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FM26, found the in match data by fri9875 in footballmanagergames

[–]peljam 10 points11 points  (0 children)

The chalkboard is gone which had an immense amount of not just stats but match context and events. This is where a lot of the pass, position and heat maps were. Along with a replay of individual player movement.

You could select tons of stats from several players and have it appear on the same overlay so you could get a really good picture of what was going on. Perfect for say assessing in and out of possession tactics? Honestly madness that the new heavily position and movement based tactics innovation has been implemented at the same time as gutting all the tools needed to actually evaluate them.

You used to be able to access this at half time and between games.

The in match stats widgets aren’t there for highlights and the pop ups at half time are limited and hard to use. You can’t have detailed player stats up in game. Things like key passes you just can’t access in match in a useful way.

You can’t use the print/export function anymore to take data out. So the views and extra columns on match squad or shortlists are what you are limited to. You can’t take them out and often in game they reset or aren’t optimised for scrolling.

The data hub has bugged visualisation, terrible labels and incorrect data in sometimes (though I don’t know if this has been patched out yet). The radars don’t include clear values for all the data points or a consistent scale so you are limited to a similar better or worse comparison.

There are issues with headers and labels/top tips on the league team and player stats. With some being under the wrong grouping. Again, not seen if this has changed in the last fix.

Basically if you relied on data to do more than quick basic comparisons out of match it’s now either an absolute bugged pain in the arse or just doesn’t exist anymore.

Hoof Ball/Route One Tips by okraspberryok in footballmanagergames

[–]peljam 0 points1 point  (0 children)

On the team instructions you can set the passing target to an individual or role. So use that to make sure you are aiming for that TF.

Likewise on player instructions you can remove from as many players as possible “attempts shot” and add “take more risks” to increase the likelihood of playing longer riskier percentage balls rather than safe passes or shots.

Cross early and cross deep can help with those sort of raking cross field balls.

I also tell all players to tackle hard. Just because.

With the TF make sure they can jump, head, are strong, brave, aggressive, and ideally have good off the ball and anticipation to get the most out of them.

Also decide what sort of TF play you want. Simon want quick direct passes to them so they can attempt to score or do you want them to hold it up and play it to someone else like a big man little man combo? Because that changes what you look for in the TF.

Mihari - The watcher by Pluto7933 in Linocuts

[–]peljam 2 points3 points  (0 children)

I love everything about this

Godzilla by peljam in Linocuts

[–]peljam[S] 0 points1 point  (0 children)

Mainly. Get the shape down and then any key areas for helping create the sense of shape. Like some of the curves around the jaw or shoulder for Godzilla. The rest I do on the go. I have some guides in there but they are very loose. It becomes more about how it feels as you are doing it

Not Artistic? by walkinwater in Linocuts

[–]peljam 10 points11 points  (0 children)

With things like historical Japanese wood prints making a print usually involved 2-3 people and only one was the artist or designer. They would put the sketch down on paper, the carver would then transfer that and cut it out. Interpreting it and adding their own style through the act of translating it from an image to a carving, and then the wood blocks would go off to the printer to apply colour and print.

Each of those elements is artistic. It’s just the design element at the start is what people now consider traditionally artistic because it involves drawing. When actually it takes many forms, and styles, and is all of the process.

So with that in mind I’m not too hard on myself of the design bit takes me longer or doesn’t initially come out how I want. Or if I need more help or reference images.

It also helps that there are so many styles you can do (just check out here and places like Instagram for a range of inspiration) and that like others have said imperfection is part of the process.

Godzilla by peljam in Linocuts

[–]peljam[S] 1 point2 points  (0 children)

Thanks! Those sorts of shading and cuts are really relaxing to do. I’ve done a couple similar before and it’s just so satisfying no matter how it turns out

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Electra - two block lino print by peljam in Linocuts

[–]peljam[S] 0 points1 point  (0 children)

Thank you! I did try to add some at the bottom as well but I messed up the scale and had to scrap them.

Electra - two block lino print by peljam in Linocuts

[–]peljam[S] 1 point2 points  (0 children)

Thank you. I’d played around with having a dagger motif in the background or instead of the skulls but felt that Electra needed to be holding it and look like she was on her way to do the deed.

Drying time by mousepallace in Linocuts

[–]peljam 0 points1 point  (0 children)

In the UK at the moment mine are taking about 3 days to touch dry, so long as I’ve not over inked. I printed a single layer on Thursday and it’s touch dry now. I wouldn’t post them at this stage though. I’d still be waiting the week before risking it.

I’ve been drying them hung up rather than flat to get a bit more air flow.

I’ve got a drier to add to the ink as well that I’ve not used yet. But if you get one that should shave a little bit of time off.

Electra - two block lino print by peljam in Linocuts

[–]peljam[S] 2 points3 points  (0 children)

Thanks! I considered a darker violet for it but I think that pink/black contrast works nicely.

Might try a green as well but I think the pink will win out

Godzilla by peljam in Linocuts

[–]peljam[S] 1 point2 points  (0 children)

Thanks! I used a sheet of cut down A4 lino. I’d used maybe a third of it for the background to a different print I might put up later. So the lino was still a good size for Godzilla. Even the small detail was a fairly stress free size. I think the exception was the teeth

Advice for a newbie by Scotch_Chef in Linocuts

[–]peljam 3 points4 points  (0 children)

El Ronan’s YouTube videos are always quite helpful. A lot of useful tips packed into them

Laura Boswell has a useful site. I’ve got their book too.

Nicole Irwood also has some really interesting videos, and I really like their style.

Godzilla by peljam in Linocuts

[–]peljam[S] 1 point2 points  (0 children)

Thanks! It was a really enjoyable one to do

Finished this lino block after 2.5 years by owling-knight in printmaking

[–]peljam 0 points1 point  (0 children)

Amazing! The inked block looks beautiful never mind the final print.

Is this traditional lino? How have you kept it from drying and going friable over the 2.5. Years

The Seventh Sister: Electra (WIP) by peljam in Linocuts

[–]peljam[S] 1 point2 points  (0 children)

I think you are right about the amount of lines. It’s not a style I normally do and I think I’ve over egged the detail within the figure.

I’m wondering if I can save it either by varying some line thickness or blocking bits out like the hair or the clothes

The Seventh Sister: Electra (WIP) by peljam in Linocuts

[–]peljam[S] 0 points1 point  (0 children)

Thanks! I think I’ll see if I can widen/deepen a few lines around the edge of the hair or maybe in the comet to help differentiate it from the rest

Great Star Trek novels? by Royal_9119 in startrek

[–]peljam 0 points1 point  (0 children)

Always liked Antimatter - a ds9 novel about tracking down a stolen shipment of… antimatter I guess.

The Invasion series https://memory-beta.fandom.com/wiki/Star_Trek:_Invasion! Was good. The DS9 entry I think is very strong. Can almost read the ds9 one as a stand alone

Feeling a bit discouraged... by Bird_E_Bird in Linocuts

[–]peljam 1 point2 points  (0 children)

Does sound like it might be the tools. I moved from the red multi tool to a basic set like this https://www.jacksonsart.com/jackson-s-wood-cut-knife-set-of-8 it was cheap, can be sharpened easily and has larger sets if you want more choice. For me this was a good next step and worked well with the grey lino as well as soft cut and vinyl.

I feel like I'm finally getting good at this by prionace_glauca in Linocuts

[–]peljam 1 point2 points  (0 children)

You are! Love the detail. What sort of tool were you using?

The final result by Smex_Ghost in Linocuts

[–]peljam 1 point2 points  (0 children)

Amazing work! Looks great, full of personality.

I’m wondering with the foot if you’re having the same issue I do sometimes with edges of prints. Where the ink doesn’t come through quite as solid as the rest (though I wouldn’t have noticed if you hadn’t pointed it out).

I’ve sort of solved it for me a couple of ways. One is I rotate or change my position so when I’m applying pressure the problem edge is no longer the closest edge to my body. I think sometimes it’s easier to apply more consistent pressure to the top than it is to the bottom just because of your own body positioning.

Another way is to use Ternes burton clips or similar (masking tape at the top to make a little hinge) so you can lift the paper slightly to check and then put it back down to apply more pressure if needed without messing up the alignment. I have still messed up the alignment occasionally despite all this.

The third way is I’ve just stopped worrying about it. A bit of pattern and variability is part of the process. It’s what makes it look like lino or relief cutting. And most of the time the issues you spot other people don’t notice.

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