#and people linked a bunch of how-to's on how to Draw from Reference

[monster-noises]

I am experiencing... frustration.

[jetpackgeneratedcat]

It took literal months, but I finished it!!

Top left: linked universe logo

The jojo's lu logo is sooooo detailed. It is one of the things I love about Jojo's asethetic with linked universe. The detail she adds brings so much life and information about the world of Linked Universe. Great example is all the embroidery on the chain's clothing. Let's you know about civilization, that an item may be magical, etc. It is difficult to keep small details in watercolor, but I think I caught most of the main details in the painting.

Middle left: Soulful legend

This was the fourth of the images I did for the painting, and the first image I really started to get into the painting. I think legend is my favorite to paint because he makes composition so easy. The red tunic adds an easy focal point. I did learn from this that I do not like masking fluid and likely won't use it again. It added to many hard edges that I wasn't intending. Very happy with the sky!

Bottom left: Evening snack

In this image, I liked the idea that wind and sky don't know what Ramen is because their worlds don't have enough space to produce wheat. So sky and wind are super excited about this new food, while legend has no idea why they are so hyped for noodles. I also liked the idea that four found a green pepper in the ramen as a topping and is a hater (this is from a note that jojo left somewhere saying that the chain will eat anything but four in the Manga does not like green peppers, idk where this note is to link it though....). I didn't end up drawing the Ramen noodles as it was just getting too small of a scale for me to be comfortable drawing the thin lines for the noodles in.

Bottom right: Testudo

I am very hyped in the future when we see more collaborative fighting with the chain and them working together effectively. I absolutely love the scene in shifting shadows part 3 where lenged and hyrule work together with the beam and hookshot.

Middle: Legends storage

This is a reference to one of jojo's earliest works where the chain goes to legends storage for him to pick up some gear. I love that scene and I tried to put as many references as I could. The one thing I need to figure out is how I want twilight to look. I can't wrap my head around it. Need to sit down and just try out a bunch of different faces for him. My Pinterest inspo for twilight is all over the place. I want twilight to look different from time because when Malon was trying to guess who was the descendent, she did not consider twilight (she looked at wars and wind (so I typically draw time, wind, and wars looking similar). For my own personal headcannon, twilight and time are very similar in their manner (the way the walk, stand, etc) and personality (their stubbornness (as seen in sunset pt3)) but not necessarily in looks.

Middle right: Boat boys

The first image I did. I like how the water turned out, but I will not be using masking fluid for the same reasons I noted earlier. I did trace the boat (i think this is the reference [L240632 Hornet Class. J. Arthur Dixon Ltd. Beken and Son]). I do regret not doing anything creative with the boat, but I just wanted to get into painting and needed some confidence by working directly from a reference. I also forgot that legend might not be so keen to be on a boat again based on a comment jojo left in 2022 or something. I think she mentioned something in a discord event back then about legend not too willing to be on a boat again. But that doesn't really matter, I put that boy in a boat whether he likes it or not lol.

Top right: Winter storm

Second image I did for this painting. I did trace most of the horse because I do not care to learn horse anatomy (ref. [Winter Save By David Stoecklein]) Favorite part about this is the lighting on the rope from the lantern. I think it turn out well.

Top middle: Heavy armour

Third image I did for the painting and the one I realized I need to spend more time painting people in neutral or back lite lighting. But for my first time I think it is good. I really want to see what jojo does with the armour sets! I like the idea that war's armour is clean and pristine while wild's armour is rusted and beaten from the calamity. In this painting I played with adding pink to the golden armour and I liked it. In the middle picture of the collage (legends storage), you can see i added pink to time's armour.

That's everything! ❤️

[bimboficationblues]

I'm interested in your thesis that liberalism is related to desire for security. To me it seems completely counter-intuitive since conservativism is the primary political ideology that is characterised by desire for rules-based security, and liberalism with its eponymous focus on "freedom" is more of a counter-movement to that. We may have different definitions of liberalism (I'm in Europe) and I haven't read any of the authors you listed, so I dont quite understand where you're coming from. If you'd like to expand on that a bit - especially how you'd place conservativism in that analysis - I'd like to read it. :)

ty for the question it's a helpful one! hopefully I can actually spell out the broad strokes without just starting to write the book. (I'm not sure I can.) this is all preliminary tracings so I welcome comments, questions, criticisms.

let me cut it to the size of a paragraph: my view is that "security," construed broadly, is the implicit or explicit value underlying basically all of liberal political philosophy and statecraft; this claim is fundamentally linked with my reading of liberalism as a form of legalistic, technocratic aristocracy (literally: "rule of the best"), which wears the skin of democracy as long as its rule is not at risk.

okay, so, working definitions of terms.

What do you mean by liberalism? What about conservatism, isn't that a better example of what you've identified?

Liberalism is a bunch of different things falling under an umbrella term. I find the term "ideology" slippery, so I'm going to try and avoid it here.

When I use the term I am referring to a particular lineage within the history of political thought. That includes a lot of different political actors - philosophers and writers, workers and activists, domestic and international statesmen. Liberalism is not just a particular structure of belief or self-identification held by people or political parties. Rather, I see liberalism as the organizational principles of global capitalism, the mode of thought proper to capitalism's sustenance via the management of the modern state.

My view is that the two things you've highlighted are the broad, self-justifying narratives of these different modes of political thought. "Liberalism is about guarantees of equality, rights, and freedoms, and conservatism is about stability through the preservation of social tradition and culture." I will note that when spelled out in the abstract like this, these things are not actually in inherent contradiction with each other. When you break them down in practice or dig through the details of thought, you find a very different picture. Liberal political thought's values, on investigation, are only about freedom and equality and democracy insofar as those things secure property and the rule of capital. Instead, the substantive values of liberalism are revealed as security, private property, aristocracy (i.e. that "the best" should rule), expansionist empire, "the defense of civilization."

The distinction I would draw, if I wanted to distill the two down, is that conservatism demands obedience as an absolute condition of authority, that the possession of the authority is sufficient justification for obedience (the power wielded by earthly authorities, or perhaps capital itself, being a microcosm of the power wielded by a god). Liberalism demands obedience because it claims that existing in society entails a procedural buy-in; the justification for soliciting obedience is grounded in appeals to reason and practicality. (John Locke's notion of "tacit consent," JS Mill's claim that despotism is an acceptable form of governance for "barbarians," or John Rawls' claim that "outlaw states" can be disciplined by liberal democracies for their alleged cultural failings.)

What about security?

If we step back from the ways in which the concept is historically and morally loaded (and Neocleous makes a convincing case why we shouldn't), we can conceive of security as an affect of predictability. We might think about it as the ability to wake up each day and not be worried about how you're going to feed and reproduce yourself, or that you might be hurt or killed or get sick, or that whatever projects you're investing your time and attention and values in will be taken away from you. This sort of risk-calculation can be on an individual or collective level: thinking about the people you surround yourself with, or that live in a given place, or potentially the whole planet as one integrated system.

On one level you might say life is inherently insecure by virtue of our relatively equal vulnerability to harm or death. There's always the hypothetical possibility that you could get really sick or freak weather could ruin your surroundings or you could fall in a hole and die. However, if the place you live is surrounded by holes, that's a very different type of insecurity, and your risk-calculation and predictions are suddenly vastly different from random events; even more so if there is some kind of agent, will, or specific force that can be identified as the cause of the insecurity.

When I say security is the central liberal category, that's not to necessarily say that actually having "security" is bad. Experiencing emotional security might be good (though maybe not ideal if you are actually extremely insecure); likewise, feeling "insecure" does not necessarily imply the actual absence of security. What's relevant is how liberalism defines security and its absence.

~~~~

My position is that liberalism, and its antecedent political economy, has a fundamental worry - conscious or unconscious - that class society (or "civilization") is inherently insecure or unstable, and offers specific answers for resolving that tension.

What I mean by "inherently insecure" is that the struggle between classes consistently generates a mass of people that have little to nothing, and a minority of people that have everything. See J.S. Mill, bemoaning this as a problem in Considerations on Representative Government:

In all countries there is a majority of poor, a minority who, in contradistinction, may be called rich. Between these two classes, on many questions, there is complete opposition of apparent interest. We will suppose the majority sufficiently intelligent to be aware that it is not for their advantage to weaken the security of property, and that it would be weakened by any act of arbitrary spoliation. But is there not a considerable danger lest they should throw upon the possessors of what is called realised property, and upon the larger incomes, an unfair share, or even the whole, of the burden of taxation; and having done so, add to the amount without scruple, expending the proceeds in modes supposed to conduce to the profit and advantage of the labouring class?

See also Hegel, in Elements of the Philosophy of Right:

When a large mass of people sinks below the level of a certain standard of living - which automatically regulates itself at the level necessary for a member of the society in question - that feeling of right, integrity, and honour which comes from supporting oneself by one's own activity and work is lost. This leads to the creation of a rabble, which in turn makes it much easier for disproportionate wealth to be concentrated in a few hands. [...] Poverty in itself does not reduce people to a rabble; a rabble is created only by the disposition associated with poverty, by inward rebellion against the rich, against society, the government, etc. It also follows that those who are dependent on contingency become frivolous and lazy, like the lazzaroni of Naples, for example. This in turn gives rise to the evil that the rabble do not have sufficient honour to gain their livelihood through their own work, yet claim that they have a right to receive their livelihood. No one can assert a right against nature, but within the conditions of society hardship at once assumes the form of a wrong inflicted on this or that class. The important question of how poverty can be remedied is one which agitates and torments modern societies especially.

This is not a very tenable or secure long-term situation - it will lead to unpredictable confrontations between classes - unless the parties involved find some solution that makes it tenable.

In my view, liberalism offers a very adaptable solution: the modern state and legal system. Instead of the collection of scattered/inefficient/arbitrary systems that characterize pre-industrial power - heredity, honor, sumptuary codes, ritual, personal relationships, traditional obligations - we find (or rather, make) a geographically bounded, unified nation that operates on a set of general principles, a common language both literal and political.

Things like money, markets, a robust system of positive law and mechanisms to enforce it, and the potential for reform strike a balance between 1) formalized, impersonal, predictable outcomes that ensure the sanctity of property goes undisturbed and the "rule of the best" continues - contracts and elections follow the same basic principles, and evaluating harm can be boiled down to "amounts of money" or "years spent in prison" - and 2) allowing for enough adaptability to respond to new circumstances, new innovations, and new crises. For an example, see Adam Smith, in The Theory of Moral Sentiments:

Would you awaken the industry of the man who seems almost dead to ambition, it will often be to no purpose to describe to him the happiness of the rich and the great; to tell him that they are generally sheltered from the sun and the rain, that they are seldom hungry, that they are seldom cold, and that they are rarely exposed to weariness, or to want of any kind. The most eloquent exhortation of this kind will have little effect upon him. If you would hope to succeed, you must describe to him the conveniency and arrangement of the different apartments in their palaces; you must explain to him the propriety of their equipages, and point out to him the number, the order, and the different offices of all their attendants. If any thing is capable of making impression upon him, this will. Yet all these things tend only to keep off the sun and the rain, to save them from hunger and cold, from want and weariness.

In the same manner, if you would implant public virtue in the breast of him who seems heedless of the interest of his country, it will often be to no purpose to tell him, what superior advantages the subjects of a well-governed state enjoy; that they are better lodged, that they are better clothed, that they are better fed. These considerations will commonly make no great impression. You will be more likely to persuade, if you describe the great system of public police which procures these advantages, if you explain the connexions and dependencies of its several parts, their mutual subordination to one another, and their general subserviency to the happiness of the society; if you show how this system might be introduced into his own country, what it is that hinders it from taking place there at present, how those obstructions might be removed, and all the several wheels of the machine of government be made to move with more harmony and smoothness, without grating upon one another, or mutually retarding one another’s motions. It is scarce possible that a man should listen to a discourse of this kind, and not feel himself animated to some degree of public spirit. He will, at least for the moment, feel some desire to remove those obstructions, and to put into motion so beautiful and so orderly a machine.

In legal terms, liberalism entails a commitment to specific kinds of procedural guarantees (formal equality and formal liberty as guaranteed by law) that allow for different substantive content to fill in the gaps between those procedures. A philosophical way to look at it is that liberalism adopts agnosticism on what "the Good" is besides a floor-threshold of what is acceptable (rights), in order to allow for "the Good" to be worked out through time and practice.

This is something I regard as both the central strength and weakness of liberalism as a philosophy of governance: its procedural flexibility allows for the reuptake of hostile forces - anti-liberals are pushed to fight on liberal terrain or risk irrelevance - but also allows competing movements that are designed to undermine some aspect of the liberal project.

To be clear, the liberal answer is not the only possible one, it is just the one that most characterizes modernity. A different answer might be religion, or some form of arbitrary authority: your proper place is servile, but your reward will be eternal bliss in the hereafter, or the favor of your lord, or the emotional satisfaction of doing what you're meant to do. (This is what I would describe as "the traditional conservative answer.")

Another answer, that of the Hitlerites, synthesizes the liberal and the religious answer and ramps a few things up: all of existence is inherently insecure, and made even worse because we are besieged with enemies within and without. but we can secure a future for that nation, for your children, through expansion and purification. (This is the "reactionary" answer.)

A final answer says that there is no true solution that can make class society tenable: that we have reached a point in the history of class conflict where we, every day, reproduce and participate in a spiraling system that depreciates all the things it needs to function, that constantly absorbs more raw material into its maw, and while the ruling classes and the managers can shift crises around or find innovative ways of managing them, the crises themselves can never truly be resolved so long as the rule of capital is maintained. It can only end in revolutionary upheaval "or the common ruin of the contending classes."

To be clear, that's what I think the stakes are of the project: the capitalist security state is in the middle of a substantive upheaval in its priorities as climate change worsens and the hegemonic role of the USA begins to wane, manifesting in prominent battles over the family/reproductive labor and immigration. All of these are fundamentally about the modern state's sense of insecurity as a result of problems made by class struggle. The ruling classes are competing between the right-wing, who want to build extensive fortresses as a buffer against climate refugees while hyperexploiting a terrified, disciplined underclass of migrant, domestic, and third-world labor, and the "liberals," who want to figure out a techno-managerial fix like geoengineering the planet (and making decisions about who, and where, will receive the "benefits" of that "mitigation") while hyperexploiting a terrified, disciplined underclass of migrant, domestic, and third-world labor.

~~~~

to give a rough sense of those different authors, hopefully to clarify how they relate to the project:

Landa’s book The Apprentice’s Sorcerer examines the mechanics of fascist political thought and finds its direct antecedents in "economic liberalism," basically the strain of liberalism that felt its democratic/political twin had gone too far. Through the commitment to formal freedom and equality under the law, liberalism had given the masses the opportunity and language to articulate their interests, fight for those interests in government and civil society, and potentially win (in the process disrupting society and the balance of class power). In some places - particularly France, Haiti, and Russia - the masses went way, way too far for economic liberal comfort!

Fascism then enters the picture as an alternative way to direct the masses, neutralizing that insecurity produced by mass politics - to “save liberalism from itself.” While fascism would deploy the language of anti-capitalism and anti-liberalism (usually in the form of a structural anti-Semitism a la the Strasser brothers, as well as various workerisms or producerisms), in practice, it was and is all financed by the usual Junkers and industrialists as all nationalist projects, and commits to norms and goals that were and are entirely typical of liberal states. Oswald Spengler (the guy who thought Hitler didn't go far enough because he still made appeals to the public) is my favorite example: his "Prussian socialism" is literally just the doctrine that work in service of the nation's wealth makes life meaningful and that workers should be grateful to have it. In other words, what Spengler calls "socialism" is just English political economy with a Prussian nationalist twist.

Geoff Mann’s analysis of Keynes’ General Theory and Keynesianism more broadly treats Keynes as participating in an intellectual legacy (preceded by Hobbes, Robespierre, and Hegel) of immanent critique of liberalism, one that currently sets the terms for "left politics" as hesitancy and fear of a revolutionary scenario because of the insecurity it would bring. All liberalism wrestles with the fundamental insecurity of class society, but Keynes is the rare one that sees this insecurity as essentially irresolvable (though Mann admits that Keynes couldn't quite name it as such). Keynes further regards the fundamental task as saving civilization from itself while avoiding the revolutionary alternative. From In the Long Run We Are All Dead:

“If an immanent critique is one that accepts the basic principles of its object, Keynesianism is simultaneously an immanent critique of liberalism and of revolution. It is the liberalism of those who (however reluctantly) acknowledge the continued historical legitimacy of revolution but claim to render it unnecessary, to “revolutionize” without revolution. One certainly might say this is impossible, and perhaps, in the long run, that is true. But, as Keynes himself said—and his point was not metaphorical—“in the long run we are all dead.” In the endless “short run” moments of deferral between now and then, the problem of maintaining civilization itself is the most pressing task of all.”

Mark Neocleous writes extensively on the concept of security and its relationship with the state, building his work around a younger Marx's claim that "security is the supreme concept of bourgeois society." This has obvious connections to this project. However, a lot of his focus is specifically on the more overt forms of state power, specifically war and police powers - I want to take things a step further (through legal philosophy) and argue that this emphasis on security is embedded in the structure of law itself, and not merely military force or the police power.

[nwarrior777]

Science Museum Group changed offensive object tittle after getting my letter

here's the story about it:

Wonderful @solariium commissioned me wonderful victorian-era wheelchair user character to draw. Refs were provided, and one of the links was an object in online museum gallery - vintage wheelchair.

solariium, who is wheelchair user theirself, mentioned that tittle of the object is incorrect but it was good picture for the ref. i wondered "what's with the tittle?" looked in the link and saw

ID: screenshot of online museum collection, vintage old wheelchai object page. the tittle of wheelchair says: Invalid chair, Europe, 1850-1890. end ID

welp. incorrect indeed! [i* is outdated offensive term]

so i decided to make a special move

ID: my drawing of a character from anime "mob psycho 100" - Arataka Reigen. He holds a phone next to his ear, his face epression is very confident. It's all anime sparkles lights effects around him and text "REIGEN SPECIAL MOVE". end ID

and USE MY POWER

of writing emails

i don't have problems with writing emails, so i thought why not

and

https://collection.sciencemuseumgroup.org.uk/objects/co120657/carved-wooden-wheelchair-europe-1850-1890-invalid-chair

ID: screenshot of online museum collection, vintage old wheelchai object page. the tittle of wheelchair says: Carved wooden wheelchair, Europe, 1850-1890. end ID

it worked!

As human who made bunch of projects, i can say that keeping museum gallery is tone of work.

And tittle change - no, it's not just changing few letters.

Changing tittle of object in museum is similar to changing name of game file. Catalogs changes, maybe they have irl gallery, so new card, they probably have some code objects system related to tittles, and scientists, students, make reference to this object in their researches and articles and etc etc.

So, yeah, it * is * a lot of work. Also, they changed description, it now says that this object was "historically referred to as ‘invalid chair’". And i think it's good, because it is not erasing fact of people used this word, and it's addition to the progress context - we literally see now old term clarified as past, and new one, now, in the tittle.

(and yes, web link. i just saw that i* word still there. yeah, not perfect but still, considering things i said above - big work done)

I used some conversation strategy in case "this is offensive can you fix" will not be enough — started on positive attitude giving compliment on their collection being big and interesting, gave them extra argument on why this should be fixed (more actual search key words on this now are "vintage wheelchair", not "i* chair"). Then we had a little letters chain, where they answered politely too, and in about few days i got detailed answer on this, and yep, changed tittle.

And i think this shows, that if someone did mistake and someone noticed it and giving feedback on it, if both sides are interested in progress and making good changes, no matter how hard it is, sides can make a change, working together and being kind. And i think we should be more brave about making such connections!

Thanks again to @solariium and museum workers!

[centrally-unplanned]

Do you know anything about Arthur C Clarke's reception in Japan and in Japanese pop culture? I just finished reading Childhood's End because I've seen it referenced in Xenogears, Gurren Lagann and Planet With, which isn't objectively a lot but more than the zero times I've seen it in American pop Scifi. Makes me curious how big he was over there.

Oh yeah, he was quite big in Japan! Essentially "all" the classic Sci Fi was, and Clarke was one of the biggest. Childhood's End specifically was one of Yukio Mishima's favourite books, for example. All of his works were pretty widely translated soon after release (Childhood's End was definitely available in Japan in the 1960's, that I know), and were very popular with both the SF crowd and the literary scene. In general, he was the right blend of "hard" sci fi with fantastical/spiritual elements that was very much in vogue at the time. And in the early history of Japan's animage community, those were all mushed together as one scene, only moving to more separate tracks in the 1980's. I remember in one of the essays I translated over the years, literary critic Nozomi Omori (in 1997) makes one of those "classic works like" comments and Clarke/Childhood's End is his go-to to illustrate the point. I think you can argue it is in the top 5 most famous works in this era.

A bunch of the specific references you are seeing are the unique lineage of some ~80's anime works like Space Runaway Ideon: Be Invoked. Yoshiyuki Tomino (gundam creator), who directed the film, was a big Clarke fan, 2001 most specifically I think, and the film has several direct nods to him. There are other works that draw from this well, Ideon is just the biggest, and the one that was the most direct inspiration for Evangelion as Anno was a big fan. From there you can see the references go out - Gurran Laagan is a Gainax work, Planet With's creator Satoshi Mizukami was a huge Gainax fan (particularly FLCL, shout out!), etc - as you get later the references become second-order like that, less people reading the classics but the ideas are in the water. Though I don't want to overstate that direct link - Xenogears lead creator Tetsuya Takahashi is just a direct fan of Clarke as well, and explicitly pulled from such works for the project (you can see a bunch in works by Square in the 90's)

Though a personal note, you will if you google around find people saying Evangelion was "referencing" Childhood's End with Instrumentality? Best I know that isn't true, instrumentality itself as a word is a nod to Instrumentality of Mankind by Cordwainer Smith, and Anno is on record saying it is a shallow reference, he just thought the word sounded cool. Anno was not a classic SF fan, he is one of those "second order" guys where he is picking up the stuff movies like Ideon are putting out, but isn't interested in their classic origins.

[tubbytarchia]

Just a bunch of Doc and Jimmy thoughts as to why I find them so appealing and endearing. I wanna draw them more but regardless I have too many thoughts on them to ever visualize them all. It's a lot and very self-indulgent. This is your warning

TLDR Jimmy in a father/son type of dynamic (as opposed to a romantic relationship) would do him good and Doc would be very perceptive and gentle and awesome about it

These are pretty much all reliant on a hypothetical scenario in which Jimmy is on Hermitcraft (after Secret Life?), temporarily or permanently or accidentally etc. I'm also gonna refer to Jimmy's relationships with Tango, Scott etc as romantic just for clarity

- Firstly I don't mind them as a ship, its all cool with me (cause I know at least a few of you ship them haha), but to me their absolute main appeal is the fatherly aspect. It being a father/son dynamic eliminates so many of Jimmy's struggles off the bat - ones that are prevalent in his romantic connections, mainly the inherent anxiety and inability to open up to his partners as a result (at least fully)

- Because of said anxiety, none of Jimmy's partners up to this hypothetical unexplained point of time would fully "get" him. Even if Jimmy trusts them, he's been conditioned to see himself as the faulty link by default and the people around him, however good they are and however much they COULD help, aren't the type to pick up on or be able to understand exactly what he needs (Tango's rather oblivious, Martyn's hot-headed etc), and Jimmy isn't exactly going to tell them in the headspace that he's in, he doesn't know how to. Yet Doc has had one, ONE notable interaction with him, and in that one interaction, even as Jimmy's just jokingly calling for Etho, Doc immediately and immaculately picks up on what Jimmy needs: "I want to take you into my hands and take you to a safe place"

- There's a quote(?) exchange that goes "You're free, (referring to a bird whose gate has just been opened), why don't you fly away?" followed by the bird "the cage is all I know". Sorry to use some "I'm 14 and this is deep" quote but that's just Jimmy. He needs time and gentleness, and a safe place that'd allow for that. A safe place to heal until he's ready to step out into the world of his own accord. He's helped out of the cage with patience and understanding, not by pushing him. Where Doc understands to be patient, some of Jimmy's partners post-3L would push - of course just trying to help but failing to grasp Jimmy's needs fully - or fail to realize there's (still) a cage there at all. Sorry what are we talking about again

- Add-on to the above points: Doc being able to pick up on Jimmy's wants and needs without verbalization. He'd be able to offer Jimmy desired comfort, and, comparing to Tango for example, without their time necessarily being cut short and without the failure to recognise that it's something Jimmy continues to need. (I've said it before but Tango's oblivious, and that's partially why he and Jimmy work well together, but it also means that he doesn't pick up on everything, especially when not near and soulbound to Jimmy, and by virtue of being a romantic partner, Jimmy's too anxious to ask for help too, because of previous relationship experiences). Doc would pick up on it all though, eliminating Jimmy's need to explicitly ask for help, because that's the one thing he's not able to communicate however desperately he's needed to to kickstart any kind of healing

- We all know how Doc gets when he's being a dad so. This father/son dynamic only means more softness and gentleness from Doc you know... Again, something Jimmy is in desperate need for!! And what he's gotten from people like Tango as well, but once again, this isn't a romantic relationship so Jimmy's feelings about physical affection are a bit different. Doc would have the utmost mindfulness of approaching Jimmy in any physical touch scenario though and never push or pressure. He always watches out for signs of discomfort, and will hardly touch him if he thinks that there's a chance it could upset Jimmy further. He understands that Jimmy needs time and patience and he doesn't want for him to draw more into himself, thus reversing any progress they might've made, especially if in Jimmy's current mindset, an even remotely unwanted approach could make him feel unsafe. If there are defenses that he's learned to and needs to keep up, then Doc won't take that away from him and give him space as needed

- When Doc IS to offer physical touch and such, he'd still have the utmost gentleness and pay attention to where he's situated near Jimmy just so he can ensure that he's using his organic arm to pat him or to have the organic half of his face towards him, not only to minimize intimidation but to also put them on more equal footing - If Doc can just look over and read Jimmy's eyes at any moment, he wants Jimmy to be able to see his too to help him feel more comfortable (and thus encourage opening up)

- Back to the "safe place" thing specifically, Doc would totally take Jimmy under his wing and thus also into his base - his huge and scary full-of-machines barely-resembling-a-house-to-any-degree base. Jimmy would be naturally intimidated by Doc and his base in kind, but just as he grows more used to big scary goat man, he grows more used to big scary goat man base. He'd be intimidated but not past the point of intrigue, and combined with his need to prove himself, Jimmy would very much try to study Doc's machines and learn the layout of his base etc. I'm tickled by the idea of no one understanding Doc's base as per usual, except this one lost guy he took under his wing

If Jimmy were to mess anything up (he inevitably would I'm sure) Doc would be all grumbly about it in the moment but never hold a grudge towards him. And Jimmy would either flee but quickly return and/or be very insistent on making it up to Doc, which Doc would refuse because there's no need

- Again, with Jimmy's need to prove himself but also out of genuine interest, Jimmy would very much try redstone whilst at Doc's. He'd ask Doc to be honest and not to praise his work just to be polite, but Doc would believe in him and find his efforts genuinely endearing and worthy of praise for the work that he'd have put into it. Not once would he have complimented Jimmy's work without meaning it. I don't think he'd be able to live with himself if he stooped to disingenuousness like that (though Jimmy wouldn't know that)

- Doc would be protective and rightfully so. If he were to see Jimmy bullying becoming too prevalent, he'd very much step in to say that that's enough of that. He might tease Jimmy a little himself, very lightheartedly, but otherwise not find much comedy in it. And we all know how he holds grudges if he's to single anyone out for going over the line... Jimmy would be opposed to Doc calling anyone out or anything of the like and Doc very much wants to respect Jimmy's wishes but... There's no way he isn't going to speak his mind at least out of Jimmy's earshot

- Doc has always understood that Jimmy's in need of help, but of course he can only entail so much without hearing it from the man himself. And when Jimmy does inevitably open up, Doc would be totally taken aback by the amount of things weighing on Jimmy's heart, and just out of disbelief he'd go "and you haven't told anyone??", which may make Jimmy curl in on himself a bit, but Doc would be quick to reassure that he's not questioning Jimmy's actions nor blaming him for bottling his feelings up, merely expressing sadness that Jimmy hasn't felt like he could tell anyone up until now. Doc would remember everything he's told with precision and keep it all in mind constantly. Very self indulgent but for example, Jimmy having felt the need to dress up as a maid as payback just to stay on SOS would make Doc pay even more attention to any potential signs of discomfort in Jimmy presenting himself to others or feeling pressured to do something etc

- Before reaching the point of being able to open up, Jimmy would inevitably tear up at some point when he gets stuck thinking about just how kindly he's being treated for whatever reason that remains a mystery to him. Even if he tried to hide it, Doc would immediately notice the unusual body language, or something like his headwing moving to cover his face. And he would become very panicked lol, quickly reassuring Jimmy about whatever he thinks caused the reaction, like his redstone attempts for example, only for Jimmy to be unable to express why he's really crying, but at the very least Doc would understand that there's more to it and will just do his best to comfort him regardless

- Jimmy has and will absolutely call people his dad as a joke, but when he inevitably refers to Doc as such by accident, he'd become embarrassed about it. It'd be awesome and cute I think

- Ok so Hermitcraft, of course Tango's there!! And with no death game looming over his or Jimmy's heads. Still, that doesn't erase Jimmy's anxiety even when he opens up to Doc about it. Doc would offer suggestions for how Jimmy could approach Tango (And maybe Pearl too), but if Jimmy expresses his inability to do so because of anxiety and such, then Doc will let it go and just comfort or reassure him for the time being instead. He'd ask if he should talk to Tango all menacing and Jimmy would be vehemently opposed to the idea lol. Doc would probably still take it up with Tango at some point and Jimmy wouldn't find out until much later into him and Tango talking again, at which point he'd become embarrassed that Tango had to deal with that (but of course there would have never been any malice involved and Tango can easily laugh about it). Added drama if we go with the idea that Jimmy's time on HC is limited which would only stress him out more about talking to Tango

- Doc would pay so much attention to Jimmy's wings' welfare. He'd ask Grian and do all kinds of research on his own too to make sure they're properly cared for whilst fully understanding their personal importance and potential intimacy that caring for them entails, giving Jimmy whatever space he needs whilst still keeping an eye on his wings. In a different hypothetical scenario where Doc is in the Life series and not much else is changed, he'd take note of Jimmy's wings being clipped (3L, LL), then growing (DL, LimL), and then becoming ragged (SL, with Jimmy's increasing hostility, restlessness etc)

- You are insane for reading till this point. Take my hand, we can be insane together

[linderosse]

Cannot wait to see your new design for Echourora. I keep refreshing hoping to see you drop the design and comic.

On a proper question, what do you do with the Priestess/Shrine Maidens/Sage descendants from LttP for Wisdomverse? What's their relationship to the actual Sages of ALBW?

Hahaha I can’t wait to share it! I keep thinking of more things to draw around this little Echo|Aurora concept of mine. I’ve been working on a bunch of them in parallel so I can release them as I finish :).

I’m actually nearly done with the first bit! So many ideas, so little time to draw. I’ve been traveling a lot this week and last week, and it’s hard to draw in a moving car :)

But I can still type in a moving car, so hey, here’s an answer to your question!

I personally am merging all the characters from ALBW into their ALttP counterparts, and that includes the sages. Essentially, you can imagine that the sages from ALBW were the ones trapped in the jewels in ALttP— except one of them was replaced by Fable, because Fable is one of the sages in ALttP, but not in ALBW.

Dot in FSA gets a set of color-coded maidens of her own, so Fable doesn’t need one as well. And using the ALBW sages for ALttP is also much more consistent with the sages from OoT. Here’s a nice graphic that someone made online (not mine; I downloaded this ages ago as a drawing reference).

So, in ALttP: the sages get kidnapped/sacrificed at the start, just like the maidens were. At the end, they all come together to break Ganon’s barrier, with Fable (Zelda) as their leader.

That leads to the question: which of the ALBW sages is replaced by Zelda for ALttP, and then gets to be a sage again in ALBW? My vote goes to Seres, the priestess in blue at the end of the line— though I’m still giving her a role to play in ALttP.

In fact, I’m gonna trace where all of them could have been in ALttP. There’s a lot of fun contradictions to merge :).

Osfala

He’s Sahasrahla’s disciple/grandson, just like in ALBW, and gets kidnapped with the rest of them. This has the added benefit of giving Sahasrahla a personal motive to want to help Link at the start of the game (though of course he’s already down to help). Let’s say you can rescue/recruit Osfala in the Dark Palace in ALttP, because it’s the first Dark World dungeon and it’s near where he and Sahasrahla live in the Light World.

Rosso

I don’t think he has a counterpart in ALttP? If he does, I’ve forgotten. Guess he just gets kidnapped and rescued like the others. He can have the Ice Palace, because although I do like Rosso, I hate the Ice Palace and have to give it to someone. It’s a nice ironic choice for a Fire-aligned guy like him (since Turtle Rock is off the table—it’s Fire-aligned, but it’s the last dungeon and therefore has to be where you rescue Fable)

Gulley

Gulley is the blacksmith’s son and one of the sages in ALBW, and the counterpart of the Ocarina Kid in ALttP. In this merged version, he gets rescued from the Skull Woods dungeon, but he’s too young to hold himself together properly in the Dark World, and gives his ocarina to Legend and then dies when they reach that stump in the forest like the ocarina kid does in ALttP canon. Let’s keep that trauma for Legend.

(Note that a lot of people die in ALttP. It’s fine, dw, they’re all canonically revived at the end of the game)

But then the gang is missing one sage! How will they break the barrier, which requires seven sages total? Fear not, they have a plan. We���ll get to that later though. For now…

Oren

Oren gets to be the adult daughter of the aging King River Zora in ALttP who gives Link the flippers. This has the added benefit of giving the King Zora a reason to help Link despite the fact that his people are constantly trying to kill you. Oren gets rescued from the Swamp Palace, just like in ALBW. Water theme go brrrr.

Impa

Impa is Impa. Rescued from Misery Mire, because why not. Nothing special here.

Maple/Irene

Ah, Maple. She’s the granddaughter of Granny Syrup, the potionmaker from ALttP. Maple was added only in the GBA remake of ALttP as a reference to her appearance in the Oracle games. Her kidnapping would give Syrup an added personal motive for helping Link out.

I’m giving Maple the Thieves’ Town dungeon in ALttP because Thieves’ Town is special. Folks who have played ALttP, or who are familiar with The Secrets We Keep, may remember the dungeon boss Blind the Bandit. Blind masquerades as the captive from this dungeon and follows you— until you lead him to a special room and the light turns him back to his monstrous form.

I love the thought of a fake Maple following Legend around, pleading that she’s real, and to trust her— but Legend sees through the lies. When Legend rescues the real Maple, her dry cynicism is a breath of fresh air, and a distinct reminder that she’s the real version. It gives Legend a connection to Maple that he gets to build on more in the Oracle games.

Legend will also proceed to be traumatized by Blind twice more in the future (including TSWK), but that’s a story for another day :).

Seres

Finally, Seres is the daughter of the Priest in ALBW. In ALttP, the Priest hides Zelda in his church for the first half of the game, and dies valiantly trying to protect Zelda when Agahnim comes for her again. In this merged version, Seres was there too, and can’t do anything to save her father. This has the added bonus of giving the Priest a personal motive to want to help Link in the first half of the game (his daughter is in danger), and giving Seres a personal motive to help set the world to rights again in the second half of the game (she wants her father back).

In this merged version, Seres takes Gulley’s place in the final scene where Fable and the gang blast through Ganon’s barrier, so they still have seven sages. There aren’t really any elemental roles in ALttP and ALBW like there are in OoT, but if you consider the elements to still exist, you can think of Fable as a wildcard sage who can fill Gulley’s role, like Lullaby/Requiem does in OoT as the “Seventh Sage.”

Tl;dr:

And there you go! The ALBW seven, if they were in ALttP.

Did I overthink this? Yes. Will I change details of this later? Maybe. Was this fun to contemplate anyways? Hell yeah!

Thanks for the amazing question. I love these; keep ‘em coming, folks!

Masterpost

[intimidating-fettuccine]

Can i request headcanons for helen, BEN, and jeff with a reader that does photography

I've technically written Helen and Jeff both before, but they're both old and don't have much substance, so I'm gonna go for my rare decision of rewriting both of them. I'll still link to the old asks though.

Jeff with a crime scene photographer| Jeff with a photography major s/o| Helen with a photographer s/o

I think those are pretty outdated, so I just wanna give a newer answer :)

Helen:

I stand by my previous answer that Helen, in his love for art, enjoys viewing photography, but doesn't enjoy taking photos himself because he prefers to feel the art, but he will absolutely be engaged in your own photography. Whenever you've been out taking photos he always asks to see how they came out, and I can see him actually using his favorites of your photos as references for drawings or paintings. He understands photography theory, and while he doesn't love doing it himself, I think he'd for sure give you some pointers if you asked for them, and I still think if you're interested in landscape photography he'd take you to all of his favorite spots with good views to make sure you can find some good places. I previously said Helen hates having his photo taken, and while I no longer abide by that, I do still think you're the only person he'd let photograph him. He volunteers himself very easily to act as a model if you need him to, for practice or just to take some photos of him, and he's a very good model for you. He'll wear whatever clothing you'd like, and he's incredibly expressive, showing more emotion than he normally would depending on what kind of shots you're going for, and he makes for a great test subject if you want to practice shooting in specific locations. He always praises you for your work because he thinks you're an incredible photographer, but if you ever praise him for his work as a model that he'd get quite flustered about it. Helen loves helping you out in any way that he can, as not only a fellow artist, but as your partner.

BEN:

BEN himself absolutely loves photography. He likes taking his own pictures of different things, although he's never really had the practice or advice of taking them with someone much more practiced in photography, and I think he'd like taking photos alongside you. I mean, I can see him buying a really nice camera just so he can take better photos alongside you instead of just using his phone camera. He asks you for advice a lot, and he's always really excited when you give him pointers. I can see him going out when you're both apart and trying to take a bunch of photos so that he can show you them when you see each other next so that he can ask you if there's anything he can do better, but also just to see if you like them, and of course you do. It always makes him so giddy and excited when you praise his photography, since he has such high respect for you as a photographer, so it feels so special when you tell him he's doing a good job. I can also see him just asking to accompany you out while you're out so he can watch you at work, one so he can see how you do stuff, and two because he just loves watching you take photos because he thinks you look so attractive when you're focused on your photos. Even if you're taking photos of other people, he'll go into his ghostly form and hide from them just so he can get a shot at your talent in action. He thinks you're the most talented photographer in the whole world, and I absolutely see him printing off a bunch of your photos and hanging them in his room so he can always look at them and think of you.

Jeff:

Jeff is so, so incredibly impressed with all of your photos, regardless of their quality, because he feels he's always sucked at taking pictures and he thinks that yours are just absolutely incredible. Like with BEN, I think he likes following you around whenever you're out and about taking photos of things, and he always offers to carry any of your equipment for you so he can try and be useful while he's at it. I think while you're taking pictures of whatever your subject matter is, Jeff tries to take pictures of you. He loves how much effort you put into your work, and he likes trying to capture that in a photo, especially if you're surrounded by beautiful scenery while you're out taking photos, and he does start to get better at picture taking while he does this over time. I said in a previous ask that Jeff's stipulation for you taking pictures of him was that you have to be in them too, and while I think that's true for any photos you might share, I think when he trusts you fully that he'd let you use him as a model on the condition only the two of you see the photos. He's so self-conscious of his appearance, but you always praise him and say he looks wonderful, so he does it for you because seeing you happy makes him happy (but if you break your promise to him he will never let you take another photo of him again, so, ya know, keep being extra sweet and good to him). He's always in awe and wonder at your photos, and quite honestly when he sees the photos you take of him he feels like he's looking at someone else with how great they look. He just loves you so much and being a part of your passion makes him feel so honored.

[sanctus-ingenium]

heya! I'm wondering, from where do you reference clothing for your art pieces? (Specifically for Inver!) I enjoy the outfits you draw your characters in

hii so for the fancier victorian-era outfits i used a whole bunch of sources but among them the metropolitan museum costume collection, this is a great online gallery of historical costume that you can search by era. you can also find illustrated fashion plates from the era to get a sense of how people styled the outfits, facial hair, accessories etc. here's one for hats i used. i also followed the twitter account WikiVictorian which.. due to new twitter policies you can't view accounts while not logged in, but it looks like they have a pinterest and also instagram?? anyway great resource, posted a lot of dresses, furniture, and historical recipes with sources & context.

(cut for length)

but those dresses and stuff are for the upper classes. For ordinary people i just googled what I knew every old lady wears: shawls

this is a galway shawl which is like. THE thing every single person wore back in the day and if you check out the wiki page it's a great reference for what patterns & dyes would have been used. from there you can find historical photos. i love photos like this which show a whole scene in context with people from multiple generations hanging out (yooo check out the Sparch in the background!!). now I know this isn't 1860s stuff, but the fact is that fashion doesn't move so fast for people like Clarion who live on a farm and have to make their simple clothing items last for a lifetime or more.

for the military outfits I mainly just googled 'military outfit 1860s' and iterated (groundbreaking). for things to be accurate i tried to pick reference illustrations drawn during the era.

i figure you might mean specifically the ancient Inver stuff so for them I used a lot of old illustrations and stuff from art history class in school. this era is more in the region of the 1500s. here is a kind of kitchy site which nonetheless has real-life examples of some of the clothing i drew. this painting is in my list of references (sorry for the stock image link but it's one of the nicest online reproductions of it) and you can see the guys on the right wearing the same léine that i've drawn Finbarr in. once you know the time period & what the various outfit components are called you can search them more easily. now the headdress i've drawn Finbarr wearing (Olivier wears it as well!) is in fact a real thing, it's the Petrie crown broken in half.

the crown is not of the same era as the other outfits because i'm not so interested in historical accuracy as much for these guys (booo).

for Olivier I searched for old French armour from the same historic era as Finbarr, I know less about the history of Brittany so kind of just copied what I saw with some small alterations (because he wears werewolf armour, which is not a thing irl).

[atoriv-art]

Hihi!! So so sooo sorry if this is a random question, but ur art style is so insanely inpirijg and beautiful to me, so do u have any tips on how u learnt? Like any specific stuff u tried to learn first, specific websites u used, etc? If ur not comfortable with answering this im so sorryy😓😓 YOUR ART IS GORGOUS!!

i don't mind answering, dw!

my learning process is very random to be honest, i usually get a little obsessed with trying to learn one particular thing and end up focusing on that for a bit. the most recent one was trying to learn how to draw better clothing folds :P

the general journey i took isn't really much different from what looks to be what most people do tbh, you can never go wrong with figure drawing (there's many people who can explain it better than me but it's just drawing from reference — preferably in-person, but i've never done that LOL — in short amounts of time trying to get the key elements down. the big website for this that i know of is [line of action])

i also use [these] [websites] for references, i think it's important to know at least the gist of how the human body actually works, how the muscles stretch etc, but you will affix all of that information in your brain much faster if you actually see them in action. for proportions and such i think 3D models are completely fine (and i use them. so much) but when it comes to drawings muscles or fat you will have a much easier time if you've actually seen how they work and look. it'll make you better at shading them too!

there's a bunch of resources for anatomy but my favorites are the [anatomy for sculptors] book (they post tidbits of it on social media, they're geared towards 3D artists but that's just a plus for me imo because you can understand the form you're trying to achieve much better) and the famous morpho: fat and skin folds book (i don't have a link but just like. google it it's the first one that pops up)

i alsoo tried studying color theory a lot but honestly it's rare that i find something i like enough to share KSJDKSJ once you get past the basic "what is an analogous, complimentary, tertiary palette" stuff it gets a little harder to find meaningful stuff online, but if i were to offer any advice it'd be to study light-dark values bc a lot of the time the hue doesn't matter, it's the contrast that does

relatedly (at least for me), for composition i'm still getting the hang of it (orz) but what has worked the best for me so far is this [youtube channel], he's a traditional landscape painter and yet i still find his insight very useful :P i also really like his book on composition but i dunno how available it is.. but essentially any source on composition will just tell you it's an arranging of shapes, the tricky part is how to construct those shapes (via color, contrast, etc) and how to make them convey what you want them to convey.

speaking more broadly and not just what websites/books i use, what i like to do is to save any and all images that look appealing to me, even if i don't feel like doing anything with them at the moment... i do this with pictures, paintings, literally any image that i like lmao pinterest is an easy place to do this in but you could do it wherever, i also have a pureref file full of just Cool Images That I See Online. whenever i feel like i'm stuck i look at the things that inspire me and usually i get the spark to try to do something

i also do this with poses i find in the websites i mentioned earlier, makes it way easier to find a reference for what i want ^^

you'll notice my "style" sometimes fluctuates a lot and it's usually because i saw one particular artist / style of illustration that really inspired me and i wanted to try something similar KSJDKSJ for example the more painterly stuff i've been posted is heavily inspired by aleksander rostov's art for disco elysium!

also i would feel like a liar if i didn't mention this. using "cheats" is completely fine LMAO it's very common that i do some more complicated angles / structures / lighting in 3D with blender to heavily reference them afterwards 😅 i also like environment texturing so in a few cases for my backgrounds i'm painting over a render i made. but you don't have to go that far LOL i'm just saying there's nothing wrong with stuff like that so long as you're not stealing from someone else.

and if you struggle with motivation for studies i'll just say, you can cheat a little and make the studies about something you actually like LMAO like when i was trying to get better at clothing folds i just drew a bunch of naruto characters and paid more attention to the clothing. it's silly but it works :)

[dreamtydraw]

do u have any advice for someone starting to draw?

Hmmmm I have a bunch of advices the thing is they worked one me and might not work on everyone but let me share things that helped me in my art journey.

It’s a long post with advices and resources so i hope it can be helpful.

On advices :

Accept the fact that not every art you'll make will be good. Unless you're a full on professional with years of experiences you'll always need to learn things and so, often you'll find flaws in your art. That where it's important to remember to have fun , art shouldn't stress you into making flawless products.

Doodle often. Again you don't have to daily make detailed artworks but doodling will help you progress and helps with creative process.

Find an art format you like. Just like you can't ask a guitarist to play piano, every art mediums are different with their rules. I would advise you to experiment until you find something you're the most comfortable with ( ex i like markers, color pencils and digital art but I despise oil painting )

The quality of your material does matter. It doesn't matter on how well you draw but it does matter in helping you work better so sometimes it's worth saving up for better materials ( do research on what seems the best for you ). This apply for digital tools too ! I only like one app and it's ibis paint...

Copy. Now this doesn't mean blindly trace or steal but find artists or artworks you like and try to find WHAT you like in it and then try to copy it on your own. This goes for anything you want to reference visually, find what you like in it and copy that, if you just copy the reference you don't do much more than being a printer.

Flip your canvas or use a light tablet to turn your sketch. This help you notices anatomy errors more visibly so you can correct them before starting the clean up.

Don't sleep on cartoon. A lot of people say "learn realism before finding your style" and I'd say that not for everyone. If you want to get professionally into art or works on your anatomy then yes you should learn realism because it's the fundamental of anatomy but that not an obligation. One thing you can learn from tho regardless of what you try to do is cartoons. Cartoons are exaggerations of posing, expressions and designs and learning some cartoons rules might help you understand a bit better some notions ( mainly shapes languages and expressions )

Find something that motivates you to draw. Draw for fandoms, draw your oc, draw for yourself but having something that makes you want to draw is important. It's very important that you don't base your motivation on other people's opinion of your art.

Get inspired by other medias. Search about symbolism in other art form, get inspired by movies, books, videos games, people, objects, design etc… Humans are good at making creative stuff, it feed the spirit.

Now on ressources ( That i use or have used )

My personal pinterest board for visual reference

Scan of morpho, a good morphology book

Scan of morpho, about fat and muscles

Post with resources about fat

Tips about character design

Links to Kasey golden Chanels for cartoon inspiration and material review

Post about shapes designs

Hope this can be of help !!

[mariyekos]

New DMC Anime Trailer Breakdown Part 2

Hit the image limit on Part 1 so to a new post we go!

This guy that Dante punches has a bunch of metal on his face, and what might be a prosthetic, might just be a metal glove. What's interesting is this anime has Dante fighting a lot of humanoid characters, which is a little bit of a departure from some of the games, but honestly not that crazy. He does fight people from time to time across various media, and in the DMC1 Novel we even hear about the people who hunt him down. What has me interested here is whether this guy is fully human, or if he's been modified in some way, and if he's been modified, if he'll have any demonic traits or it'll just be the metal. It would be interesting to contrast a human trying to transcend normal human limits through human means (by making themself into a machine) with Arkham, who is a human trying to transcend humanity by using demonic power to achieve godhood.

Skipping a bit so if you want to see the things between the last two images please go to my previous post where I ran out of room. As for the two green/turtle-like demons Dante fights on the rooftop, I've got to say I'm a little disappointed in some of the demon design. I love how creepy/demonic a lot of DMC demons are, and while some of them would probably be hard to animate, I feel like they still could've been more...I don't know. Creepy looking? Compare it to the Hell Gluttony from DMC3, which is a much creepier/more scary DMC cloaked enemy. Not sure if the demon above was meant to call back to these guys, but I think it would've been fun to have some references to DMC enemies even with the generics.

As for the shot above this, seeing this shot all I could think was "infested chopper" and I haven't even played DMC2. I've just seen the memes. '

Zooming in I'm not sure who this guy is supposed to be. (Right image comes from later in the trailer). It can't be Agni because we've already seen him and the blade doesn't match. This demon wields a sword and has something in the middle of his chest though. I have a feeling that's going to be important. (Also complete crackpot theory: this guy's hair is a similar color to the pendant(?) from earlier, but surely this can't be related). He looks mutated, with more spikes emerging from his right arm, so I wouldn't be surprised if this was a human turned demon or something.

Looking at the gatling gun and missile heading toward an armored truck, I wonder if the military is going to get involved in this one. Police officers showed up a few times in the old anime, and the military DID come for the Qliphoth incident in DMC5, so it's possible the military may intervene in this one. That the missile is heading for an armored truck is interesting though. Are there two human factions at war with each other? Will this missile be deflected? Will it be just the military, or will there be groups like the ones we see Dante fighting that may get involved? The giant portal to Hell that opened up in the sky could definitely draw attention.

Then we have red eye/ red sclera Dante while fighting mysterious red guy from above! Interesting. We see that in the DMC3 manga too (assuming his sclera are meant to be red here instead of black). Both he and Vergil do it.

I'll probably also do a write up on overall thoughts, but I'll cut it here so I can link these posts. Edits to come!

[drsteggy]

Both @unmaskedcardinal and @smolavidreader tagged in me in last line writing games, but I haven’t written any new lines in at least 3 weeks (Ellipsus forgot who I was lol)

That’s cause I’ve been arting, so here’s the last page of my sketchbook. I was traveling last week, and I like to make notes in my book as I go so it’s sort of a journal, too. I was doing a bunch of quick figure/gesture drawings and then took one to work up better. I need to start practicing faces because I’m definitely doing an awful lot of people from behind and that feels like a crutch lately.

But also, the model I used as a reference was spectacular and I had to draw him. I like how this came out. Like his proportions are decent, he doesn’t look to stiff. There’s a bit of swagger to him.

The two seated figures on the side are actually my Link and Impa from Farore.

If you want to add your last written line, or art of whatever sort and what you like about it please feel free to add on!

(Also….”eye candy” is the name of the bar I was killing time at. Spouse was Doing Stuff and I was setting up camp with a glass of wine and then moving on after a couple hours)

[chilewithcarnage]

I, a very white and somewhat privileged person, am absolutely terrified to draw colored people. Because I don’t know if I’d cross the thin line of tasteful and authentic or racist and stereotypical…

Lol for starters don't refer to us as coloured people. This ain't 1955. Secondly my best advice to you is to use references of actual people of color. I would highly recommend staying away from those white men art station youtuber type artists for tutorials because they get a majority of their techniques and style from main stream video games and comic books, which to put it nicely don't have the best reputation for representing women and poc. tangent over, so yeah references. real life photographs of brown and black people.

pinterest is a site that a lot of current, especially younger artists like to use, but in all honesty it's not a very good source for someone trying to learn the fundamentals. it'll mainly show you 20 something year old ig and twitter models which is okay if you wanna just draw pretty people; but not the best if you wanna like I said learn fundamentals + have a portfolio that's varied. also it's rife with ai shit and stolen art, so yeah would only recommend that as an initial starting point/using it to make your own personal board for your saved images.

stock photo sites are my go to for refs. getty images, istock, alamy, etc. a simple right click save image or screenshot will work to get the images you want for free. of course there will be the watermarks, but they're honestly a very small issue to bypass. as long as they're not opaque and nearly covering the entire subject; you're good. a nice thing about stock photo sites is they usually give you the option to filter the image search results. say for instance you want to draw an elderly asian woman cooking or a young black man painting a picture or an indigenous child playing with dolls. you can look up certain terms you want in the search bar & specify gender, age and ethnicity to narrow down your search to what you want.

another awesome place for references i discovered during college is posespace.com

like with getty images, it gives you the option to filter your searches. they also have their models in clothed or nude shoots in the event that you want to practice some bare bones anatomy.

also also, get your info from artists of color. there's a decent amount of tutorials ive found over the years on here and youtube on coloring skintones, drawing certain hair types, how to avoid caricatures and stereotyping, different facial features, cultural hairstyles. the list goes on. don't be afraid to depict people outside of your race. literally just go about drawing us the same way you would a white person. don't be scared, as long as you remain respectful and make an honest effort to learn; you'll do fine.

resource links by and from artists of color:

'how i draw south + southeast asian people'

an example of what to avoid when stylizing east asian characters

'drawing asian people, source: i'm asian'

'lessons from drawing I: what is asian anyways?'

'how to draw indians'

'how to draw arabs'

'How I draw skin Part 2: DON”T DRAW NATIVE PEOPLE WITH RED SKIN!!!! A tutorial' (the link to the first part of this tutorial is broken sorry)

How to Draw Native People: a Tutorial/Reference Guide

How to Draw Black People by peachdeluxe

tips for drawing black people by rosheruu

drawing east asian faces by chuwenjie

how to draw black people series by Artistik Freedom (youtube)

✏️How I draw black hairstyles (simple) 🌱 by Likelihood Art (youtube)

there's also a bunch of black and brown artists on twitter and tiktok, so checking those sites for tutorials would be a good additional resource

good luck on your illustrating melanin endeavors 👍🏾

[maniculum]

Bestiaryposting Results: Miscellaneous Birds

So! This is the first in our six-week wind-down of Bestiaryposting, where we run through the Honorable Mentions that appear in the Aberdeen Bestiary but didn't get their own post here because the author of the Bestiary and I have different goals.

If you don't know what any of that means, you can find out at https://maniculum.tumblr.com/bestiaryposting.

To see the entry our artists are working from, click here:

To see the entry people are drawing now, so that you can potentially join in, click here:

Art is below the cut, in roughly chronological order.

@silverhart-makes-art (link to post here) decided to do Literally All of the birds. I am fascinated by the detail here; I particularly like the pose on the Hreakgleav, and the feathers on the Klethghrom. I would direct anyone trying to figure out which is which to the linked post, which contains a key and brief descriptions of each.

@coolest-capybara (link to post here) has also given us a tree full of birds. The explanation in the linked post of which is which and what they were inspired by is illuminating (pun not intended), so check that out. I especially enjoy the interpretations of the Klethghrom and the Lokfotreag. (And thank you for providing alt text.)

@wendievergreen (link to post here) has drawn three of the birds in their always-charming style. For explanations, close-ups, and individual treatments of each, please see the linked post. I really like the tail on the Hreakgleav and the... frankly insane look of the Klethghrom. (Also thank you for providing alt text.)

All right, we're going to identify these rapid-fire because there are a bunch of them and I'm not going to hand you a whole-ass essay here. Readers are encouraged to add their own commentary.

Tluftasong

The manuscript identifies this one as "night owl", but I've seen other sources refer to this entry as the "night heron". I'll leave that one to people who know birds more.

Lokfotreag

This is the hoopoe. Which, as listeners to the podcast know, you can trade to demons for perpetual access to great parties. The illustration is very cool, and seems to show the young birds rejuvenating their aging parent.

Hurrashbeg

Really love the Stylized Plant, of course. One of the things that really strikes me about medieval manuscript art is how particular things that Definitely Don't Exist keep cropping up in different manuscripts, looking pretty much the same. Like, unless this is by the same artist who did the Rutland Psalter, it shows an interestingly consistent artistic tradition -- I swear that's the exact same plant, and in a couple other places in the manuscript they have the exact same wyvern.

Anyway, those are clearly magpies. I don't know why they're being shot at.

Konchilkuk

This one didn't get an illustration, but it's the woodpecker.

Wobrahfmet

Yep, that sure is a raven. They actually have a really long entry, but it's mostly about what they symbolize.

Hrongnewit

This one is the kite. Yeah, that looks pretty believable.

Klomurgrae

This is... apparently the ibis. Also, from the context of the entry, I think it's intended to be standing on a snake. Neither of those look like the things they are supposed to be.

Zagsmenrok

This is the blackbird. I have no explanation for why it's brown. The illustrator clearly has access to black ink.

Hreakgleav

Yep, that's very clearly an owl.

Wahrembeag

It tickles me that these are right next to each other, because there's a moderately-well-known Middle English poem called "the Owl and the Nightingale". This is pure coincidence; they're not together in the bestiary, there are a few birds in between.

Oh yeah, this is the Nightingale.

Sarbrufeat

This is the heron. The illustration seems broadly correct, but do herons come in white? That's an egret, surely.

Keltrumram

This is the coot -- doesn't look like one to me, but maybe the artist and I are familiar with different species of coot. Readers may recall its cameo in the Eagle entry; its own is unfortunately rather shorter.

Grozfarwat

Meet the quail. I was initially confused, but apparently the plume thing I associate with quails is not actually common to all species of quail. So... yeah, good quail.

Mortelgeng

Very definitely a crow.

Burngraega

Also very identifiable, here's the swan. Head and beak seem a bit flatter and wider than I would expect, though.

Klethghrom

This was basically the poster child for "too obvious to get its own entry". Here's the peacock.

And that's it for this week, it's late. Talk amongst yourselves, or tell me what you think about all these birds.

[internetgiraffekid1673]

Welcome back to "this idiot has a sleep schedule that's burning in a ditch somewhere, so she's succumbing to the brainrot and drawing all the Batfam members instead!" (Previous Installments linked below) Today, my very specific but mildly nonsensical order has finally gotten me to one of the ones who's been around the longest: Barbara Gordon, the baddest b**** in town!

Initial trace where I stylize some and do a kinda half-baked background. I put a lot more effort into this backdrop than normal since computers are kinda Barbara's whole thing, so I really needed the screens in there. Also, before anybody comes at me: Babs can wear a low cut shirt if she wants. Comic books can draw in her a low cut shirt if they want. YOU can draw in her a low cut shirt if you want. I just didn't want to draw her in a low cut shirt, so I didn't! We clear? Moving on:

I drew her as Oracle. I know mainline DC comics has her back to being Batgirl again, but she's always Oracle in my head. As sexist and poorly planned as The Killing Joke may have been, I think her being in a wheelchair and being a super cool kick-butt hero anyway is very important to her character and gave her a lot of growth and development. And there are a bunch of other characters that could gain a lot from being Batgirl and/or are better suited to the Batgirl role at this point. Also, the Batfamily is a disorganized mess, they need someone like her around.

Favorite thing about drawing Oracle is definitely her glasses. I love drawing them mostly filled in so she looks extra scary!

Freehanded version where I stylize using my trace as a reference. And yeah, I put this one on a dark background cuz I could! Babs breaks all the rules of conventional heroism, and she's breaking all the conventions of this art series! This whole project was a very good exercise for me in learning to draw a wheelchair and a character sitting in a wheelchair. I actually really really liked doing it. I had to google pictures of wheelchairs a few times, but this was much easier than most of the mechanical and non-organic stuff I try to draw. I need to draw more disabled characters, cuz this was really fun, and I would love to experiment with different models of wheelchairs and other types of mobility aids!

Characterization pose! Whoa, this is different from the rest of my Batfam drawings! A backdrop? In MY completely freehanded drawing? Yeah, like I said, Babs requires breaking all the rules. Since Oracle isn't a field hero and dresses the same as a civilian, I took a different approach than normal, and decided to draw her doing the things that make her Oracle: working with computers and being the scariest member of the Batfamily. I also drew my version of her "icon" that she uses if she needs to have some sort of face to communicate with people.

You can't tell cuz her clothes are loose, but I drew her super buff because she works a lot on both her arms and her legs to keep herself in shape and to keep her muscles from atrophying. Also, Barbara has like 6 different hairstyles that get jumped between with absolutely no regard for how that should work, so I took creative liberties. I mixed and matched, using her waves and relative length from Batgirl, the little side strands from one of the ponytail styles, and the bangs from the style pictured in my reference photo.

For once, the hero text isn't traced because every comics cover I could easily find has missed the opportunity to use the digital clock font for Oracle's name and I had to correct this absolute travesty.

Other Batfamily Members:

Nightwing Edition

Red Hood Edition

Robin (Carrie Kelley) Edition

Red Robin Edition

Spoiler Edition

Robin (Damian Wayne) Edition

Signal Edition

See ya in the next one, and see if you can guess who's next!