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concept: instead of hedwig, Harry goes into the pet store and this little snake in the back of the store talks to him, obviously gets his attention more than the other animals, and harry feels sorry for it so he takes it home. Then the snake helps Harry throughout his years at hogwarts as harry carries it wrapped around his hand all like “pssssst, haaarryyy, the dark lord isss coming sss” or just petty shit like “haaaarrryy, now is the time, assskkk out cho chaaannngg”

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Mulan in modern AU

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Yuri!!! on Ice Week - Day 3 MBTI Personalities

Yuri Plisetsky: INTJ - They are defined by their confidence, logic, and exceptional decision-making, but all of this hides a turbulent underbelly – their emotions. - They have a hunger for knowledge and strive to constantly increase their competence; they are often perfectionists with extremely high standards of performance for themselves and others.

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Loy Krathong

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Fantastic Beasts and Where to Find Them is fantastic

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Animations by Spencer Wan. http://spencerwan.tumblr.com

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“Assertive and outspoken - they are driven to lead. Excellent ability to understand difficult organizational problems and create solid solutions. Intelligent and well-informed, they usually excel at public speaking. They value knowledge and competence, and usually have little patience with inefficiency or disorganization.”

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myers-briggs types as negative stereotypes that aren’t really negative

INFJ: Self-aware adolescent who’s probably spending Saturday night reading Tolstoy or Dostoevsky… or browsing Tumblr for the latest aesthetically pleasing film, enjoys that video of the monkey in the snowsuit a little too much (but also pities the exploited monkey), needs to be dragged out of the house to attend social functions

INTJ: Anime-obsessed nerd who is equipped with an eidetic memory and a morbid sense of humor, is easily bored by his/her peers’ intellectually-lacking conversation, loves being an ‘expert’ on a subject and talking about said subject for hours, has a wicked death glare, genuinely likes being alone

INFP: Overemotional writer who blogs instead of trying to find a publisher because he/she can’t handle any more rejection + criticism, loves chocolate, attempts to contact Jane Austen at a middle-school séance

ISFP: Sensitive songwriter who spends his/her weekends unsuccessfully searching for a word that rhymes with ‘angel,’ is very open-minded and preaches the “live and let live” mentality, is too busy being kind and artsy to find time to get a haircut

ISFJ: Former conservative who becomes more socially liberal with age, will say/do anything to keep the peace, occasionally utters a passive-aggressive insult when he/she feels threatened or insecure, believes babies are pure + perfect gifts from heaven  

ISTJ: Dedicated musician who practices 7 hours a day because he/she wants to attends a prestigious conservatory, wears too much cologne but somehow manages to pull off the heavy + slightly nauseating scent, wakes up at 5:00 am on school days to straighten hair

INTP: Socially anxious computer expert who is actually very much in touch with his/her emotions, will ignore you if you can’t differentiate Star Wars from Star Trek, is very hard on him/herself, contributes silly quips to dull conversations

ISTP: Rebellious bad boy/girl who is independent af… leather jacket… unbelievably cool and perpetually brooding… need I say more?

ENFP: Little energetic bean squirrel who has the stamina of 9 pronghorn antelopes, loves everyone too much (is too much love even a thing?), will run to your house and cheer you up with hysterical stories and candy at 2:38 am if you’re feeling sad

ENTP: Straight-A student who doesn’t have to study, still worships Kanye but prefers his older works, quotes rap lyrics during intellectual debates, laughs at his/her own jokes

ENFJ: Pun-obsessed cuddlebug who absolutely loathes conflict, uses humor and self-deprecation to restore harmony, has trouble concentrating on one person and will participate in 11 conversations at once

ESFJ: Mom-friend who remembers every friend’s birthday, thinks everyone hates him/her, wants to befriend all peers but is afraid of rejection

ENTJ: Perfectionist workaholic who is motivated by personal ambition and the desire to make his/her partner + family proud, would rather lead than follow, either despises abstract expressionist art or spends hours analyzing Jackson Pollock’s paint splats

ESTJ: Strict + somewhat traditional science teacher who doesn’t tolerate obnoxious students, shows his/her love by helping loved ones pursue goals (instead of showering them with hugs and kisses), finds an efficient way to execute everyday tasks (cleaning, cooking, paying bills, gardening, etc.) 

ESTP: Promiscuous teen who’s hyperaware of social status, can shop for 27 hours without tiring, will slap you if you talk s*** about his/her friends

ESFP: That one charismatic kid in high school whom everyone—ladies, gents, & other–has a secret crush on, will party and flirt with anyone and everyone, will spontaneously hop on a plane to Vegas “just because"

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Some Camera Shots in Sherlock

CRANE SHOT

A shot where the camera is placed on a crane or jib and moved up or down. Think a vertical tracking shot. (x)

CROSS CUT

the editing technique of alternating, interweaving, or interspersing one narrative action (scene, sequence, or event) with another - usually in different locations or places, thus combining the two; this editing method suggests parallel action (that takes place simultaneously); often used to dramatically build tension and suspense in chase scenes, or to compare two different scenes; also known as inter-cutting or parallel editing. (x)

DUTCH TILT, DUTCHED

A shot where the camera is tilted on its side to create a kooky angle. Often used to suggest disorientation. (x) This shot is also overexposed with a reverse focus pull on Molly in the rear.

ESTABLISHING SHOT

The clue is in the name. A shot, at the head of the scene, that clearly shows the locale the action is set in. (x)

FADE

A transitional device consisting of a gradual change in the intensity of an image or sound, such as from a normally-lit scene to darkness (fade out, fade-to-black) or vice versa, from complete black to full exposure (fade in), or from silence to sound or vice versa; a ‘fade in’ is often at the beginning of a sequence, and a ‘fade out’ at the end of a sequence. (x)

HANDHELD

A shot filmed with the camera on the operator’s shoulder (as opposed to on a Steadicam, a dolly, or sticks) 

Handheld camera, shaky cam, queasy cam, queasicam, hand-held camera or free camera is a cinematographic technique where stable-image techniques are purposely dispensed with. The camera is held in the hand, or given the appearance of being hand-held, and in many cases shots are limited to what one photographer could have accomplished with one camera. (x)

LAP DISSOLVE

A transitional editing technique between two sequences, shots or scenes, in which the visible image of one shot or scene is gradually replaced, superimposed or blended (by an overlapping fade out or fade in and dissolve) with the image from another shot or scene; often used to suggest the passage of time and to transform one scene to the next; lap dissolve is shorthand for ‘over’lap dissolve (x)

LOCKED OFF

A type of shot that is taken with the tilt and pan releases on a tightened tripod; it is done so the camera cannot shift its position. (x)

LOW ANGLE 

A shot looking up at a character or subject often making them look bigger in the frame. It can make everyone look heroic and/or dominant. (x)

MATCH CUT

Technical term for when a director cuts from one scene to a totally different one, but has objects in the two scenes “matched,” so that they occupy the same place in the shot’s frame. (x)

MONEY SHOT

A shot that is expensive to shoot, but deemed worth it for its potential to wow, startle and generate interest. In pornography, it means something completely different. (x)

OVER EXPOSED

Refers to a film shot that has more light than normal, causing a blinding, washed-out, whitish, glaring effect; deliberately used for flashbacked or dream scenes; aka flared or bleached (x)

 OVER THE SHOULDER SHOT

In film, a shot that gives us a character’s point of view but that includes part of that character’s shoulder or the side of the head in the shot. (x)

POINT OF VIEW (POV)

A shot that depicts the point of view of a character so that we see exactly what they see. (x) This is Redbeard’s POV on a Dutch tilt, over-exposed shot.

RACK FOCUS (FOCUS PULL)

Watch how Lestrade, out of focus the entire scene, frames the action.  Ms. Wenceslas is in focus as she talks to him. Meanwhile Sherlock, also out of focus, is deducing and rolling his eyes. When Ms. Wenceslas turns toward Sherlock he comes in focus, turns away from her, and she fades out. She tosses the focus to Sherlock like a tennis ball.

REAR PROJECTION (aka BACK PROJECTION)

Rear projection (also known as process photography) is part of many in-camera effects cinematic techniques in film production for combining foreground performances with pre-filmed backgrounds. It was widely used for many years in driving scenes, or to show other forms of “distant” background motion. (x)  

Rear projection in the taxi scenes was only used in the pilot. In the series they shot the movement for real with the cab on a low-loader.

SHORT SIDING 

To put the subject in the short side of the frame looking out the short side. John is positioned in the right of the frame looking right with the long side to his left. Ella is short sided on the left looking left.  Traditionally John would be on the left of his frame and Ella on the right of hers.

Having the interview subject look towards the long side creates a feeling of balance and comfort for the viewer. Speaking towards the long side of the frame also allows for thoughts and ideas to be communicated in a way which does not block their transmission to the interviewer, and thus the viewer.

Short sided interviews make the viewer feel tense and awkward — the subject is looking out of frame and they feel very closed off. (x)

SLOW MOTION (SLO-MO)

refers to an effect resulting from running film through a camera at faster-than-normal speed (shooting faster than 24 frames per second), and then projecting it at standard speed; if a camera runs at 60 frames per second, and captures a one second-long event, a 24-frame playback will slow that event to two and a half seconds long;… this filmic technique is usually employed to fully capture a ‘moment in time’ or to produce a dramatic (or romantic feeling) (x)

…

We did [the slow motion shot of Cumberbatch] on a bungee 1000 fps on a Phantom camera. -Steve Lawes, Director of Photography (x)

STEADICAM

a hand-held camera technique using a stabilizing Steadicam (introduced in the late 70s), developed by inventor Garrett Brown, with a special, mechanical harness that allows the camera operator to take relatively smooth and steady shots, though hand-held, while moving along with the action (x)

TIME LAPSE

the frequency at which film frames are captured (the frame rate) is much lower than that used to view the sequence. When played at normal speed, time appears to be moving faster and thus lapsing. (x)

TOP SHOT

A shot looking directly down on a scene rather than at an angle. Also known as a Birds-Eye-View shot. (x)

TRACKING SHOT

In such a film shot, the camera is literally running on a track and thus smoothly following the action being represented or perhaps thus giving the viewer a survey of a particular setting. (x)

WIPE

a transitional technique or optical effect/device in which one shot appears to be “pushed off” or “wiped off” the screen by another shot replacing it and moving across the existing image (x)

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Being A Ravenclaw Would Include...

Slytherin | Hufflepuff | Gryffindor

* * *

Getting extremely excited when people start to talk about space

“DiD yOu SaY sPaCe?!” 

Having the best ever conversations with other Ravenclaws at 3am 

Getting frustrated at the eagle knocker when you cant figure out the riddle.

“Why is a raven like a writing desk”

“I don’t know! Can’t you just let me in it’s been like an hour!”

Listening to 90′s muggle music in the common room

Decorating the common room with art and poems etc that house mates have made 

the common room being so beautifully original and obscure that everyone just smiles when they enter it 

Having play readings in the common room where someone chooses and play and you all just sit and read for different characters

secret drinking games on Saturday nights 

Laughing whenever someone mentions how ravenclaw are the “goodie two shoes” of all the houses because you haven’t handed homework in for at least a month

Being able to get away with a lot and using that to your advantage

Going up to the tower after a long night and finding a group of first years who can’t get into the common room

“Don’t even tell me the fucking riddle, I have been in the library for four hours and I am so fucking tired so just open the fucking door” 

*Door slowly sings open the eagle knocker staying silent*

Being the second loudest table after Gryffindor

Not even caring about house points

Karaoke in the common room 

Watching old disney movies in the common room while pure-bloods gather round in awe at how cute Bambi is 

Using pens because if you are going to experience running out of goddamned quill ink again you are going to scream

Ravenclaw PRIDE

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Being A Slytherin Would Include...

Gryffindor | Ravenclaw | Hufflepuff

* * *

Getting excited every time the giant squid would swim past the glass in the common room

Having to stock up on warm clothes bc damn it gets cold in there

Everyone in the dorms having like ten blankets on their beds during winter

Having huge games of Chinese whispers at the Slytherin table which confuses the whole school as to why all the Slytherins are deadly silent

Having the sassiest and most sarcastic conversations ever with your house mates

Staying up late on Friday nights with loads of other slytherins and playing weird drinking games with firewhisky while the minors watch in awe

Always defending people from your house even if you’ve never talked to them before

Getting confused as to why Slytherin is supposed to be the “badass” house because what actually goes on in the common room is eating competitions and rap battles

Creating the strongest and most last-longing friendships 

Passing notes in class 

saying “fight me” under your breath to literally everything

So much swearing

Everyone swearing all the time that you forget that swearing is “bad”

Getting told off in class for swearing

“God fucking dammit i just spilled my fucking ink”

“Excuse me?”

“Sorry professor…slip of the tongue…”

Getting extremely stubborn when people tell you what to do, making you do the opposite. 

Not being as huge a fan of Snape even though everyone thinks Slytherins worship him

Getting really annoyed when people are surprised at how lovely you are, despite being in Slytherin 

Slytherin PRIDE 

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Inktober 31/10/16 - Casual Sorcery

My very last inktober drawing! In conclusion: I couldn’t do the challenge every day due to health issues, but I managed to churn out quite a few drawings!

A warm welcome to my new followers, as well! There are now 340 lovely people showing an interest in my work and I’m so very grateful for every single one of you. ;3; Thank you so much for sticking around. I hope you’ll also enjoy my non-inktober art!

~~~~~~ Mon tout dernier inktober ! Pour conclure : je n’ai pas pu dessiner tous les jours du fait de méchants problèmes de santé, mais j’ai tout de même réussi à produire un certain nombre d’illustrations !

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So… I guess it’s finished. I don’t know if it’s because I hadn’t much time, because I spent too much time in few day in front of it. But I can’t see the picture anymore x__x

Laurent from the trilogy Captive Prince. I don’t usually do fanart but I wanted to try one for once. I hope you enjoy it !

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“Shelter” Anime by Porter Robinson

Electronic musician Porter Robinson has spent a lot of time in Japan over the last year (or two). One of the main reasons is that he has been working tirelessly on this anime. This has been a very personal project for Porter and we are super happy for him that it’s finally out. Please watch the anime and also read the explanation of the story on the “Shelter” YouTube Page.

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The Force Awakens bookmark designs for the new trio and the First Order trio! :D (omg this took a million belated years to post up, but they’re all finally finished and together!!) ✨

→ on Storenvy × Prequel trio set × Original trio set

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らくがき

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Emotion and Pacing in comics

One of the reasons that I love comics so much is that there are many valid ways to approach the medium. When I make comics, the parts I’m most concerned with are character and story. Everything I draw on the comic page is in service to character and story. Because of my focus on those two elements over, say, experimenting with my art and page structure, I will sometimes get criticism that my work is safe or boring. This is probably fair criticism! I don’t do a lot of experimenting with paneling or challenging storytelling or explicitly challenging artwork in my comics, because right now that’s what I’m not interested in. Maybe I will be more experimental someday, but not right now, with the kind of stories I want to tell. :)

When I make a comic, my goal is for my readers to be engaged with the story I’m telling, and the characters in that story. That’s also what I look for when I want to read a good comic. I want characters to love, I want a story to be engaged with.

For the most part, I struggle with drawing comics (most artists do, if we’re honest ;)), but there are some parts of comics I think I have a good handle on. I feel like I’m strongest when portraying emotion on the page, and I’m good at drawing those scenes out and making the reader feel what my characters are going through. Some of the techniques I use to convey emotion came from being obsessed with movies when I was a teenager, and some techniques are stolen from my holy trinity of influences: Jeff Smith (Bone), Hiromu Arakawa (Fullmetal Alchemist) and Naoki Urasawa (Monster, Pluto, 20th Century Boys). 

Of the three artists I’ve mentioned, I consider Urasawa especially to be a master of emotion and pacing. When I first started reading his comics, it was like light struck my brain; finally I saw what I’d been trying to do for years right there on the comic page in front of me! I like the way he lays out his emotional scenes a lot. Here’s an example (read right to left): 

Urasawa uses repeating panels and decompression to draw out the emotions of a scene. In this single page there isn’t a lot of movement. It’s literally just two characters staring at each other, but the tension rises going from panel 1 to panel five. Gesicht (the man)’s expression doesn’t change between panels two and five, but we literally feel his anger rising off-panel, concluding in the close up in panel 5.

There’s an excellent You Tube channel called Every Frame a Painting (I’m sure you’ve heard of it, but if you haven’t, please go watch all the videos! There aren’t many, and they’re all really informative). My favourite video is this one, about editing:

This video hit on something that I strive for in my comics: emotion takes time. When I draw a scene that is emotional, when characters are struggling with something, or celebrating something, or being challenged, I want my readers to feel what the character is feeling, and one of the best ways to do that, for me, is to take my time. To give that emotion time to breathe on the page. 

I’m going to use some scenes in The Nameless City to illustrate how I use decompression and pacing to underscore the emotion in my comics. To avoid spoilers and because this is getting a little long, I’m going to put it under a cut. Please read on! :)  

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