#Effective posing techniques

[kaliartistry]

Mastering the Pose: Tips for Stunning Save the Date Photos

Posing for your Save the Date photoshoot doesn't have to feel awkward or forced. With the right approach, you can look natural, relaxed, and deeply in love in every frame. This section provides essential tips and techniques to help you and your partner strike the perfect poses, reflecting your unique relationship and ensuring your photos are as heartfelt as they are beautiful.

The Importance of Natural Posing

Good posing can dramatically enhance the quality of your photos, conveying emotions and connections that words cannot. It’s not just about looking good; it’s about feeling comfortable and letting your genuine relationship shine through.

Tips for Relaxed and Natural Poses

1. Engage with Each Other:

Focus on each other rather than the camera. Laugh, talk, and interact as you normally would, which helps capture those candid, spontaneous moments that are often the most memorable.

2. Movement and Interaction:

Incorporate movement into your poses. Walking hand in hand, a gentle kiss on the forehead, or even playful activities like piggyback rides can add dynamism and authenticity to your shots.

3. Use Your Environment:

Leverage the surroundings to create interesting and engaging poses. Lean against a wall, sit on steps, or wrap yourselves in a blanket at a beach or park. These elements can help you feel more grounded and relaxed.

4. Practice Beforehand:

Spend some time before the shoot practicing poses at home. Try out different expressions and movements to see what feels most natural. This rehearsal can ease any nervousness and make you more comfortable in front of the camera.

Posing Ideas Based on Common Themes

Urban Chic:

For couples shooting in an urban environment, consider poses that incorporate the city’s architecture. Leaning casually against a street lamp or sitting on a city bench can frame your urban love story effectively.

Rustic Romance:

In a rustic setting, interact with nature. Sit on a log, stand in a field of wildflowers, or embrace under a large oak tree. These poses can enhance the natural beauty and the romantic feel of a rural backdrop.

Classic Elegance:

For a more formal or classic theme, structured poses might be appropriate. Think about an elegant embrace or a dance pose that shows off your attire and adds a sense of timelessness.

Examples to Inspire

Imagine a couple at a beach sunset, where they trace hearts in the sand while looking into each other's eyes, capturing a moment of playful affection. Or consider an urban shoot where a couple shares a laugh as they navigate a crowded street, encapsulating the energy around them.

Conclusion

Posing for your Save the Date photos should be a fun and loving experience that showcases your chemistry and joy. Remember, the best poses are those that feel the most natural to you. Don't hesitate to experiment and let your personalities dictate the session. For more guidance and inspiration on creating unforgettable Save the Date photos, make sure to explore our in-depth resources in the ultimate guide to Save the Date photoshoots.

[alfheimr]

My Favorite Cheap Art Trick: Gradient Maps and Blending Modes

i get questions on occasion regarding my coloring process, so i thought i would do a bit of a write up on my "secret technique." i don't think it really is that much of a secret, but i hope it can be helpful to someone. to that end:

this is one of my favorite tags ive ever gotten on my art. i think of it often. the pieces in question are all monochrome - sort of.

the left version is the final version, the right version is technically the original. in the final version, to me, the blues are pretty stark, while the greens and magentas are less so. there is some color theory thing going on here that i dont have a good cerebral understanding of and i wont pretend otherwise. i think i watched a youtube video on it once but it went in one ear and out the other. i just pick whatever colors look nicest based on whatever vibe im going for.

this one is more subtle, i think. can you tell the difference? there's nothing wrong with 100% greyscale art, but i like the depth that adding just a hint of color can bring.

i'll note that the examples i'll be using in this post all began as purely greyscale, but this is a process i use for just about every piece of art i make, including the full color ones. i'll use the recent mithrun art i made to demonstrate. additionally, i use clip studio paint, but the general concept should be transferable to other art programs.

for fun let's just start with Making The Picture. i've been thinking of making this writeup for a while and had it in mind while drawing this piece. beyond that, i didn't really have much of a plan for this outside of "mithrun looks down and hair goes woosh." i also really like all of the vertical lines in the canary uniform so i wanted to include those too but like. gone a little hog wild. that is the extent of my "concept." i do not remember why i had the thought of integrating a shattered mirror type of theme. i think i wanted to distract a bit from the awkward pose and cover it up some LOL but anyway. this lack of planning or thought will come into play later.

note 1: the textured marker brush i specifically use is the "bordered light marker" from daub. it is one of my favorite brushes in the history of forever and the daub mega brush pack is one of the best purchases ive ever made. highly recommend!!!

note 2: "what do you mean by exclusion and difference?" they are layer blending modes and not important to the overall lesson of this post but for transparency i wanted to say how i got these "effects." anyway!

with the background figured out, this is the point at which i generally merge all of my layers, duplicate said merged layer, and Then i begin experimenting with gradient maps. what are gradient maps?

the basic gist is that gradient maps replace the colors of an image based on their value.

so, with this particular gradient map, black will be replaced with that orangey red tone, white will be replaced with the seafoamy green tone, etc. this particular gradient map i'm using as an example is very bright and saturated, but the colors can be literally anything.

these two sets are the ones i use most. they can be downloaded for free here and here if you have csp. there are many gradient map sets out there. and you can make your own!

you can apply a gradient map directly onto a specific layer in csp by going to edit>tonal correction>gradient map. to apply one indirectly, you can use a correction layer through layer>new correction layer>gradient map. honestly, correction layers are probably the better way to go, because you can adjust your gradient map whenever you want after creating the layer, whereas if you directly apply a gradient map to a layer thats like. it. it's done. if you want to make changes to the applied gradient map, you have to undo it and then reapply it. i don't use correction layers because i am old and stuck in my ways, but it's good to know what your options are.

this is what a correction layer looks like. it sits on top and applies the gradient map to the layers underneath it, so you can also change the layers beneath however and whenever you want. you can adjust the gradient map by double clicking the layer. there are also correction layers for tone curves, brightness/contrast, etc. many such useful things in this program.

let's see how mithrun looks when we apply that first gradient map we looked at.

gadzooks. apologies for eyestrain. we have turned mithrun into a neon hellscape, which might work for some pieces, but not this one. we can fix that by changing the layer blending mode, aka this laundry list of words:

some of them are self explanatory, like darken and lighten, while some of them i genuinely don't understand how they are meant to work and couldn't explain them to you, even if i do use them. i'm sure someone out there has written out an explanation for each and every one of them, but i've learned primarily by clicking on them to see what they do.

for the topic of this post, the blending mode of interest is soft light. so let's take hotline miamithrun and change the layer blending mode to soft light.

here it is at 100% opacity. this is the point at which i'd like to explain why i like using textured brushes so much - it makes it very easy to get subtle color variation when i use this Secret Technique. look at the striation in the upper right background! so tasty. however, to me, these colors are still a bit "much." so let's lower the opacity.

i think thats a lot nicer to look at, personally, but i dont really like these colors together. how about we try some other ones?

i like both of these a lot more. the palettes give the piece different vibes, at which point i have to ask myself: What Are The Vibes, Actually? well, to be honest i didn't really have a great answer because again, i didn't plan this out very much at all. however. i knew in my heart that there was too much color contrast going on and it was detracting from the two other contrasts in here: the light and dark values and the sharp and soft shapes. i wanted mithrun's head to be the main focal point. for a different illustration, colors like this might work great, but this is not that hypothetical illustration, so let's bring the opacity down again.

yippee!! that's getting closer to what my heart wants. for fun, let's see what this looks like if we change the blending mode to color.

i do like how these look but in the end they do not align with my heart. oh well. fun to experiment with though! good to keep in mind for a different piece, maybe! i often change blending modes just to see what happens, and sometimes it works, sometimes it doesn't. i very much cannot stress enough that much of my artistic process is clicking buttons i only sort of understand. for fun.

i ended up choosing the gradient map on the right because i liked that it was close to the actual canary uniform colors (sorta). it's at an even lower opacity though because there was Still too much color for my dear heart.

the actual process for this looks like me setting my merged layer to soft light at around 20% opacity and then clicking every single gradient map in my collection and seeing which one Works. sometimes i will do this multiple times and have multiple soft light and/or color layers combined.

typically at this point i merge everything again and do minor contrast adjustments using tone curves, which is another tool i find very fun to play around with. then for this piece in particular i did some finishing touches and decided that the white border was distracting so i cropped it. and then it's done!!! yay!!!!!

this process is a very simple and "fast" way to add more depth and visual interest to a piece without being overbearing. well, it's fast if you aren't indecisive like me, or if you are better at planning.

let's do another comparison. personally i feel that the hint of color on the left version makes mithrun look just a bit more unwell (this is a positive thing) and it makes the contrast on his arm a lot more pleasing to look at. someone who understands color theory better than i do might have more to say on the specifics, but that's honestly all i got.

just dont look at my layers too hard. ok?

[elicathebunny]

HEALTH SHOULD ALWAYS COME FIRST! PRIORITISING HEALTH BEFORE EVERYTHING ELSE TO LOOK GOOD + FEEL GOOD.

People always leave out the basics when it comes to trying to improve their looks. Prioritising health is so important before going in and tempering with your body. Your base is what you work with and you can definitely level up with what you've got naturally.

DIET

Your diet also depends on what your goals are. Someone who wants to build muscle will obviously eat differently from someone who just eats relatively healthy. So identify what your goals are and work your meals around that.

Here are some videos to give you a better insight: HOW I LOSE FAT AND KEEP IT OFF MEANS, WORKOUTS + EVERYTHING ELSE PROTEIN EXPLAINED, STRENGTH, MUSCLES, FAT LOSS & ENDURANCE HOW METABOLISM WORKS

Diet not only makes you feel better from the inside, but it also reflects on your outside. Your skin is a huge display of how you eat.

When you consume junk food, it can show up on your skin as breakouts or dullness. Your skin is one massive organ which soaks up everything put onto it and reflects everything you put inside your body. Fix the problem from the inside before getting confused about why your skincare routine isn't working.

FITNESS

Again, your fitness will differentiate from your goals. So work out your goals and make a plan around that. There are so many forms of fitness, some more intense than others and with different results. Working out in general is good for you, our bodies are meant to move. So even if you don't have a goal, staying active is always recommended.

HOW TO CREATE THE PERFECT WORKOUT PLAN

THE BEST WAY TO GAIN MUSCLE, SCIENCE EXPLAINED SIMPLY

Low-intensity workouts:

Yoga: Focuses on flexibility, strength, and relaxation through various poses and breathing techniques.

Pilates: A low-impact exercise method that strengthens muscles, improves flexibility, and enhances posture.

Walking: Simple yet effective, walking is a great way to improve cardiovascular health and boost mood without high impact.

Swimming: Provides a full-body workout with minimal stress on joints, making it ideal for people with joint issues or injuries.

High-intensity workouts:

HIIT (High-Intensity Interval Training): Alternates between short bursts of intense exercise and brief recovery periods to maximize calorie burn and improve cardiovascular fitness.

CrossFit: Combines elements of weightlifting, interval training, gymnastics, and other exercises to build strength, endurance, and overall fitness.

Sprinting: Short, explosive bursts of running at maximum effort, often performed in intervals for cardiovascular conditioning and leg muscle strength.

Circuit Training: Involves moving through a series of exercises targeting different muscle groups with minimal rest in between, combining strength training and cardiovascular exercise.

These are just a few examples, but there are plenty of other workout styles out there to explore depending on your preferences and fitness goals. Walking every day is just a simple way to stay toned.

SLEEP

Sleeping is important for rest and recovery after workouts and energy-consuming activities. Sleep is needed for the brain to function, mood regulation and performance + productivity. Lack of sleep deprives you of all of these things, so getting your beauty sleep is absolutely needed.

School-age children (6-13 years): 9-11 hours per day.

Teenagers (14-17 years): 8-10 hours per day.

Young adults (18-25 years): 7-9 hours per day.

Adults (26-64 years): 7-9 hours per day.

HYGIENE

Upkeeping good hygiene is always needed anyway. Making sure you are clean (smelling good is a plus). Make sure you always wash your hands and take daily showers to remove any dirt on your body (clean those feet and your back well, don't forget them!). Taking care of your oral health must not be forgotten. Oil pulling and brushing your tongue for a healthy mouth. Make sure your hair is also getting the attention to keep it as healthy as you possibly can make it (this also depends on diet). Doing the extra things like spending time on your nails (making sure there isn't that stuff underneath them), making them pretty.

BODY CARE ROUTINE | FOR SMOOTH & GLOWING SKIN, TREATING KERATOSIS PILARIS, SHOWER ROUTINE

ENVIRONMENT

Having a stress-free environment is obviously the best to thrive in. But clearly not even being lucky enough to live like that constantly. So make sure you have that space to be on your own and have some alone time to really recharge. Keeping your space clean for a clear mind. Surround yourself with like-minded people and really set boundaries for those who prey on your mental clarity (energy vampires). Spending time in nature is one of the best ways to detach, rest time should not equal spending time on your devices. Let go and truly let yourself decompress. Mental health will improve how you carry yourself.

EMBODY YOUR POTENTIAL.

[beguilingcorpse]

weaponry in the locked tomb is so interesting because when you break it down it's like:

guns exist in-universe but are used by the freedom fighter terrorist organization almost exclusively

swords are (were?) commonplace enough that gideon was able to find and train with a decently well-balanced two-hander on the ninth, despite the fact that the ninth has no military force or even interplanetary traffic. gideon's sword is at least 20 years old, probably older

swords are definitely still in use within the empire, at least by cavaliers, but likely within the cohort as a whole. to my memory there are no mentions of cohort members carrying military-issue guns

even though they're trained in a variety of weapons and techniques, cavaliers (are supposed to) carry exclusively rapiers. gideon prefers her two-hander and cam carries twin shortswords, but these seem to be rare and shocking exceptions to the standard.

rapiers are used by cavaliers explicitly for the purpose of lyctorhood. they're light enough that a scrawny necromancer without swordfighting experience can pick it up and rely on their cav's training without needing to build the muscle to wield the sword effectively

because of the secretive nature of the megatheorem, and lyctorhood as a whole, most people just follow the rapier rule because it's tradition. it is what is done. harrow makes this pretty clear at the beginning of gtn

cavaliers can carry a variety of offhand weapons. it seems like the full spectrum of middle age weaponry is possible - but still, no guns. not even secretly, as with cam's dual blades. some cavs choose to carry material for their necromancers as their offhand - ortus carries a bowl of bones for harrow, and i can only assume "the powder" mentioned as harrow's choice for gideon's offhand towards the beginning of gtn is some kind of bone dust

from a doylist perspective, all of this creates a aesthetic that starts very analog and gothic and gradually grows into a more standard sci-fi space opera through the series. by ntn, we've hit most of the established genre weaponry tropes that we've come to expect from older futuristic space media like star wars and alien. blasters and guns are standard fare, and it makes sense to hold off on introducing them until the scope of the story gets broader and more interplanetary

from a watsonian perspective, it's a little more difficult to draw concrete conclusions without the context that atn will inevitably provide. but if i had to hedge a guess, i'd say that, as with most things, It's All John Gaius's Fault. when he resurrected the galaxy i'd assume that he wanted to keep the aesthetics of medieval imperialism, and given his 21st century liberalism probably didn't want guns to be part of the equation. but they were anyways - we know this because wake carries a big one - and instead of standardizing firearms within his military and for his lyctors, he clings to the aesthetics of swordplay. please correct me if i'm remembering it wrong, but to my knowledge every gun shown in the series is either directly linked to boe or implied to be sourced from them. jod dooms his own lyctors and military by refusing to update their weaponry.

all of this poses a lot of questions about atn: who will carry a gun, and why? where did the gun come from? why DON'T the lyctors just use firearms? and most importantly: will they be fighting zombies with swords???

[spockandawe]

Oh my gosh. This project consumed me, and for a hot minute there I wasn't sure it would work out. But I really wanted to try making a PICTURE with straw marquetry, and hm. For that I need an image with strongly blocked, highly recognizable shapes, and for preference, I'd rather not try to navigate the lumpy, holey complexities of the human face. Oh hi, transformers--

Oh man. I knew I was underestimating the difficulty of this project from the start, that's just how it goes. But the difficulty truly started with... the sketch. From the start, I wanted that perfect staring red eye, that was my one non-negotiable point. I wanted navy blue straw and a staring red eye. At first, I had dreams of a dynamic pose! However. Sketching at 21 inches tall is a whole different thing than sketching at 8 inches tall. My sketchbook's height is the width of this silly, silly thing. I thought to note what straw grain direction I wanted for the different elements too, which was a good call. The fingers were... ambitious, but hopefully unobtrusive if I messed them up.

After that, I was NOT working on a hard wood/mdf substrate and peeling of unwanted straw. I've seen the pros do that, but always cut too fast for me to understand what they're doing. So i was working somewhat similar to wood marquetry, gluing straw to paper and then cutting through the paper backing. But since it's harder to place my inlays from behind and i can't sand straw flat, here, each cutout was placed on a backing of the same blue paper to help blend my seams. I was supposed to start with the most background elements of the image and work my way forward, and immediately hecked that up. But it was working!!

It was a few good hard days of work, ahahaha. And it was really a learning process! Things like keeping my knife handle tilted towards my waste seemed pointless... Until it made my inlays noticeably easier to fit. And when I messed up the back to front order, I figured out how to cut from a combo of my overlay sheet and freehand to blend everything right! And techniques like carefully pricking the outline of a difficult shape (circles. CIRCLES.) and then cutting, that was game-changing. I stayed up way, way too late last night, but I finished!

That's an image from today, after I scrubbed him down and trimmed up all my edges. After that. I glued him to a foam back and installed him in a frame! You can see in all the photos here that the color effect is so, so dependent on lighting and angle, but the eye pops the way I hoped and the effect is everything I wanted. The frame is black but has a nice subtle metallic highlight on the corners and the narrow aspect ratio suits him so well, I'm SO delighted with how this turned out. It's the most difficult project I've done so far, and I don't know if I can handle doing this OFTEN, but I definitely want to do it again!!

[moonxknightx]

♡˗ˏ✎*ೃ˚ : TABS OF THE MIND : :;

╰┈➤ ❝ [PAIRING] ❞ Wade Wilson x F!Reader

・❥・GENRE: Fluff :))

˚୨୧⋆｡˚ ⋆FANDOM: X-Men

ੈ✩‧₊˚ WARNINGS: None!

˚₊· ͟͟͞͞➳❥SUMMARY: You use your mind-reading ability to explore Wade Wilson's thoughts and discover his chaotic but affectionate mental landscape. Among the many open tabs, you find a surprising section dedicated to his romantic feelings for you, complete with heartfelt and humorous entries. When you confront Wade about it, he’s both embarrassed and delighted, leading to a sweet and playful exchange that deepens your connection.

YOU HAD ALWAYS BEEN WARY OF POKING AROUND IN PEOPLE’S MINDS. The sheer amount of personal information, the jumble of thoughts and feelings—it could be overwhelming. But you’d made an exception for Wade Wilson, also known as Deadpool, partly out of curiosity and partly because you were just really, really bored one evening.

Wade had been unusually quiet—an anomaly you couldn't ignore. As you sat across from him in the living room, surrounded by a chaotic mess of his various weaponry and superhero paraphernalia, you decided to use your mind-reading abilities to see what was going on inside his head.

The mental dive into Wade’s brain was like stepping into a virtual reality game with no tutorial. It was an endless array of screens, tabs, and pop-ups, all crammed together in a dizzying whirlwind of chaotic thoughts. The metaphorical computer in his mind was running on overdrive, with so many tabs open it looked like a hacker's dream.

There was a tab labeled “Weapons Upgrades,” with a detailed list of modifications and their potential effectiveness. Another tab titled “Tacos” featured a passionate debate between various taco toppings. Scrolling through, you saw tabs on everything from “Recent Movie Reviews” to “Improvised Combat Techniques,” each one brimming with Wade’s characteristic fervor.

But then you stumbled upon a particularly interesting tab labeled “You.” It was nestled between “How to Annoy Cable” and “Top Ten Deadpool Fails.” Your curiosity piqued, you hesitated for a moment before clicking on it.

The tab opened up to a series of thoughts and fantasies about you. Wade’s mind was a blend of absurdity and sincerity. There were sketches of you in various heroic poses, doodles of you and Wade together in ridiculously romantic settings (including a taco-themed date), and a heartfelt but goofy list of reasons why he thought you were “totally awesome.”

One entry read: “Top 5 Reasons Why You’re the Coolest Ever: 1) You’re mind-reading is hot. 2) You laugh at my jokes (or at least pretend to). 3) You’re strong, smart, and have that killer smile. 4) You didn’t run screaming when you first saw me in my suit. 5) You’re my kind of crazy.”

Your heart melted a little as you scanned through these thoughts, seeing the genuine affection Wade had for you beneath his usual banter. It was sweet, and more than a little funny, especially given the ridiculous nature of some of his fantasies.

Wade looked up from his video game, catching your gaze with a mischievous glint in his eyes. “Whatcha doing over there? Plotting world domination? Or maybe just how to fix my latest taco catastrophe?”

You raised an eyebrow, smirking as you closed the mental tabs. “Actually, I was just browsing your thoughts. Noticed you’ve got quite a lot of open tabs.”

He grinned, his eyes twinkling with playful innocence. “Yeah, my brain’s a bit of a mess. But it’s a fun mess. Anything you’d like to share?”

You leaned closer, teasing him. “Oh, just the fact that you have a whole section dedicated to me.”

Wade’s eyes widened comically, his grin widening. “Oh really? I didn’t know I was so… tab-worthy.”

You couldn’t help but laugh, feeling a warmth spread through you at his playful embarrassment. “Yeah, it’s quite the collection. You’ve got everything from doodles of us eating tacos together to a detailed list of why you think I’m amazing.”

Wade’s face flushed slightly, and he scratched the back of his head awkwardly. “Well, you know, it’s hard to keep a lid on how awesome you are. My brain just… explodes with thoughts about you. Most of them are totally sane and not at all over-the-top.”

You reached out and took his hand, the gesture softening his expression. “It’s sweet, Wade. Really.”

He looked at you with a mixture of relief and delight. “So, you’re not freaked out by my overactive imagination?”

You shook your head, smiling warmly. “Not at all. In fact, I think it’s kind of endearing.”

Wade’s grin returned with renewed vigor. “Well, in that case, I guess I should make sure the next tab is about our future taco dates.”

You laughed, squeezing his hand gently. “That sounds perfect.”

With that, Wade pulled you into a spontaneous hug, spinning you around with exuberant joy. “I knew you’d love it! I’ve got tons more tabs where that came from. Next one’s about how I’m going to impress you with my epic ninja moves. Spoiler alert: It might involve a lot of flailing.”

You rested your head against his shoulder, enjoying the comfort of his embrace. “I look forward to it. But maybe let’s focus on the taco date first?”

He chuckled, his arms tightening around you. “Deal. Tacos first, epic ninja moves second. You got it.”

And as the two of you settled into your quirky, loving routine, you knew that Wade’s chaotic, endearing mind was a place you were more than happy to be a part of. The tabs of his heart were filled with an unconventional but undeniable affection, and you were thrilled to be the center of it all.

🏷️: @stargazingcarol

Thank you (and your friend ofc) for this adorable request! I really hope you enjoyed it :))

If you want to be added to the tag list, let me know!

[verkomy]

do you have any digital art advice?

pen stabilization is your friend!

experiment with different tools and brushes to find the ones that will suit your art style best

study different styles! it's a great way to improve and learn new techniques

remember to flip the canvas

don't be afraid to use references for poses and compositions

alpha lock on a layer will allow you to draw only inside what already exists on that layer, for example you can change the color of a lineart with it

clipping mask is also very useful

don’t use pure white as a background cause you’ll just strain your eyes

rgb mode is for screens, cmyk mode is for printing

blending modes are great to have fun with your drawing (you can use hard more/overlay to make your lineart/sketch layer blend in with the colors underneath, a layer with a color with soft mode on top of the drawing will add a nice tint to it and will help make the drawing more put together)

noise effect adds a nice texture to a drawing

you can also add paper textures!

REMEMBER to save your work regularly and make backup of your work so you won't lose it when program crashes

make mistakes and learn from them

don’t be afraid to redo something if it doesn’t feel right and start over

draw what YOU want and what makes YOU happy

and most importantly - have fun and experiment!

plus a general art advice if you decide to post any kind of art on the internet: try to not have any expectations so you won’t be disappointed. not sure if this is a good advice but the less you create something to do well with likes and shares the longer you stay away from artblock and constant burnout. it also helps with building the appreciation you have for your art from within you and not from the validation and approval of others (it's hard, I know, but it's worth working on)

[writingwithfolklore]

Monsters and Creatures

              I love a good monster—who doesn’t? Monsters can be easy antagonists in survival, horror, fantasy (or really any genre) to pose a threat to characters and incite conflict to keep the plot plotting. So how do we create a believable monster? The key is in consideration of the creature’s biology.

Before we get into it, I have an important point:

1. Yes, make them monstrous—but don’t vilify human features

One trend I really hate right now is analog horror using “fake humans” as dangerous, horrible monsters. While I love a doppelganger, what this genre has unfortunately really leaned into is using physical deformations and other natural human features to distinguish between the “good, safe” people and the “bad, dangerous” people.

I’m sure you can see why that’s not okay. Good, loveable, safe, kind and real people have physical deformities, and by only portraying them as evil or monsters in media, these tropes perpetuate harmful thinking towards disability and deformities. Media has never really made progress in being rid of this stereotype, and unfortunately it seems we’re going in the complete opposite direction we should be.

Don’t vilify normal human features. Please.

Okay onto the actual creation:

2. What, how, and how often do they eat?

Likely the first thing you’ll consider when creating a monster, and usually what determines if they’re a threat to humans or relatively harmless.

Is your creature a carnivore, omnivore, or herbivore?

How much do they have to eat? Don’t be fooled by bigger=more, hummingbirds have to eat up to 3x their body weight in food per day because they burn calories, and lions can use one hunt to sustain them for several days.

How do they consume food? Do they have sharp teeth, or tear apart with their claws first? If they’re an omnivore, they need flat, strong molars for breaking down plants as well as sharp front teeth for meat. Do they consume via mouth, tube, or other appendage?

Determine their usual diet when there are no human characters around to hunt.

How do they hunt? Do they have the ability to "clever girl" their prey? What do they use to their advantage in their environment?

2. Where do they live?

Were they grown in a lab? If so, where were the scientists intending to put them, or what were they built for?

Are they supposed to blend in with their surroundings or others of their species? (Think many types of fish, or zebras) Or are they made to stand out (such as brightly coloured fish that are poisonous)

A creature who lives in a green, lush forest that gets heavy rain often is going to look a lot different than one who lives in the desert. Consider how they’d be built to survive their environment and climate.

3. What are their social instincts?

Do they have pack instincts? Or are they solo?

If they do have pack instincts, will they bond with humans? Or other creatures of different species?

What do they do with their young or family?

How do they find a mate to reproduce?

What do they do if they come across another of their species? Or an animal of another species?

4. What do they use to defend themselves?

Are they poisonous to their predators? Do they have a hard shell or quick reflexes?

Consider what might pose a threat to them in their environment, and what they’ve developed to defend themselves against that threat.

If they are the apex predator, consider what they have that makes them so effective in their environment.

5. What are their vulnerabilities?

Or another way to put it--how can they be killed?

Do they bleed? Is chocolate or another food poisonous to them?

Do you need a specific weapon or technique to harm them?

Anything I missed?

[cdlum]

I just wanted to say I think your art style is awesome! I was wondering if you had any tutorials on how you draw anatomy in your style (hips and legs especially)? Sorry if there's already one posted and I just didn't see it 🥲. Happy New Year :>

thanks for the kind words. i tend to draw people pretty stylized and then some so a good bit of artistic licence gets used. these tips are just what i use so feel free to take them with a grain of salt. with anatomy in particular you can kind of talk in circles because human/animal bodies are that complex so ill just zone in on the points you specified. here's a little image with a bunch of pointers:

the above image condenses a lot of the points I'd make, but basically the key parts are to start with the bare essentials and build up that complexity. using a line of action is a good way to get a quick, rough start. you draw a line out in the general direction of the pose and do your best to adhere to it to give the pose a sense of flow.

you can also draw smaller, thumbnail versions that throw a lot of caution to the wind but capture the basic energy of what you're going for. even having a tiny little stick figure version of your idea can make for a good guideline of where to take it forward.

when it comes to actual limbs, you wanna consider how they integrate and work together, kind of like how chains do. you can see on some of the parts of pear i've drawn out these wireframes to kind of portray how the mass of her legs works in a three dimensional space. for aspects like the waist/hips, i use that X technique i highlight above a lot, particularly for the lower torso. a lot of the times, even when drawing a character totally naked, imagining them wearing things like skintight underwear can help a lot to guide you in the right direction.

its also a good idea to consider things like gravity and weight to a degree. humans are essentially big meat sacks and gravity is always pulling down on that, but theres all kinds of aspects that effect that, such as character build or clothing. pear technically isn't naked in this, but i've tried to imagine her as such and take that into account.

if you are drawing digitally, don't be afraid to take advantage of the convenience you get with that workflow. you can retry and iterate on things a lot faster that pen and paper, and do things that aren't really feasible at all when it comes to editing and modifying your existing work. things like resizing certain bodyparts, instantly flipping the canvas, or using selection tools to completely adjust the positions of parts of your drawing. to give you an example heres a timelapse with all the little edits i made just to this demo drawing:

you don't have to use these techniques linearly, either. sometimes ill have a really solid idea for a piece in my head, and go back to basics with certain elements if they’re not coming out right or i just want to brush them up a bit more. some of the tutorial-y parts i added in i didn't actually use during the drawing but often do use so they're there just for demonstration. not every drawing i do starts as building blocks or a really basic version, often ill just start with a face and build it out from there.

i always encourage liberally using references (this can include yourself) and trying out stuff like life drawing or looking at things like existing photographs of real people/places/things if you can, the more you use learning material the better you'll draw up a mental inventory in your head that you can rely on more and more. some of these tips are things i've learned from other artists over the years (the chin one especially i remember seeing a tutorial about lol), so this is a lot of knowledge i've amassed from other sources over time myself. there are plenty of times ill use all sorts of reference material and its all in service of arriving at the final destination as smoothly as possible. learn by doing, as they say. hope this helps!

[canmom]

Animation Night 189: Nonphotorealistic

There is a funny trend in animation-related terminology to define things by what they aren't. Animation is any technique for creating film that isn't live action. Limited animation is any style of 2D animation that doesn't follow the conventions of Disney's 'full animation' on 1s and 2s - a category that includes a wildly diverse range of approaches and techniques, as this wonderful history by Animation Obsessive describes.

In 3DCG circles, there is a similar term: nonphotorealistic. Which describes, naturally, anything that isn't trying to look like a photograph of a real scene. There has been a real boom in this of late, and just like the other terms, it really doesn't narrow it down very much. Other terms like 'hybrid animation' add a bit more hints.

Of course, if you've been anywhere near animation in the last few years, you'll probably know another term: 'Spiderverse style'.

There is no denying that Spider-Man: Into the Spiderverse (2018) by Sony Pictures Animation was an absolute landmark for animation. (I wrote about it way back on AN21, focusing more on the cultural angle.) The ludicrously stylish film pretty much set the direction for animation in the 2020s - making a bunch of money and awards and thus finally throwing open the door to 3DCG animation that doesn't look like the style set by Pixar/Dreamworks in the 2000s. Its sequel, Across the Spiderverse (2023), was even more ambitious and successful (despite a troubled production involving a lot of needless crunch). We'll be showing that soon in a Spiderverse double bill so look forward to it!

So perhaps not surprising that when people see the use of graphical styles, 2D elements, limited framerates and the like in 3DCG these days, Spiderverse comes to mind. In its wake have come various films and series that apply these and related techniques: 3DCG animation is more varied than ever, and it's cool.

It isn't really a style, tho.

Here I'm indebted to youtuber Camwing who has made a nice video overview breaking down the animation of recent movies in this vaguely defined paradigm. Among them we have The Mitchells vs the Machines (2021, also Sony), Puss in Boots: The Last Wish (2022, Dreamworks), and Teenage Mutant Ninja Turtles: Mutant Mayhem (2023, animated at the French/Canadian studio Mikros animation), and of course over on Netflix you got the wildly popular League of Legends spinoff series Arcane (2021, Fortiche Productions), and the romance film Entergalactic (2022, DNEG), tying in with an album of the same name.

None of these films has exactly the same style, but they all pull from a related bag of tricks. The core techniques are animating on reduced framerates for a 'snappy', high-clarity feeling, the combination of 2D and 3D elements in some fashion, and taking inspiration from traditional media such as paintings or comic books.

For example, Arcane and Entergalactic both use the trick of 2D backgrounds/projecting paintings onto 3D geometry, inhabited by 3D characters with a stylised shader. Arcane is dripping with 2D visual effects. Puss in Boots drops the framerate during its action scenes - the opposite of the old paradigm of full animation, where fast actions would get more frames. Spiderverse draws 2D expressions onto its 3D models to push them further, and is full of all kinds of colourful stylised rendering - screentone effects, kirby dots, outlines, the works.

It's tempting to link this to 2D-in-3D animation, and certainly many of these films apply this technique - this is the major niche where Blender has found its way into industry pipelines. But using 2D isn't mandatory to count here. For example, TMNT Mutant Mayhem has an incredibly striking storybook-painting style, accomplished largely by clever shader work and a strong sense of graphic design. Genndy Tartakovsky's canned 2014 Popeye project was planning to use a ton of 2D-style posing and squash-and-stretch, accomplished largely with rigged 3D models. There are many paths to take!

And mind you, I haven't even covered one of the biggest angles here. Search for nonphotorealistic 3DCG on Youtube and what you'll probably find most is information about cel-shading - aka 'anime style'. This has also advanced considerably in the last few years, with the techniques pioneered by Arc System Works in Guilty Gear such as editing the normals of characters for more precise control over shading, and minute adjustments to break up the mechanical feeling of 3D, becoming widely copied in both games and films. (And particularly, animated porn.)

Vtubers in particular have really run with this technique, generally speaking using cel-shaded models with edited normals, inverted eyes, etc. etc. to try and get the feeling of an anime character come to life. [You can see a lot of these state of the art techniques if you download Pixiv's free VRoid Studio software and import the model into Blender using the VRM plugin.]

Naturally this kind of cel-shaded approach has found a particular home in Japan. In anime, the biggest champions of it are certainly Studio Orange, whose hybrid approach involves planning out shots with 2D animation before matching them with the rigs. We've covered their adaptation of Houseki no Kuni in great detail on Animation Night 97; their Trigun reboot was perhaps even more popular. But cel-shaded techniques, 3D previs and the like have also made their way into big films like Eva 3.0+1.0 (AN66).

Although this type of rendering aims to recreate the look and feel of 2D animation as much as possible, it always ends up being something new: character models that would be too complex to draw, an ease to 3D movements and camerawork that would be challenging in 2D, and generally a new hybrid style. This is good! 2D animation is already very good at being 2D animation - it's fascinating to see what 3DCG becomes with that inspiration.

So with that brief overview, where does that take us tonight?

I'm not quite ready to do a Spiderverse double bill tonight, so instead the plan is to check out a couple of recent American franchise films that are taking on the new suite of techniques. I've mentioned them up above, but let me introduce them more fully here.

Puss in Boots: The Last Wish is a sequel to a fairly unpopular spinoff about a side character of the Shrek franchise (AN75). Not, on its face, very promising - which is why it is all the more striking that I was told on all sorts of sides that I must watch this movie. I'm finally going to make good on that.

The title character is a kind of feline musketeer type, now facing the end of his swashbuckling career as he's lost 8 of his 9 lives. Not wanting to hang up his hat, he goes on a quest to restore them. What makes it stand out its the action scenes, which go all in on the anime-influenced, extreme perspective and lighting, limited framerate style that we're discussing above. Apparently it looks sick as shit.

Teenage Mutant Ninja Turtles: Mutant Mayhem is a fresh reboot of the venerable TMNT franchise, which pretty much describes itself in the title: four turtles (named after Renaissance painters, of course!) live in a sewer as ninjas, led by their aging master who is a rat. Starting as a comic book, it became one of the iconic toyline-driven TV shows of the 80s - but it's still going! Indeed, Turtles has been on a roll of late (at least going by animator scuttlebutt), with Australian studio Flying Bark Productions turning a lot of heads with their neo-Kanada School style (and for really stretching the definition of 'storyboard').

This new film takes a different approach to the bombastic action of Rise. It focuses on a new origin story for the turtles, telling a kind of coming of age story - but what makes it unique is the animation style and cinematography. Cinéma vérité is not a phrase you really expect to be associated with ninja turtles, but the film seems to really go all out in a way you wouldn't really expect from a franchise movie, shooting the young turtles in a handheld style and focus heavily on character. Marcel Reinhard's shader work, allowing the animators to isolate lights to specific objects and characters and introducing graphical elements of cross-hatching, stippling, etc. etc. to the lighting, gives it a uniquely painting-like feeling, augmented by a lot of 2D creativity in lighting and effects.

Turtles has never really been my thing, but this film looks unique enough that I really want to see it - and I hear it's a good film too.

So that's our bill for tonight! Puss and Turtles. Let's see what the big studios have been cooking of late...

Animation Night 189 will be starting around 10pm UK time (roughly three hours hence) and carrying on til about 2-3am same! We'll be on twitch.tv/canmom as usual. Hope to see you there!

[laurasimonsdaughter]

Urban fantasy aids for people with involuntary clairvoyance:

● Glasses (tinted, clear, or prescription) for people whose visions are triggered by eye contact. They don't work for very strong prophetic impulses, but they'll stop most common-or-garden flashes of the future. Could be paired with a similar product, but intended to be worn by the other person. If both people have magically shielded their eyes, the chance of causing a vision through eye contact is almost eliminated. Their biggest drawback is that when a particularly strong vision does break through, they tend to crack or warp and need to be replaced.

● Contacts that work similar to the glasses above, but had to be developed with a different strain of magic to prevent the obvious safety issue of getting shattered by a vision. The result is that they technically do not work as well as the glasses, but because it is impossible to accidentally glance over or past them it pretty much evens out. However, when a vision does get through they will most likely cloud over and obscure all vision, which poses its own risks.

● Gloves in all shapes and styles for those who get premonitions when they touch an object or or a person's skin. The material has to withstand a lot of magical wear and tear so they hardly ever tear, but they can absolutely not be put in the washing machine.

● Amulets that repress clairvoyance as a catch-all, for people with a more versatile gift. They are easier to make than the more targeted aids, but have the drawback of being easy to lose and of possibly affecting clairvoyants other that the wearer simply because of proximity. This can be counteracted by having a bespoke amulet made, for instance using some of the wearer's hair or a teardrop. These amulets are more expensive, but more effective.

● Experimental magic techniques working with tattoos to replace physical amulets. They have to be tailored to the individual and are somewhat limited in their reach, but have shown great promise when it comes to shielding against specific people. This makes them very popular with people whose clairvoyant abilities get stronger depending on the emotional connection they have with a person. A tattoo can be a good way to prevent unwanted intrusions of the future and accidental breaches of privacy by shielding specifically against a friends, family members or partners.

[wakkass]

It's impossible to put into words how much I love designing characters, especially for AU.

Yes, I recently had an avatar AU, and I really wanted to draw Katara from there (and also Zuko). I usually draw a static pose in order to display all the details of the clothes. This is such a kind of character sheet that helps me to better imagine the scenes in my head.

If you're interested in reading about the AU itself, then there will be some information about it.

I apologize in advance for mistakes in the text, English is not my native language. But, I hope, this will not interfere with understanding.

In general, my AU concerns the ending of the series, because at some point it seemed unrealistic to me. There is too much positivity with the obvious problems of the post-military space, as well as little logic in some moments (for example, I don't understand what Zuko was doing in Ba Sing Se. Did he abandon his newfound throne to the mercy of fate with the risk of a palace coup? Did he not feel the effects of a lightning strike? The longer I think about it, the surreal it seems to me).

At some point I thought, "this is all like Aang's dream, in which everything is intentionally good. As if this is the ending he wants, but it's unattainable." And then it dawned on me. But it really looks like his fantasy about the future after defeating the root of evil. This explains why Zuko recovered so easily, why everyone is just relaxing and having fun without a drop of post-trauma. Because Aang wants everything to be so naive and simple after defeating the Fire Lord. Because he's dreaming about it.

I know this is a very hackneyed narrative technique. It's pretty easy to say "this is someone's dream" to deny any events. But I found it curious, especially against the background of the episode "Nightmares and Daydreams", where Aang's dreams already simplified the reality around him. For me, it's like a lead-up to the finale, where he actually sleeps.

You ask, "but why is he sleeping?". I also asked this question, and the answer to it killed me. Because during the battle with Ozai, when the stone hit Aang in the wound, he fell into a coma. His body was paralyzed because his brain perceived it as a repeated lightning strike, again fatal. The avatar's state was the only one that did not allow Aang to die, but only to fall into a coma. And instead of an epic battle, we have a little helpless boy spending a huge amount of energy just to maintain his life.

The second Aang collapsed, he disappeared, leaving Ozai alone with the remnants of his temporary power. And no one else saw the avatar…

I'll leave the intrigue for you about this, but for now I'll tell you about the concepts from the art.

Naturally, everyone searched for Aang, and, naturally, they did not find him. Katara and Zuko were the only ones who did not participate in the search, for several reasons:

Zuko was rehabilitated for a very long time after being struck by lightning, and Katara nursed him (I'm sure there are a lot of fics about this topic. The only difference is that there is no romance here. The focus of my AU is not on it, but on the problems of the consequences of the war). He survived, but he had major problems with his heart, digestive system and spine. Who noticed the cane in his hands? Yes, Zuko couldn't walk without it. From now on and forever. He was physically unable to leave the palace, and Katara maintained at least some of his condition.

Even after Zuko's rehabilitation, it was necessary to keep the power in his hands. Imagine what a shock the Fire Nation experienced when not just the former Fire Lord was overthrown, but the country's policy changed dramatically. Now Zuko needed to keep power in his hands and establish a new regime as soon as possible, before his opponents raised armies and people against him. This boy, who recently sat quietly at a military meeting, needed to show unprecedented strength and power to everyone: both officials sought to turn the situation in their favor, and the people who wanted stability and prosperity. But how to do this if Zuko couldn't even breathe normally, and getting out of bed required tremendous effort? It was impossible… Anyone else would have given up, but not Zuko. He has never given up without a fight and has never turned his back on danger, even if he risks dying.

It hurts me a lot for him, too. Fate has never stopped pushing Zuko against obstacles, but this time he couldn't rely on himself. He almost couldn't bend, his body almost didn't obey. He was an easy target and there was nothing he could do about it. This helplessness irritated him, saddened him, oppressed him. The only thing that wasn't broken yet was his spirit, and Zuko was barely able to maintain it in such conditions. If it wasn't for Katara, I don't know if he would have coped in the end. She was now his only support, his only ally in these cold oppressive walls, the only rational grain in his doubts.

You ask, "Where is Iroh? Where is Mai?"

Iroh, along with the White Lotus, took on a mission to liberate the Earth Kingdom from the Fire Army and establish relations with the kingdom. In fact, Iroh now shared power with Zuko: uncle was engaged in foreign policy so that his nephew could focus on domestic policy.

With Mai, everything was much simpler: after getting out of prison, she was completely disappointed in the guy who always left her. She sent him a letter, where she finally ended their relationship, and left with her family somewhere far away. Perhaps she and Zuko will cross paths again and will be able to establish a relationship. But not now.

Katara remained to help Zuko not only with treatment, but also with his policy. As a resident of an almost disappearing tribe, as well as an able leader, she helped him with projects and plans to improve the quality of life of the population and actively participates in them. She performed those missions that Zuko can only entrust to her. After all, she was a friend he could rely on and to whom he could open his feelings.

In her design, I wanted to reflect the combination of two cultures: Fire and Water. I was based on the designs of the "12 Kingdoms" (if you haven't watched this gorgeous anime or haven't read ranobe, I strongly recommend doing it. This universe is no less interesting than the avatar's world, I'm sure you'll like it), because the palace intrigues and the plot with winning the respect of the court reminds me very much of the story from there.

One day Zuko's legs finally gave up, he could not get up. All the stress he was going through was breaking his body so much that at some point the Katara's treatment stopped working.

It was a very difficult moment for both of them. Zuko has just started to promote his ideas and defend his rights to the throne, and Katara sincerely did not know what to do. If the truth about the true state of the Fire Lord had come out, all the ill-wishers would not leave this opportunity and attack, this couldn't be allowed. They urgently needed to create the appearance that everything is in order, but how?

Zuko came up with a very brazen idea. He asked Katara to use bloodbending on him to simulate walking. It was a very difficult request for her, because this skill represented the worst face of the war, it was created to torture people. And the last thing she wanted was to torment Zuko. She hesitated for a long time, he saw it, but he couldn't wait. He couldn't stop, it wasn't a luxury he could afford. Therefore, he went out, trying not to get up and move much.

Naturally, at some point his weakness was noticed at the most inopportune moment. Naturally, at this moment Katara couldn't let Zuko fall. Imperceptibly under her sleeves, she moved her friend's body like a puppet, causing him as much unbearable pain as most would not stand. But Zuko was not like that. He stood it.

It looked like this to me somehow:

They were both very depressed that day. He was suffering physically because of Katara's bending, and she could not believe that she had caused the suffering of a person dear to her. It broke and scared her, she opened the way to the Hama's madness, and was very afraid to fall into it.

Zuko assured her that it was impossible. Hama didn't have people to guide her, while Katara has friends. Maybe Zuko didn't consider himself the best moral mentor, but he promised to be there in the most difficult moments for Katara, and now he won't leave her.

This encouraged her and opened her eyes to her own cowardice. She was afraid of the darkness of Hama, and instead of curbing it, Katara hid it in herself, ignored it. And that's what it led to: the person who needed her help suffered. But she didn't want to run away anymore. She wasn't going to give up without a fight and turn her back on those who needed her.

At the beginning, Katara trained on herself, experiencing the same pain as the victims of bloodbending. Careless movement of blood through the vessels could cause internal bleeding at any time, it was very dangerous. The Hama's voice in her head pressed on her conscience, saying that innocent people felt all this pain, and only Katara was to blame for this.

Later, she learned to control the flow of water on puppets, like Hama. The point was to pass water through the threads without bursting them. Absolute control was required here, and Zuko taught her the techniques of firebending for self-control. This was necessary for Katara, because the Hama's voice in her head did not subside and did not allow her to correctly distribute her forces. It seemed like Katara was about to stumble, but Zuko wouldn't let her do it.

Gradually, Katara mastered this skill and tried to draw blood on Zuko's legs. The effect was unexpected. Her great willpower and desire to help him resulted in healing. Zuko began to feel his legs, and Katara discovered the reverse side of this bending. No, she didn't heal him completely, it's too early for him to get rid of the cane. But maybe one day she will become so strong that she can do it.

Katara realized that there was no evil magic, there was only evil intent. This was her first step towards learning to look inner demons in the face, and not to hide them in herself when it was possible to hurt others.

But what about the other design?

Katara's father sent her a letter asking her to return. Her family needed her help, because she was the last waterbender, a carrier of culture and skills, as well as a healer of a new level, the daughter of a tribal leader.

At home, everything was not the same as before, moreover, everything taked shape as a Northern Tribe. I really like the idea of the comic "North and South" about the problem of assimilation. Only here has Katara accepted all aspects of its culture, even the most unpleasant ones, and she would not give up so easily when this newfound knowledge was in danger of disappearing.

Actually, I wanted to draw her outfit of this arch. I wanted to redesign the costume for myself, because I like to do it. I kept the front strands of Katara, we don't talk much about them.

I would really like to describe the path of the rest of the team and what they do, of Aang and what happens to him. But I'm already tired of typing, and you probably read.

After all, the post is more about designs, and not about the AU itself, so the goal to reveal some of my ideas has been achieved in principle. Maybe sometime later.

Hope you enjoyed reading this :3

[nenelonomh]

active recall for studying

active recall is one of THE BEST study techniques,, since it plays on memory. it involves deliberately recalling information from memory rather than passively reviewing notes or textbooks. this is the sort of study that will help you perform well in exams.

when you actively recall something, you retrieve it from the depths of your mind without relying on external study materials. it's like mentally digging up facts, concepts, or details you've learned and bringing them to the forefront of your consciousness.

but nene, how does it work?

instead of merely re-reading or reviewing notes, active recall (which is sometimes also called active retrieval or practice testing) requires you to engage with the material.

you can employ methods such as:

✬ flashcards. creating flashcards with questions on one side and answers on the other and testing yourself regularly by recalling the answers is a reliable technique. here is my post on flashcards.

✬ self-generated questions. posing questions related to the content and answering them without looking at your notes. this can include practice exams! alternatively, visit a question bank, or make one.

✬ mind maps or concept maps. drawing a mind map using information from memory can reinforce your understanding. you can create mind maps to identify what you already know, and what you need to learn when starting a new topic.

active recall is effective because it forces you to think deeply about the material, promoting better understanding and retention. when you recall information, you strengthen the memory trace associated with it.

unlike recognition (where you recognise the correct answer but may not truly know it), active recall ensures true understanding and the ability to recall information completely from memory.

(images are from pinterest)

[cooketimm]

Hardboiled #10-25 (1990-98) cover artwork by Bruce Timm

Interview from Cool Stuff Magazine #1 (1995):

Gary Lovisi: Much of your work is characterized by raw, intense energy and action, or beautiful women in stylish, dangerous settings. Some is obviously influenced by the pulps.

Bruce Timm: I’m big pulp fan, have been since the early 70s, when I started reading Doc Savage and Avenger reprints. I can’t really say how they’ve influenced my artwork much, except when doing pulp-homage stuff like the Bob Price books. But I do sometimes wish I was born decades earlier so I could have worked for some of the old pulps, which was why it was so much fun doing the Price stuff, and the «mock 50s» paperback covers for your Gryphon Books.

The hero pulps — Doc Savage, The Spider, The Shadow, etc — did have a big impact on my approach to the Batman cartoons. It’s something I tried to inject into the show from early on, the atmosphere, danger and illicit excitement, and especially that Norvell Page-type feeling of impending doom — the «doomed city» mood. It’s also why I set the sense in a timeless, 40s-styled world of big cars, padded shoulders, gangsters, shadowy streets, etc. I only wish we’d gone farther with it.  

For instance, my original version of Batman himself was actually close to the Shadow: rarely seen close-up, speaking in short, clipped phrases, more mysterious, literally. I wanted to play him cold and remote, almost unhuman. But the network and our various story editors would have none of that!  «We need to humanize him», «He needs to have a sense of humor», «We need to more about Bruce Wayne, the person», etc! Whereas I could care less about Bruce Wayne! He’s much more fascinating if you don’t know what he’s thinking, or what drives him.

A few «Shadowy» touches did survive. Batman is rarely seen be the public, almost never on TV. Even when dealing with the police, he’s usually off in shadows conferring with Commissioner Gordon only. And when he’s in the Batcave, he’s almost always in costume. My way of saying he’s Batman, not the other guy, not Bruce Wayne. Like Lamon Cranston, his true, «legal» identity is a facade.

I’ d love to do straight-ahead pulp hero adaptation someday. Doc or The Shadow or The Spider, either in comics or animation, without the senseless updating and over-explaining «character development» like in the Alec Baldwin-Shadow-fiasco-film.  

Gary Lovisi: Your stunning covers for my Hardboiled mag are very popular with everyone who sees them. What are your feelings on hardboiled crime-related art?

Bruce Timm: It’s hard, actually, to define «crime-fiction» art. There’s pulp crime-fiction art, and digest crime-fiction art, both of which cross over with paperback crime-fiction art. Basically, I’m a fan of good illustration. Period. Regardless of subject matter. Composition, emotionally intensity, color and lighting effects are what I look for. And pretty girls, of course!   

My favorite pulp crime artist is H. J. Ward, hands down. Gorgeous gals in twisty curvy poses, painted in luscious, creamy, wet-on-wet oil technique. My favorite paperback artists include Robert McGinnis, Robert Maguire, and Mitchell Hooks, the usual suspects.

My approach to the Hardboiled covers is different from my earlier «homage» work. When the covers were black and white, I used to experiment with different b&w textures, coquille board, zip-a-tone, xeroxed newsprint, whatever worked. Now that I’m doing them in color, I’m trying to make them as exciting and eye-catching as possible, with loud color, sexy gals, exaggerated action, and simple, graphic, almost cartoony styling.

[raina-at]

Intimidation

“Dad! What did you do!” Rosie storms into the sitting room, banging the front door to the flat shut behind her.

John looks up from his kindle, only mildly curious. Their daughter has his temper and Sherlock’s flair for histrionics, and he’s discovered over the years that he can defuse her most easily when he himself remains calm for as long as possible.  “I have no idea what you’re talking about, sweetheart.”

“Don’t you sweetheart me, you know exactly what you did,” she grates out between clenched teeth, sitting down in Sherlock’s chair. 

John sets down his kindle and looks at Rosie, who’s mirroring Sherlock’s ‘interrogating a recalcitrant client’ pose perfectly, if probably unconsciously. “A few context clues might be helpful.”

Rosie gives him another glare, then says, seemingly making an effort to calm down, “Mark, dad. What did you do to Mark?”

“I did absolutely nothing to Mark,” John says, smoothing his features into the ‘nothing to see here, Inspector’ expression he’s perfected after over 20 years of being an accomplice to petty crimes and the occasional B+E. 

“He said you showed him your gun!”

“Well, yes, we were having a friendly conversation after dinner, when you and Paps were doing the dishes. He was curious about my military service, so I showed him my medals. If my gun was accidentally in the same box, well, that’s hardly my fault,” John answers, his tone even and his countenance a study of innocence. This isn’t remotely his first interrogation, and if NSY’s finest couldn’t crack him, his eighteen-year-old daughter won’t either.

“He said you “had a look on” when you showed it to him,” Rosie states, indicating the quotes with her fingers, not breaking eye contact.

John wishes that Sherlock could witness this. He would be so proud of Rosie’s interrogation technique. 

Not that it has any effect on John, who learned the hard way how to keep secrets—birthday gifts and wedding rings, mostly— from Sherlock Holmes. “I don’t even know what that means, love. What kind of look?”

“He said he never knew a dad in a fluffy jumper could look this intimidating,” Rosie says, giving him a small smile, apparently finally seeing the funny side of this.

“Really? What else did he say?” John asks, curiously flattered that he managed to scare the living daylights out of Rosie’s boyfriend just by looking at him. He never even touched the gun. 

“He said he had the distinct impression that he wouldn’t survive if he ever hurt me,” Rosie says, and John can hear her softening tone as her anger melts. 

John shrugs. “If that is the impression he got from our friendly talk, I would not try too hard to disabuse him of the notion.”

Rosie looks sceptical, but John leans forward and takes her hand. “Look at it this way, love. He’s still here. He knows the price he has to pay if he hurts you, and he’s still here.”

Rosie finally smiles, and John knows she’s no longer angry. “Okay. All right. You win. Did you and Paps plan this, by the way?”

“No. Why?”

“Because when he helped Paps take out the bins, Paps gave him a long academic lecture about how he knows several ways to dispose of a corpse so it would never be found.”

John laughs. “Sounds like him, all right.”

Rosie narrows his eyes at him. “You two aren’t actually planning on murdering my boyfriend?”

John smiles back mildly. “Well, love, that depends entirely on him, doesn’t it?” His tone is quiet, but he knows his eyes are like flint. He likes Mark, he really does. But if he hurts Rosie he’s dead. It’s as simple as that. 

“Whoa, dad,” Rosie says, grinning at him. “Now I know what Mark meant. You’re scary!”

“Thank you, love,” he says, getting up from his chair, cursing his bad knees. “Are you staying in for tea?”

Rosie nods, sprawling in Sherlock’s chair. “Yup. Is Paps coming home tonight?”

“He wanted to catch the sleeper, but apparently there’s some loose ends so he’s staying another night in Edinburgh.”

Rosie glances at the telly, then back at John. “You know what that means, right? Bond night!”

“I’m already making the popcorn,” John says. He empties the small corn kernels into the pot they always use for popping, then turns to Rosie. “One more thing.”

Rosie makes an inquiring noise as she fiddles with the remote to start the stream. “What?”

“Did Mark by any chance mention who scared him more? Sherlock, or me?”

Rosie grins. “Oh, you. Definitely you. He said he had the impression that Paps might just ruin his life, whereas you would just straight up kill him, no questions asked.”

John feels a bit smug that he scared Rosie’s boyfriend more than Sherlock. Of course, Mark is completely off base. John is scary, but Sherlock enraged is terrifying. “He’s wrong, you know,” John says, giving the popcorn pot a little shake. 

“Oh, I know,” Rosie says, getting them each a beer out of the fridge. “I told him Paps would ruin his life first and then kill him.”

“And he’s still here? I like this boy.”

“You’re deeply disturbed, you know that?”

John shrugs. “Like that’s news to anyone.” He empties the now finished, hot and buttery popcorn into a bowl and nods at his daughter. “Shall we?”

Rosie kisses his cheek and whispers, “You’re both crazy.”

John smiles. “You’re welcome, love. Now, shall we start with Casino Royale like always?”

“Like you even need to ask.”

------

Periodic reminder that I'm collecting all of these here on AO3.

Tags under the cut as always (if they work...). Please let me know if you want to be tagged or untagged.

@calaisreno @totallysilvergirl @jrow @keirgreeneyes @meetinginsamarra @peanitbear @weeesi @salmonsown @jolieblack @helloliriels @lisbeth-kk @friday411 @givemesherbet-blog-blog

[just-wrting]

Just My Type

Title: Just My Type

Pairing: Nanami Kento x Reader

Summary: Itadori helps you get closer to a man who is just your type and your opposite.

Word Count: 2126

Master List

A/N: I'm so sorry! I got a really bad string of migraines and started to sink into a slump. But here is the next prompt! I'll try to keep up, but I won't finish during October I guess. Also, NO SPOILERS PLEASE! I haven't seen season 2.

You tilt your head and study the young boy in front of you. Unsure of the reason, you wonder what sort of reason would lead the more powerful Nanami to leave a teenager in your care.

“Remind me again why I’m in charge.”

“I’m needed elsewhere and can’t leave him alone. He is to be supervised at all times.”

You frown and look over your shoulder at Nanami. He looks as stoic as ever, even getting ready to head out as he talks.

“Well, for being the vessel of the king of curses, he’s awfully adorable. Are they so sure he poses a threat?” 

He sighs and pinches the bridge of his nose. “I am not qualified to speak on that. Just don’t get him killed in the process of whatever you are doing today.”

“You’re being so cold today, Nanami. A thank you wouldn’t hurt, but since you’re my favorite I’ll do you this favor.”

—-

The silence is overwhelming. You aren’t sure how to approach a conversation with Itadori.

“Despite your power level most likely being above mine, I’d like you to stay back when fighting curses today. I know you’d be fine, but if this whole thing with those special curses involves other sorcerers, you need to know more about them.”

It’s almost comical howhe tilts his head in response. “I need to know more about those sorcerers? We don’t even know who they are.”

You push down the urge to ruffle his hair like he’s a dog and shake your head. “You need to know more about other sorcerers in general. Cursed techniques vary between people even if they are similar. The more you see the better you’ll be able to pick up on things.”

You know that’s not one hundred percent true. Some sorcerers are good at keeping their technique hidden while others get benefits for telling their technique. Nanami is open about his technique and you often find yourself a bit jealous of it. The ability to create a weak point on your opponent is amazing.

“Then what’s your technique?”

You wave your hand, attempting to dismiss the question. “It’s nothing as cool as others. It’s not even that powerful.”

Despite you being dismissive, Itadori stares at you expectantly. He’s new to the world of curses, and seems to always be willing to learn a bit more about them. His willingness to put others first is also adorable, and you find it hard to tell him no.

“It’s easier to show than explain. If you want the simple answer, I can turn my cursed energy into flowers. Each does something different,” you say awkwardly. “If you want, there’s rumors about a curse near here. If there is one I’ll show you.”

“Let’s go! No point in waiting!”

—-

You know as soon as you enter the open space that the curse is going to give you trouble. It’s not stronger than you in fact, it's a little weaker. The issue is that you’ve been hiding an injury. That’s what will make it difficult.

“Like I said Itadori, stay back unless I say so. I’ll be able to handle it, it just might take me a bit.”

He opens his mouth to protest, but chooses not to. You’re stubborn and would make sure that he listens even if he protests. Keeping him safe is better than letting him get hurt. The poor kid has already died.

You analyze the area, trying to figure out the best place to start. The curse is too strong to be easily put to sleep with a blanket of lavender, but it would still disorient it. The problem is that you aren’t sure if, as a human, Itadori would be knocked out.

The first step is easy. You reach into a little orange pouch and pull out a few seeds. After imbuing them with your cursed energy, you place them across your side. Within seconds, bright orange blossoms appear and the soothing effect begins.

“Woah, what are those?” Itadori asks and reaches his hand out.

“Calendula blossoms. They’re used in rash and burn treatments but my cursed energy allows them to ease all my pain.”

Thankfully your cursed energy also means that they’re easy to remove. There’s no pain during the removal, the pain from the original injury returns soon after though. It’s something that you’ve never used on another person, but it’s very effective on yourself for pain management.

“If you start to feel tired, back up. The area of effect is larger than I’d like for this space,” you warn before stepping forward.

You hold your hand out, having dozens of fuzzy seeds appear. Pulling a fan out of your satchel, you keep your eyes peeled for the curse. The soft light causes shadows to flicker, and you make sure to glance in each direction to carefully inspect even the smallest of movements.

From above drops a misshapen dark blob. It lands in front of you, and you shield the seeds from the burst of air. Once the air stills again, you blow the seeds towards the curse. Each starts to take root in the curse’s face. The rapid growth of your curse causes the seeds to bloom within a few seconds. Dozens of dandelions pop out of their shells.

The curse howls and tries to pull out one of the flowers. With a massive tug, it pulls out a root at least eight inches long. This leaves a bleeding hole in the curse. As it writhes in pain, the other dandelions close up to turn into the fluffy seeds. The movement will cause them to spread all over the curse, so you tuck away your fan.

You duck and twist through the tentacles of the blob. You’re doing your best to avoid getting smashed as it squirms in pain. There’s no sympathy from you as you leap over it and land on the other side. Taking seeds from a purple pouch, you toss them along the ground.

A blanket of lavender spreads along the ground, engulfing the grimy concrete. As each flower blooms, the soothing scent of lavender hangs in the air and the curse starts to move slower. It won’t be put to sleep by the flowers as weaker curses might, but it will slow it down and relax it. You aren’t fully immune to this yet, and you feel the smell start to relax your body.

This slower reaction time causes you to stumble when the curse swats at you. It sends you flying into the field of lavender. Blood drips down your side as your injury reopens. The pain takes longer to subside this time.

“I need to wrap this up,” you mumble under your breath. “I’m going to make a fool out of myself.”

You pull three seeds out of the red pouch and clutch them in your fist. You set it ablaze with cursed energy, ready to punch through the curse. As you sprint towards it, you try to ignore the growing spot of blood on your side.

You let your body drop into a slide, coming to a stop under the blob. Despite the lack of momentum, you’re able to punch up into its center. You open your hand and deposit the seeds. As they start to poke through, you scramble back.

Three rose bushes burst out of the curse and start to climb up its body. The reddish-orange roses bloom as the thorny vines meld together. It takes no more than a minute or two for the whole curse to be covered in roses. You extend your hand out and light the bushes on fire with cursed energy.

With the large bleeding holes from the pulled dandelions and the spiky web of roses, the curse is exorcized. As it disappears, you let all of the flowers wither. The petals fall from the air, but turn into nothing before hitting the ground. You feel woozy, but suck it up.

“That was surprisingly cool!” Itadori yells as he rushes towards you. “I didn’t think flowers could kill curses.”

You ruffle his hair. “Thanks, I like to think I have some surprises. Be sure to tell Nanami how cool I am. Just don’t tell him I fought while injured, I don’t want it to impact my chances of a promotion.”

“I’ll make sure he thinks you’re cool too!”

—-

You’re staring at the displays in the shop window longfully. You’ve been good at limiting your spending, but the display of the stuffed animal cat is too cute to resist. It might be silly to see an adult fawning over how plush it looks, but you don’t really care.

As you make up your mind to head in, you feel a hand on your shoulder. You spin around and see Nanami. Itadori runs over to join the two of you.

“What are you doing here?” you ask.

“Gojo is coming back today and he agreed to meet in Tokyo! I wanted to look around so I got here early,” Itadori explains as he shows off a few shopping bags. “I think I see him over there!”

With the quickest goodbye you’ve ever heard, the boy rushes off. You’re not surprised by his actions since he acts lively all the time. It’s adorable how excited he is to visit the city.

“Isn’t he adorable? He’s like a puppy or a little brother,” you giggle. “It’s a good thing you’ve also taught him.”

“What makes you say that?”

You start to feel a little nervous. “Well, Gojo doesn’t have to worry about making rash decisions. He can practically fight however he wants with how strong he is. You and I have to make smart choices so we don’t die. Someone needs to teach him that he needs to make smart choices.”

“I suppose you’re correct. It would be a shame if you made a choice that led to your death,” he agrees.

“Not that Gojo can’t teach him important things. He has his own charms and abilities.”

Nanami gets a far-off look in his eyes. “Do you find Gojo charming?”

You’re taken aback. It never crossed your mind to talk about romance with your fellow sorcerers, for various reasons, let alone talk to someone as stoic as Nanami about it. Here he is, mentioning the topic to you.

“Not really. Sure I would complain about having a strong man loving me, but I wouldn’t classify Gojo as my type. If you’re considering me your friend now, I could indulge you by telling you my type,” you say with a cheeky grin. “I’m always down to talk about romance.”

Nanami sighs. “I suppose I can’t stop you.”

You giggle. “You could, but if I’m going to tell you my type, I want to hear yours. What could the type of such a secretive man be? It’s like a romantic mystery.”

He crosses his arms and gives a slight frown. Nothing is said, so you take it as an agreement to your condition.

“Well, my type of guy is someone who’s intelligent and calculating. Being strong isn’t a must, but it would be nice.” You press your lips together as you think. “As much as a man who is sweet would be amazing, I just want him to be nice to me at least, like a gentleman!”

As you list off traits, you realize that you’re describing the things you know about Nanami. However, you don’t share that fact. Why would a man who is so stoic and stern like someone who is emotional and soft?

“You wanted the cat in the window, correct?”

Nanami’s question catches you off guard. You don’t know when he turned to point at it, or how he figured out that you wanted the cat.

“Yeah, how did you know?” you sheepishly respond. “I can’t help but like cute things.”

His jaw is clenched, and you know he’s got something bothering him. Whatever it is, it doesn’t stop him from gently leading you into the shop.

“Since I can’t tell you my type right now, I’ll get you the cat. Consider it a sort of promise to tell you when I can. Besides, Itadori talked a lot about you, so I need to thank you for looking after him."

You feel your face heat up as he pulls one off the shelf. Trying to push the feeling in your chest down, you give him a big smile.

“Don’t worry! I’ll hold you to it,” you exclaim. “Besides, you know I wouldn’t judge you for what your type is. After all, I did sort of describe you.”

You’re too preoccupied with the other stuff in the store to notice that the composed look on Nanami’s face starts to slip.

For anyone curious, the roses are Warm Welcome Roses!