Music of Hannibal masterpostA compilation of all the pieces used in NBC's Hannibal.
Pieces as they appear in chronological order in the show.
Updated weekly after the episode airs.
feel free to delete the following if you want, but leave a link to the complete tracklisting
- The Rite of Spring, “Introduction” - Igor Stravinsky
- Nocturne Op. 32 No. 1 - Frédéric Chopin
- Nocturne Op. 9 No. 2 - Frédéric Chopin
- Piangero la sorte mia (Giulio Cesare in Egitto) - G. F. Handel
- Prelude Op. 28, No 13 - Frédéric Chopin
- Le Veau d’Or (Faust) - Charles Gounod
- Lacrimosa (Requiem March in D minor) - Wolfgang Amadeus Mozart
- Patria oppressa (Macbeth) - Gisueppe Verdi
- Largo (“Winter” - Four Seasons) - Antonio Vivaldi
- Minuet in G major, BWV 114 - J. S. Bach, later attributed to Christian Petzold
- Intermezzo (A Midsummer Night’s Dream) - Felix Mendelssohn
- Goldberg Variations, BWV 988 “Aria” - J. S. Bach
- O Euchari - Hildegard von Bingen
- Sonata for Piano in C minor Op. 13 No. 8 “Pathétique” Adagio cantabile - Ludwig van Beethoven
- Piano Trio in D major, Op. 70, No. 1, “Ghost Trio” II. Largo assai ed espressivo - Ludwig van Beethoven
Chris Sanders’ “Sanders’ Style Surfin’”
Bartek Gawel, CDPR’s art director, shares some insight on the importance of head construction for successful character design.
The secret to a good character concept is its head. Not to brag about the eyes as the mirrors of the soul or the number of emotions a human face can express let’s just get on with it. Because it’s all in the head – believe me.
Any to-be concept artist will have to learn sooner or later how to draw a good face. I decided to take my time and start this little tutorial and share the knowledge, that was gathered by artists and human body experts (scientists to be precise) throughout the ages.
In this episode I’ll write a little bit about the first principal which defines the look and character of the head you are designing. Today I will write about the facial angle.
The most important element you will need while constructing the head is the middle of the ear. This is represented by the red dot on the illustration above.
A line crossing this point and perpendicular to the horizon helps us find the beginning of the neck i.e. the place where the neck meets the chest (point A). Traditional sculptors use a special pendulum to find the correct line. It’s good if you have an aprentice of any kind to hold it for you, while you’re busy with your work.
The models character is determined by the so called facial angle. This concept was used for the first time in the 18th Century by Petrus Camper, a Dutch anthropologist, scientist and sculptor. He introduced a constant head position based upon a line drawn from the middle of the ear (red dot) to the septum (the red line). The second line needed to create the face angle is drawn from the forehead surface with the jaw (yellow line). This angle can have different rays and be even right.
Determining the facial angle allows you to have a base for further head construction and influences the look of the model on an early stage, before you start outlining other elements (e.g. a nose).
Wrist, Hand & Finger Stretching Routine. For those tired artsy hands! When it already hurts to draw (or write), we should stop for a moment and then stretch + rest our hands.
I’m gonna take a break and do this for a moment.
Very good for artists to do regularly. Doing these exercises regularly helps prevent long term issues like arthritis and carpal tunnel.
Also good for anybody who sews, crochets, knits, etc!
A lot of people have messaged me about the 30 Day Challenge list. I hadn’t realized the link on my old post was down, so I’m reposting it now, as well as letting you all know for the next 8 weeks I’ll be posting every Monday with animated illustrations. Hopefully I can brighten up your otherwise dry work week Monday!
UPDATE: Sorry I fixed the list. There was bunch of dummy text in there. It’s all good now
I’ve been getting a lot of asks lately about the brushes and textures I use in my work, so here’s a BIG FAT REFERENCE POST for those of you who were curious! Bear in mind that I’m really lazy and don’t know what half the settings do, so don’t be afraid to experiment to figure out what works best for you :>
I use the pencil tool with SAI’s native paper texture both for sketching and for applying opaque color with no blending. Lower opacities give it the feel of different pencil hardnesses, while full opacity makes it more like a palette knife, laying down hard-edged, heavy color for detail work or eventual blending with other brushes.
Mostly made this because I’m lazy and I didn’t want to have to keep turning my textures off/opacity up when I wanted to ink something (even though I don’t do it very often), or lay down flat colors. I find the line quality to be much more crisp than Photoshop, and you can manually adjust in-program stabilization to help smooth out hand wobbles.
The plain ol’ brush tool acts as sort of an in-between for me in terms of brush flow. It’s heavier than my usual workhorse brush, for faster color application and rough blending, but not as heavy as the pencil tool, which has no blending at all. I like to use the canvas texture on this brush to help break up the unnatural smoothness that usually accompanies digital brushes, but it works just fine without.
A brush tool set to flat bristle is by far my favorite to paint with. I don’t use any textures with it because I think the shape of the brush provides enough of that by itself. I use it for everything from rough washes to more refined shaping and polish. It’s just GREAT.
Best used for smooth blending, washes, gradients, and smoky atmospheric effects.
Basically a grittier version of the watercolor tool, because too much smoothness weird me out. Good for clouds and fog, as the name suggests, or just less boring gradient fills.
To further stave off the artificially smooth look of digital painting, I almost always overlay some sort of paper texture, and it’s almost always this one, which I scanned and edited myself. You’re all welcome to use it, no permission required!
Using overlays in SAI is just as easy as using them in Photoshop. Just paste the texture into its own layer above everything you want it to apply to, and change the layer mode to Overlay. That’s it!
Want a more prominent texture? Up the contrast. Something more subtle? Lower the contrast or reduce the layer opacity. You can also use a tinted overlay to adjust the overall palette and bring a little more color unity to an otherwise disparate piece! Just be aware that too much texture can hurt the readability of the work beneath it, so I’d err on the side of subtlety.
Hope that helps!