recent Perentert iment enor ee ee ae er eee eet Perea een ene ny images Ocean Now that ve potasetch can eet te eer et a ees ere ant neat {ones on te backgzounx sing Mutphy layers anu se the Soft Round brush with Peer ects WORKSHOP || BRUSHES <=> ad ck ere een es Paar ree eerie Ce ees Pore e ere oe ee eee ery eee oer a ee acres Pe ering ees recat! > In depth Paint a monster portrait Sua} pecirieioentenstis Pergo remminie tai Coen eee oe || Rohe Pea en Preerrreceeeereroc nner Peart Poors et aaa erent te Perce treet peter errr CY ho Rees ttc al Eee retin eee ary ee eer ees Pere ern ns eee eter Perera neat eee) er rons Od Enercon nets Pe enero ecm mere cn eer ee es parr) fe ra " Pa Gees Pee a eee tt ee ey Set AC) ae 4 | highlights and shadows. To stay within the Se epee ee layer beneath the tine layer and tur the white ayer opacity to 100 per cent. Rs Rasy 1 | Se ee eee ee ns eer etre Sheet etes Sees ee oT Firsareneronnnenr snr eernirs | eres I highlights etre storn Pres pet) eet eee eed “y tee pete eee See es Cn ed een Seed [eoreetetinere Deer een) oe cs eee) eee res een poner Pee Sa eer Pe ee tens Ce ue es air) taken aphoto. Now Im going to render a Cee) Pe omy Sear aa ea Cee eed Lae ets eee end et ets Tow opacity (samplingtones fromthe | ee ere ee Paani aswell as isha. Starting get into the | Deen eng er na Poin im stil adjusting tothe contrast. Peet mere aed shadow on his bodyin an attempt to ‘make is facestand out ore. Assess the piece reir sent Ca Se aed Sec ny rethinkeweherethe image is heading. hee ae rae Ct eka ls Ce net Peroni center ee poner ees In depth Paint a monster portrait ec Ie, dt aed ctr clad Seu cer ren a ece re ns pet toy ee! ets Bs | | | | | nee reer eee ene eT er a é oercrsner tt ad Sere ener etd | Cees PRO Aetvebsen woking, Ivethouguabounthefinl ouch. Hyingpitsoneot Sa | une eee aT a ee Sku Ten et er ern tren nt cn tt ee ce Ce ceet Tee oy SOOO Garey nen [terest en ae ene pean Se ee a Sree aa pen ere et a pene a eo eae a eee SS ae a ari ee eT a paneer are j aT bitten) WORKSHOP hh [pita BRUSHES Pry ] ne ae chap Hl alee a Poeranetn et Pere scar er ee | Pent ee eee me erated penne . oclce ed | Cpalthevevero mma SE ihehsramcun Ome | oer Petree) \ Peet eet ee j Somali opiate { rin ener beiiatae toad US & Canada subscriptions | Get your copy RD of ImasinelX first! Exclusive US & Canada offer! Subscribe today and save 40% 5 ® Pay $62.50 every six months by continuous credit card or $124.99 for the year and save 40 per cent* ® Word-free covers, which are exclusive to subscribers ® Never miss an issue ‘© Cheaper than buying in-store news, trends, techniques and digital art products © Have every issue delivered direct to your door or workplace every month Subscribe | securely online: www.imsnews.com/imaginefx-a0T1 Or phone toll-free on: 1-800 428 3003 DON’T MISS OUT ON THIS EXCLUSIVE T2740 Workshops PART ONE OF FOUR PRODUCTION DESIGN FOR GAMES LEAD CHARACTER y takes you through his thought process and concept aesGre. fora prospective video game, starting with the hero a PROFILE ap hyperbole about the xm a ™ ‘concept ar thatthe phrase hasalmost become aninglss Her, na fora special "ery unravel the mysteries of concept arte budding aris ‘Acully ake that fourand abit parts Backin issue 40 I designed futuristic chile called the wasp copter isin my ‘worhopflder onthe DVD} {nstalment le designing th copter il who also the he ‘mou production. Auch, bed an lmportant one to at rgh, ile following fetus brief hat suits the purpose this workshop seis, which also mire the kindof commercial brief tha the Leading Light team ely worst, Thismeans that ean giveyouan insight int he various ‘tage f production design for video ates raher than simply churn ot Piece of nie looking art that aes contest ~ the big picture fyou ike ‘Once the team gts abrie the ist tsk | {sto design and vsualie all the ky story clement. be expaningon these over_| he next Fourie ands you can took, forward wo seingthe main character wna pilot a illage and its topical felon archipelago location; and the ‘enemy - ele gan insecsthat attack. ‘hevillage The final tsk to ceatea key moment production illustration that Arawsall these elements together, depicting the battle between ourhero and There are many great workshops each | smonth in Imagine x, and moe of them cover the pecifics of painting and Finishing echniqurs. Rather than go over ‘ld ground I wank to provide a Jo may thought processes and so the preparatory techniques that use when approaching character design. So lersget stared! Bring on the brief This production design brief was created fora near future sf action adventre video game. Part of the story takes the Player toa sleepy, backwater island aichipelagoin the tropics. These inasmall sing village where our enjoying aspot of RAR, Suddenly th village beset by strange happenings that clmiatein an invasion of weid gant lnsecs that ae hell-bent on devouring ‘heillages, Ourher is presed into, service to save the day: Pewred opposite [sthe iia rie rom the cient. Game production design ee eer eee os colour scheme — Burnand quickly ald some ee nen ee mae ent eer en Peet eats eens arena ee ee pared Std sep peer a oer pee eee Seen urplan ee eet eer et een one ra Poetennente snr? eee at ee tc Se eee ee retin SC hee mentor NRC ecu lay Cee Snapshot of a estate eee het eens With the detailed design ores Peed errr en et en ener eed Prteeoeenetiey Poet ee eee eter errr een eth Peete pepe decree are See see eee eee Peer cree Seether reticent ney ee ts eee rae eter ares cach material that makes up the Bee enero) Pee een ea ker Penny eee ee ene ete ee ee ee eT Rar eeiepenney perink renarenenions ete et ene Perera tg witha dak past Here ve picture Career ee aerate heed core oe pe pearenni neon tire pee eroeny ae cS eee ey ooo y COMING UP IN NEXT ISSUES WoRKSHOP, ou cmt Chr er of th ad pata je ey ‘ ae eee ya Wy poi ah Next month in... anny. ORD ED eLNUNEVNcaD Se ron Cli Frot rating Conan to ASS Pha iieysaichy Pvt aon ce me tty EUS ethno ae " reer issue! omen pao! Bi ary DM ep ieci fern enn tom Sipwenitnare aed Pert evi Acer tC emi he creates creatures for Fey an ee Ue on OMB Ezek MN inheeatnreat Rereninet roti TUESDAY 29 JUNE Workshops \ & CAPTURE THE HEAT OF THE MOMENT Learn about the techniques that will enable you to evoke the atmosphere and mood of a fantasy illustration. is your expert guide. ee, + wilvanyaerilusuaton, | Ihave thebad habit ofkmpinginioan | Thad. binkone of he eons onto p ‘helps Wo have w solid idea illustration without any planning, so 1 aot of brainstorming in the beginning is PROFLE] QQecc seers) coe wotKngpotanoaly tbe | doingthepaining tease wont thls | erga ea lathingyou want io dotapend alot | way tend upspening otc "ecied oak the clasietheme of sien the ial pinging figure | ehinking yeas ering my Davkdand Goliath and get afatary coutwhatto ds Allafyourplanningand | commpoaiion,changingmydeigasand | twist Even though Im going be SSsinnprocershald happening | basally wasting ito time Aer | weeking on antsy tenon, youcan yuursktch pase =efinalpaining's | sarngandscapping four lusiatons, | sleet areata belable nage iat abou eine eae Tend up goingbacktothe eae that | though moo, iting and amosphere * White to grey Blocking in Defining values ‘WORKSHOP aleays tartan illustration by can now begin blocking in the like to establish a bright BRUSHES gy toningibe canvas. tisaloteasertojudge | figuresand the composition. Atthisstage | background behind the main character: it yourvaluesona neutral backgroundas | fm not world about detailsordesign. can give thellustration alo of depth If ‘opposed to paintingonawhitecanvas. | Mymainfocusisonthecomposiion of you look landscapes youl notice that After| pcka neutral gy just hold dows. dhe ilustation. alvays tar my asdistance increases, contrast and Altand hit Backspace Thisfloods the | iluations in Blackand white, because saturation decreases This techniques REE | ©8cc210 with the foreound colour, usally dont havea specific colour known as atmospheric perspective (Once have the canvas toned Istart scheme in mind when starting. Objects closer tothe viewer will end 10 pintinginabstactshapeswith large | ilutation The otherreaton startin | be darker Having these different planes texture ish not ally paying Dlackand whiteisbecause Lean fcuscon | ofvales wil help injet depth in your astenton othe values or shapes i myvalues Havingstongvakuein an painting You can beakit down into three puting down ~ Fas vant to get hasan i 2 simple planes: the foreground, middle something dowon the catvas that can values comet me grounddand background. Try and keep a puintoa op of doesnt ater speciivalue range foreach pane Workshops Refining the image there are afew things o keepin rind that can help create more dynamic eso Theft ek st the ‘amen which creates a mote dynamic ‘mood. Tho alo the rule of hid breakyourimae int thirds and pace your poi where he ies eet How about introducing diagonals? Hete Thawed anagonins dy oingin one lei eile lang in the pete section bac towards He protien. Those ws uppesing agi wl avoduce ‘movement io your panting ry nett geal shapes tv often raver all igi ie sane diection, Uno The bot left ore ha ail oo such negative space 90 Gl ewe with theprtagonist’ cape: haw Iwate Fave something nthe super foreground {op the depth ana tocreate eye movement Langleitso thatyour ee tnavele up the abject an then meets the tanta ef arn This angled inthe ‘oppnie dievion, bringing eur eye hack ronda ie ese Ther arene howe the ever movement ina cele ompesiion The ble arto show Areca elemenes that la the eye bcc dhe main focal pon. Having leaded ey abo ely create amare imeresting composition. Lae edges re when you havea chat eop off the Aide, topo bstom of yours, Adding colour ypicaly,Lusea variety of diferent layer types to add colour. After get base colour doven, create anes layerand paint opaquely on top ofthat. To avoid ‘angio my values too much when adding colou [decided to start off by ‘sing’ Color layer Tt the problem with ‘colurlayes is that you cant achieve very Aaekor ight vals, so youhave to go buckin and fiethat. need mi image 0 Theda so Tadd a Multiply layer underneath the Cole layer A Muliply layer wont add lights ithe soto mae ny image brigher Ladd an Overlay layer alsovethe Colorlyer, enabling Paintin more saturated lights, Adjustment layers A quicksay to adjust your colours Isthrough the use of Adjustment yer. There are many types of Adjustment layers andthe great thingabou them is that they dont change yourpaining, so if you dot like the changes you can delete the Adjustment ayer and you il have your orignal image Using the Color balance adjustment layers key to my process anillsrator Many times scarewith acolour scheme, bitby using Clorbalance can come up with something that | normally wouldnt have Planned on. ean aio help bring ‘harmony to your pec by adding the same colours across the ene canvas Fixing your drawing Asboth a concept artist and an illustrator, need tobe asefcent as possible sehen Tm working {dont want to spend aloof time repainting or redrawing, Lucky there are many tools Photoshop thal help you fix your panting withous havi start over One oo usa lot is the Lig tool (Fike Lig), This tol enables you 1 “push and pul” chings around in your image, making i possible to make smal changes eal without having to repaint anything, You can also ute the Distr at ‘Warp ool (ditsansorms Warp Distr) osimilar effect. Painting armour Te antagonists lookinga ide too 3c forme, I want the image o have “ amore fanasy felt it but then decide ~ tomake more ofamiaturebetwen cre cif and fantasy instead of ying oe :

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