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zulivaris · 3 years

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Art Block tips that helped me

I’ve recently experienced art block after 3 or so months of overcoming my last one. Thankfully this block only lasted a few days thanks to some things I’ve observed and noted down from the previous time. So I’m sharing these few tips in hopes that it might help someone get unstuck :D!

First and foremost if you’re tired, sad or anxious don’t be surprised that you can’t make art, go and take care of yourself by treating yourself with kindness and patience, the sketchbooks and canvases will wait for you :)

The tips are under here:

Separate art studies from the creative time: When you do art studies you’re there to focus on specific things, learn and understand how things work so you can apply them later in your art. Studies take a lot of energy and focus and are the opposite of the creative "flow” of making your own pieces. If you combine the two the results are either unfocused studies or stiff drawings. When you sit down at your desk ask yourself “Do I want to learn something new or do I want to create something of my own?”

When you have an idea don’t be afraid of being messy: Let’s say you want to make a picture of several cats kolo dancing in the moonlight. How do you go about doing this? Well since you came up with the idea you already have a vague image in your mind, sketch it out with simple shapes, stick figures, circle and spheres etc Don’t worry about cat anatomy, or the dancer’s moves, sketch out the essence of it. This method removes the need to be perfect or accurate.

Ok after the messy sketch then what? Well now that you have sketched out the essence of your idea (and hopefully had fun doing so) now you go on to look for references! You put the creative process on pause and you can do a few brief studies if you need to: anatomy, color schemes, values, poses. Pick out a few of your favorites but don't obsess over them, they are a guide, a tool.

You know much more than you think. You’ve probably been drawing for a few years now. You’ve probably done some studies and drawn more than one type of subject. Then you have already internalized some of that information. I used to be obsessed with capturing the minute detail of the subject, and not be able to draw ANYTHING without reference. Instead of a useful tool, references became another obstacle to my creativity. That’s perfectionism my friend, and that’s no good. Here is an exercise a good friend of mine offered: Draw a few characters, animals and objects from imagination. Make sure that the subjects have no personal value to you (no ocs for example) so that if you make a mistake you won’t feel bad about it. Make the process relaxed and comfortable, pour a nice cup of joe, listen to your favorite music ... You will notice that you do indeed know how to draw some things without reference, and it’ll help with your confidence.

The more you do studies the more you understand This seems evident but the more you understand your subject the freer you can be and the easier it’ll be to draw it from imagination in the future. If you really struggle with something to the point of frustration (as in you can’t get it right even with reference) It means you have to study it. Have a study list, for example: hands, perspective, color theory etc. And one of those days you want to study pick something from the list, and look for videos on youtube or useful sites like line of action etc. Only study one thing at the time. You can go from studying hands to studying arms since they’re more immediately connected, but you can’t study hands and then jump to learning perspective right after. Trust me you can learn perfectly fine with the resources online, and I’m sure you’re clever enough to do it :D

Mistakes don’t mean you “suck” I’ve noticed that the two most common causes for art block are perfectionism and lack of self-confidence. The two can often go in tandem which is worse :’D But let me remind you of something, you can fix your piece along the whole process. Use erasers, lasso tools, liquify , select, paint it all over etc If something looks off to you then you also know deep inside how to fix it. Useful ways to see what clunks: flip canvas horizontally (helps with placement, proportions), turn the image to grayscale (helps to check values and where your eye tends to look), look at your image in thumbnail size and ask yourself if it’s clear, see the pose’s silhouette and ask yourself if you can tell what the character is doing etc. Don’t fret, everything can always be fixed :)

Perfectionism, sometimes it stops you before you begin Perfectionism causes you to overwork a piece, it makes you draw less, it makes art stressful, it brings insecurity. Let’s remove it with a simple exercise. It can be combined with the “draw things from imagination” once you’ve drawn something you like: dont do line art, don’t shade it, keep it as simple and crude as possible and then...post it. Yes, post it. You’re not at your best? You’re only human, this will help you embrace that very human side of you. You make mistakes. So what? The more mistakes you make the more you know what you need to study and the better at art you become. Mistakes are there to show us what we need to learn. See them as another tool and not a sign of failure.

Make the process as enjoyable as possible: You like art. You love drawing. Never forget this. Otherwise why are you drawing if you don’t enjoy it? It’s easy to fall prey to the mentality of those relatable memes that “art= suffering” or “I can’t even draw the other eye”. No no no my friends, these messages are fueling your insecurities instead of overcoming them. Let me tell you what, art is fun. It is. Art is fun, because I decided to make it fun again. And you should decide on that too. Personally I adore lineart but my hand-eye coordination is lacking to do it digitally, so....I just skipped it. Yes. I skipped it. I do the sketch, I clean it up a bit and then jump onto color which I adore. It allowed me to draw more and more freely. When I draw I listen to music, make strokes with the rhythm, I take breaks often and I drink my favorite iced teas. If you don’t like coloring do it in grayscale, if you love lineart then do that etc It doesn’t mean you won’t learn your weak points in the future with studies and practice, but you won’t let your weaknesses prevent you from drawing at all. No no, you won’t let them. You draw because you want to, despite of them.

Don’t wait for inspiration, provoke it Inspiration is not a divine and capricious muse. You make inspiration. It’s easy just collect all the things you like, music, artists, objects, characters, animals, patterns, plants etc Make boards on pinterest or similar sites, combine things you like. You like suits? You like birds? You can draw a bird in a suit, or a bird-inspired suit design, there is frankly a lot of ideas that can spring up from little things like these.

When a project stops being enjoyable either pause it for now or move on to the next thing. Pieces aren’t precious. They’re not “the one time I got x right” they are one of many. This advice goes mainly to hobbyists who can afford the luxury of passing to a new project. I have a WIP of a character who is overly complicated (I enjoy a challenge from time to time) sitting for half a month. I sometimes come back to it and add something... but as soon as it starts to create discomfort and insecurity instead of enjoyment I move onto something else. In the meantime I created 3 or 4 new pieces. If I had waited on finishing that piece I would have been severely creatively and physically exhausted. The art comes from you, not inspiration. The more art you make the better you become.

That’s about it :D I know it’s long but I prefer to be thorough and cover all the possibilities. If you have read of this: Thank you so much I hope this helps you at least a bit, if it helps only 1 other person I’d still be very happy. Have a nice one, and kick art block’s butt!

#art block #art block tips #art block advice #art advice #art help #BloggityDiary #art reference #I hope this will help someone out #This will also help me remember my own advice sksksk

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ayellowbirds · 4 years

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33 Usher Street chapter one script, First Draft

I’m planning to go back and do a major revision on this, but i wanted to share what i have for the time being! This was part of last years NaNoWriMo project, about Jewish (and otherwise) vampire hunters in an alternate history 1920s, including a transgender golem and an intersex dhampir as the joint protagonists.

What follows is an unfinished draft of a comic script intended for my own reference as the artist. Some art directions are absent, intended to be filled in later; or reflected a lack of a particular concern about how the panel looked.

Questions and comments are welcome! I’d love to get some other folks’ ideas about what needs changing. Please excuse any formatting issues! This didn’t copy-paste so well.

Italics outside of quotation marks indicate art directions and page layout.

[Square brackets] indicate sound effects (SFX), signage, captions, or other non-bubbled matters of lettering.

“Quotation marks” indicate speech bubbles.

1. Three panel page.

1.1. Full-width view of a bus (reference 1920s buses) puttering along beneath and above autumn leaves.

[CAPTION: September 24, 1923]

1.2. A thick black full-width border. Repeated on the following pages at full-width size, same height, to be indicated as BORDER

[BORDER: SFX: Bus engine chugging]

1.3. Interior of bus. Driver, assorted passengers, and towards the rear, SOLOMON “SOL” SZOMBATHY. He is a slight young man in a jacket and oversized “Oxford bags”,. His hair is thick, black, and curly (3B type); his features Ashkenazic but on the darker side. He holds a plain-looking wooden cane. Behind him, occupying the last row of seats, is a long, coffin-like box or chest, sealed with rope or cord.

2. Six panels.

2.1. A close-up of Solomon. He seems lost in thought, leaning against the bus window.

2.2. [BORDER: SFX: THUMP!]

2.3. The bus bumps, Sol is jolted upwards.

2.4. Sol settles, squeans emanating.

2.5 Sol looks out the window.

2.6 Exterior, the wooded roadside. A sign reads: [WELCOME TO Jackson, Mass. EST. 1842]. Perhaps the bus is visible here, chugging past the sign.

3. Six panels.

3.1. The bus stop. Perhaps a sign indicating that’s what it is. The bus has stopped.

Driver: “JaaaAAACKson station!”

3.2. A tail extends from the speech bubble from the previous panel, to overlay the BORDER. Driver: “Last stop!”

3.3. Passengers exiting the bus. Sol is lifting the box.

3.4. Same as 3.3, with more movement ahead of Sol. He is pulling the box, struggling.

3.5. Same as 3.3, the bus now empty of other passengers. The driver is standing, impatiently watching Sol. Sol is half-way down the aisle, perspiring with effort.

3.6. Same as 3.3, Sol finally exiting the bus, with his box.

Driver: “That everything?”

4. Two panels

4.1. Sol, wiping sweat with a kerchief.

SOL: “Yes, thank you. And—”

4.2. As in 3.2, a tail extends from the previous bubble into the BORDER, which fades from black to white.

SOL, stylized as the chapter title : “Can You Tell Me The Way To Usher Street?”

[Credits:

A 33 Usher Street story

Written and Illustrated by K.P.S. Roman Religious Consultation by Quell Nessuno]

5. Six panels. Wide, double, double, border.

5.1. Sol, walking along a Jackson street, dragging the box behind him on wheels and hoisting his cane over his shoulder. The city is sparsely populated in spite of its size; apartment buildings and businesses line the streets, but there are few people visible. The buildings have the sagging, unsettled look of those built on swampland.

5.2. More of Sol, rounding a corner and excusing himself past some locals, including ADRIAEN TEN BOOM, a stogie between his lips.

Sol: “Pardon me!”

5.3. Sol, looking up at a street sign for the corner of [MARSH ST] and [WASHINGTON ST]. A car putters past. WILHEMINA FAWKES is in the driver’s seat.

5.4. Sol continues past some kids playing marbles. He’s starting to visibly sweat. An older black man [ALEISTER JONES] watches the game from a stoop, his gloved hand resting on his cheek.

5.5. Sol, stopping at another corner. A conspicuously incognito figure [CONSTANCE WRIGHT] watches from behind a newspaper. A sledgehammer leans against her side.

Sol: “Ah!”

5.6. BORDER, Sol’s speech bubble extends from 5.5.

Sol: “Here we are!”

6.1. The sign for the corner of [WASHINGTON ST] and [USHER ST]

6.2. Sol moves a bit more speedily down the street, indicated by hites. PLUTON, a large black cat with only one eye watches.

6.3. Sol, pulling a piece of paper from his pocket, exhaling a panting puff. Pluton is visible following behind at a distance.

Sol: “Let’s see…”

6.4. Sol looks up at the numbers of the buildings. He passes the unremarkable numbers twenty-one and twenty-three. Pluton cocks his head.

6.5. BORDER. Sol’s speech bubble tails from 6.3.

Sol: “Number... Thirty-Three?”

6.6. Sol stops before a row of thorny bushes. The speech bubble trails from 6.5. Pluton is posed as if looking around the tail of the speech bubble, to see Sol.

Sol: “Oh!”

7.1. Sol, standing before 33 Usher Street. The building is assembled from a mix of newer construction and old ruins with the masonry at diagonals to each other, as if someone happened upon the leaning remains of a graystone castle and chose to join it together in red brick. The 33 is quite large and visible on the exterior of the building, and a less-legible sign hangs beneath it.

7.2: BORDER, a caption (Sol): “There it is.”

8.1. A close-up of the sign beneath the 33 from 7.1. It now more clearly reads: [USHER STREET HOUSE OF ANTIQUITIES AND CURIOS]

8.2. BORDER. A speech bubble trails down to 8.3.

Sol: “That wasn’t... so hard to find... after all.”

8.3. Sol walks up the path, while Pluton, indicated by tracing lines, bounds up into the building out of Sol’s view and onto a windowsill. He has set down the box.

9.1. Pluton, pausing at an open window, looks out imperiously at the approaching Sol.

9.2. Interior of the room from 9.1. A view from the back of JAMES “JIM” CULLOCK III. The room is full of talismans, wards, and assorted scraps of paper framed upon the walls.

Jim: “Yes, that would be him.”

9.3. A hand [that of MARIE BOSLEY] sets a Victrola to play.

Marie: “I’ll leave the interview to you, then.”

9.4. A partial view. Pluton bounds down into the room. Enough of Marie is visible that she can be seen cranking the Victrola. Jim appears to be fussing at something invisible on his sleeve.

Jim: “If you’re certain.”

9.5. [BORDER: SFX: the opening lyrics of Marion Harris’s “After You’re Gone”]

9.6. Jim’s feet descending the stairs.

10.

10.1. Deliberate parallel to 9.6. Sol coming up to the front door. The lyrics of the music continue from 9.5, and there on until otherwise indicated.

10.2. Sol’s hand raised, to the door, there is a simple bronze door knocker.

10.3. [BORDER: SFX: KNOCK. KNOCK. KNOCK.]

10.4. Sol waits at the door.

10.5. Same framing as 10.4; Sol looks back at the box.

10.6. Sol looks back at the door, anxious, patting his head with his kerchief.

11.

11.1. The door swings open. Inside stands Jim. A tall, older white man with the slender yet solid look of a longtime dancer or a runner, clad in two parts of a mismatched three-piece suit: striped trousers under a diamond-patterned vest, with bow tie. His hair is close-cropped, styled fashionably, and streaked with gray.

Jim: “Good afternoon...”

11.2. BORDER. A trailing tail from Jim’s line in 11.1.

Jim: “...young man.”

11.3. Sol holds out a crumpled envelope.

Sol: “The Rev. Dr. Hammer sent me, sir?”

11.4. Jim takes the letter in his left hand.

11.5. Jim looks at the letter.

11.6. Jim tosses the letter over his shoulder, smiling.

Jim: “James Cullock III, son.”

12.

12.1. Jim, extending his right hand to shake.

Jim: “But, call me Jim.”

12.2. Sol, returning the handshake.

Sol: “Sir, my name’s Solomon.”

12.3. BORDER.

Jim: “Mr. Grundy, then?”

12.4. Sol looks tired of this joke already.

Sol: “No, sir. I was born on a Saturday.”

12.5. Jim laughs

Jim: “You’re the right one, alright!”

12.6. Jim motions Solomon in.

Jim: “Come in, Mr. Szombathy, and have a seat.”

13. Three panels, the top full-width but narrow, as is the border: the main action is 13.2.

13.1. The foyer of 33 Usher St. The room is set up for greeting visitors and entertaining, and Sol is already seated opposite Jim.

13.2. Full view of Solomon, seated and without his coat. He is wearing a tight-fitting sweater, giving him the silhouette of a paintbrush when paired with his trousers.

NOTE: Use the antiquated “Rumania” spelling whenever it appears on the page.

[CAPTION: Solomon “Sol” Szombathy Age: 20

Born: 10/31/1903

Hometown: Pittsburgh, Vandalia

Background: Hungarian/Rumanian Jewish, First Generation American

Likes: Science Fiction & Fantasy Magazines, spicy foods, cooking.

Dislikes: Running, swimming, high noon.]

13.3. BORDER.

Jim: “So, Solomon Szombathy. I understand from my old friend Matteus—he wired me here before you arrived—that you have had quite a remarkable encounter, of late.”

14. Reversal of 13.

14.1. BORDER.

Sol: “Just so, sir. I am told it is within your area of expertise?”

14.2. Full view of James, seated and with his legs crossed.

[CAPTION: James “Jim” Cullock III

Age: 56

Born: 2/18/1867

Hometown: Roan Mountain, Nickajack.

Background: Scottish-American

Hobbies: Gardening, Morning Constitutionals

Profession: Antiques, Estate Management, ???]

Jim: “By which you mean…”

14.3. Pluton enters the room.

Pluton: “Miaou.”

15.

15.1. Sol watches as Pluton approaches.

Sol: “Vampires, sir. A vampire. Just the one.”

15.2. Pluton inspects Sol, who is now focused on Jim.

Jim: “You have no need to worry about being doubted on that subject here, Mr. Szombathy.”

15.3. BORDER.

Sol: “Ah, yes. Dr. Hammer told me that you are in the business of…?”

15.4.

Jim: “Formally, the Usher Street House of Antiques and Curios is in the business of the management of estates belonging to those who passed without clearly defined wills, or without leaving behind heirs to manage their estates.”

15.5. Pluton approaches Jim.

Jim: “Informally, better say genuinely, we are in the business of public health. To deal with the threat of vampires to the general public.”

16.

16.1. Pluton settles down at Jim’s feet.

Jim: “Tell me, what are your opinions on the morality and ethics of vampirism?”

16.2

Sol: “Well, in my father’s collection, there was a commentary on the Sefer Hasidim, which says that a person who must consume the blood of another human being… should be pitied, for it is in her nature and her needs to survive, and if she should make recompense to her victim, should be treated with compassion as a member of the community.”

16.3 BORDER

Sol: “But that’s regarding a living vampire, what some call an estrie, and the exceptions made for one who must violate kashrus for the sake of pikuach nefesh. And Eleazar Rokeach said that one should stop up the mouth of a deceased estrie, to prevent her from feasting on the living, after death.”

16.4

Sol: “From a strictly Halakhic standing, it is permissible for the living to eat as they must to remain living, but the deceased are deceased, and are forbidden to do so.”

16.5

Sol: “So, I think that, ultimately, it depends on the circumstances, case by case. It requires careful but decisive investigation.”

16.6. Jim, close-up, a scrutinizing gaze.

Jim: “But Mr. Szombathy, you are not solely the books you read.”

17.

17.1. BORDER.

Jim: “What was your experience with a vampire? How do you feel about the morals and ethics?”

17.2.

Sol: “I… my family lived in Pittsburgh, you see. Since I was born.”

17.3.

Sol: “My mother had been pregnant, just newly so, when they came here, from the old country.”

Jim: “Which…?”

Sol: “Transyvlania. In Rumania.”

17.4. Sol is in silhouette in the foreground. We see KÁLMAN SZOMBATHY, a Hungarian Jewish man nearing middle age.

Sol: “My father—he was always very learned. In many ways. And he had acquaintances, friends, contacts? Who knew….”

17.5. Sol, younger, looking out the window at his father, who is outside with a candle in hand at night.

Sol: “Strange things. Secrets. Mysticism.”

17.6. Sol, a bit older, looking at his father examining a book. A diagram of the sefirot is visible—ish-style, or yosher?

Sol: “I saw so much of it, growing up. I didn’t think it was strange.”

18.

18.1. Sol, almost his present age, sitting by the window with a book, while his father talks with some baalei shem.

Sol: “Just… another thing we didn’t talk about with go—gentiles.”

Jim: “Like this… golem?”

18.2. The golem, standing with toddler Sol. It looks more lumpy and vaguely defined than when we see it later.

Sol: “Yes. It was around before I was born. Like a caretaker or guardian. A nanny.”

18.3. Sol sitting, reading a book aloud. His narration is not bubbled, but bleeds into the scenery.

Sol: “I would talk to it. Just… talk to it. My parents, my father only told it what to do.”

18.4. Sol looking up at the golem.

Sol: “And you may think it silly, sir, but sometimes, I thought that it spoke back.”

18.5. The golem looking down at Sol.

Jim: “Golems are said to be mute, are they not?”

18.6.

Sol: “So I am told.”

19.

19.1. A bedridden person.

Sol: “This summer, people started taking ill. A doctor came to visit, every one. But people just got worse. Wasting away.”

19.2. A doctor at the door, tipping his hat. He looks flushed, and has a distant expression.

Sol: “My parents had boarders. Renting rooms. And the doctor, the physician, came to call on one.”

19.3. Kálman stopping the golem, which seems determined to approach the “doctor” and has an upset expression.

Sol: “The golem kept… my parents said it was menacing him.”

19.4. Sol’s mother, DOINA URS-SZOMBATHY, shooing the golem from a door. Doina is about the same age as Kálman, with darker features.

Sol: “And it happened, the same day, that the Reverend Doctor Hammer was visiting. Resting, from traveling. He knew my father, somehow. The golem had been bothering him, too. Trying to push him around.”

Jim: “Hm.”

19.5. Sol, looking down.

Sol: “Which I guess is why he didn’t notice the physician was actually undead.”

19.6. Sol’s parents, reclining on a couch, resting their heads against one another. The shadow of the vampire looms over them.

Sol: “Which was why my parents thought it safe to rest, as well.”

20.

20.1.

Sol: “My parents—they were in the other room, you see. They had left the golem with me. Because it kept bothering everyone. Getting in the way.”

20.2.

Sol: “I guess the vampire got greedy, though. It came into my room. I was reading.”

20.3. The vampire reaching for Sol, who looks shocked. It is an upiór type, with a sharp, barbed tongue instead of fangs.

Sol: “I only realized what it was, up close. Too late for my parents.”

20.4. The golem’s clay fist swings at the vampire, sending it sprawling.

Sol: “But not too late for me.”

20.5. The vampire is sent flying across the room, slamming into the wall.

20.6. The Rev. Dr. MATTEUS HAMMER, a wild-eyed trans man of mixed Scandanavian and indigenous heritage, with a shock of white hair, in his pajamas and brandishing a sword and pistol.

Sol: “The fight woke up Dr. Hammer.”

21.

21.1. Splash of Hammer shooting the vampire in the heart.

[CAPTION: THE REVEREND DOCTOR MATTEUS J. HAMMER

Age: Like, So Old

Born: A Man, In Spite Of What The Nurse Said Hometown: Tarrytown, NY

Background: Finnish/Swedish-American and Lenape, He’s Pretty Sure Fears: God And Nawt Else, Also Centipedes

Enjoys: Fresh-Baked Bread]

21.2. The golem stands between Hammer and Sol, protecting Sol.

22.

22.1. Hammer looking over Sol.

Sol: “The Reverend Doctor, he checked me over. Asked me a lot of questions about what happened. About me.”

22.2.

Sol: “Checked everyone else, too. Everyone who... survived.”

22.3.

Sol: “And he told me… all things considered, I should come here.”

22.4. Jim, pensive.

Jim: “To report on your experiences? I’m sorry for what you’ve gone through, your loss, but….”

22.5. Sol, surprised.

Sol: “No, sir. He sent me here for me to seek employment.”

22.6. BORDER.

Sol: “As stated in the letter you dropped upon the ground.”

23.

23.1. Jim, flushed, looks at the envelope.

23.2. Jim, bends over to pick up the letter.

23.3. He dusts it off.

23.4. He opens the envelope.

23.5. He begins to read.

23.6. BORDER Hammer: “Dear Jim. Give the lad a job. Do something about the golem. Remember: that matter in Chattanooga. Or I will tell Marie. Sinc. The Rev. Dr. Matteus J. Hammer.”

24.

24.1.

Jim: “Well, then I suppose that this is an employment interview, although....”

24.2. Jim sighs through his nose.

24.3. BORDER.

Jim: “Chattanooga, eh?”

24.4. Jim: “In that case, we had best find the best place for you.”

24.5.

Jim: “Let me explain a bit more about what we do here.”

24.6.

Jim: “Through a number of agents, contacts, and former customers, we are apprised of events that may require our attention. Our more ordinary business provides both cover and funding for this.”

25.

25.1. Jim, facing Sol, sidelong view.

Jim: “We employ both in-office experts, and traveling agents who visit locations where vampirism is believed to be at play.”

25.2. Sol, headlong view.

Jim: “What qualifies you to act in the field, rather than from behind a desk?”

25.3. BORDER. Sol’s speech trails to .4.

Sol: “Well, sir, as a dhampir,”

25.4. Jim, headlong view. Two ghosts are visible, framing him: RODERICK and MADELINE USHER. They are the spirits of two young WASPs nearly identical in appearance, with large eyes, wild fine hair, and aquiline noses, clad in shrouds.

Sol: “I can see the dead.”

26.1. Roderick and Madeline notice Sol is looking at them.

Jim: “...”

26.2. Roderick waves coyly at Sol. Madeline seems disinterested.

Jim: “You would be far from the first to claim that you are able to see the unseen. Do you have any proof?”

26.3.

Sol: “Outside of the word of Dr. Hammer…?”

Jim: “If you please.”

26.4. Jim, an eyebrow cocked.

Sol: “I don’t suppose you know that you have twin siblings hovering in the air around your study?”

26.5. Jim looks up at Roderick.

26.6. Jim looks up at Madeline.

27.1.

Jim: “You will, I trust, forgive my skepticism. Even in this trade, there is always room for incredulity.”

27.2. Jim lets out a puff of a sigh.

27.3.

Jim: “I myself have found that what one sees is not always what is.”

27.4. A view of Sol, from Jim’s perspective. Sol and the room are crawling with transparent insects of imaginative and unnatural anatomy. Take care to note that they are only visible on surfaces of a solid, continuous color.

27.5. BORDER.

Sol: “Do you find that very often?”

27.6. Jim, looking weary, dusts one ‘bug’ off the table.

Jim: “For many a year.”

28.

28.1.

Jim: “But, here, you said that you were a dhampir! How comes that to happen?”

28.2. Sol, obviously embarrassed.

Sol: “In the usual manner, sir.”

28.3. BORDER.

Jim: “Which is to say, one of your parents—your birth parents—was a vampire?”

28.4.

Sol: “My mother’s first husband. After his death. My father, I suppose, my stepfather, was his brother.”

28.5.

Jim: “My condolences.”

28.6. Sol, holding the cane tightly.

Sol: “I don’t think of it much. It wasn't his fault.”

29.

29.1. Jim stands up abruptly.

Jim: “Quite! Not his fault. Not his fault. The majority of vampires—people want someone to blame, you know?”

29.2. Jim begins to walk out the door, motioning ‘come here’ to Sol. Pluton perks up.

Jim: “But a vampire—follow after, won’t you?—is not really a someone. It’s a something.”

29.3. Jim walks outside towards the box, Sol and Pluton following.

Jim: “Are you familiar with the association of vampirism with cases of tubercular consumption in Connecticut?”

29.4. Jim has reached the box and is inspecting it, leaning over it.

Sol: “That there was some similarity, but that the word ‘vampire’ was not used?”

29.5. Jim circles the box.

Jim: “Well, the papers used it—here, how do we open this—though the locals did not.”

29.6. BORDER.

Sol: “Open it, sir?”

30.

30.1. Jim, gesturing at the box.

Jim: “This is the golem in here, is it not?”

30.2. Sol, hesitant. In the background, RANDOLPH CARTER appears in the doorway, startled. Reference HP Lovecraft, naturally.

Sol: “Yes, but—” 30.3. Carter rushes up, waving the letter from Hammer in his hand.

Randolph: “Mister Cullock! James! I can see what you mean to do and—this is folly of unfathomably cyclopean proportions!”

30.4. BORDER.

Randolph: “The letter from Matteus Hammer is entirely explicit in its brevity, this container is as an inscrutable Hebraic box of Pandora!”

30.5. Jim, gesturing bemusedly to Randolph.

Jim: “Ah, Mr. Szombathy. Allow me to introduce our Rare Books Expert, Mr. Randolph Carter.”

31.

31.1. Carter looks down at Sol.

[CAPTION: RANDOLPH CARTER Age: Younger than he looks, really.

Born: 8/20/1874

Hometown: Some Nameless New England Town

Expertise: Ancient Tomes, Forgotten Lore, Adjectives

Hangups: Xenophobia, Icthyophobia, Anglophilia]

31.2. Carter nods at Sol in greeting, ignoring Sol’s offered handshake.

Randolph: “A pleasure to make your acquaintance, Mister Szombathy.”

31.3. Carter whips his head around (speed lines!) back to Jim.

Randolph: “I really must protest, James!”

31.4. BORDER Randolph: “The golem acted without instruction, in a violent and destructive manner according to its inhuman whims!”

31.5. BORDER, again. The text is less contained within the bubble.

Randolph: “It is a lifeless husk animated by eldritch secrets, which has demonstrated a readiness to cause harm!”

31.6. BORDER, once more. The text is almost overtaking the space, no longer contained in a bubble.

Randolph: “It is every bit the arcane monstrosity that we are employed to eliminate, an idiot half-form!”

32. The thickest BORDER panel so far, over a three panel of one full width over two half-widths.

32.1. BORDER. A single, solid, centered speech bubble, trailing down.

Jim: “Enough.”

32.2. Jim, over the box, holding a pair of gardening shears to the ropes binding it.

32.3. The severed ropes falling, in view of Sol.

Jim: “Mr. Szombathy; I should like to employ you. But after hearing your story, I suspect that you are but one part of what the stores would call a ‘package deal’.”

32.4. Jim opening the box, viewed from as if within.

Jim: “Would you mind if I were to awaken it?”

33.

33.1. Sol, looking resolute, with Carter looking horrified behind.

33.2. Repeat of 33.1, but with Sol nodding, Carter faint with terror.

Sol: “Please do, Mr. Cullock.”

33.3. A full view from above of the golem in the box. It is squared and inanimate, eyes shut and form even more vague than in the flashback. Pluton bounds into panel.

33.4. BORDER, more gray than black, now.

Jim: “Please, call me Jim.”

34.

34.1. Jim reaches into his pocket and pulls out a strip of paper. Pluton appears in the corner.

Jim: “Matteus had sent this ahead, as well.”

34.2. He holds it up for Sol and Carter to see. An א is visible, but the rest is concealed by the curl of the paper.

Jim: “I take it this is the ‘sacred words under the tongue’ type of golem, rather than the ‘אמת’ variety?”

34.3. Sol, confused.

Sol: “Yes, s—Jim.”

34.4. Jim, looking contemplative and holding the strip absently.

Jim: “I wonder. Was the golem silent for fear of spitting out the paper?”

Sol: “Eh?” 34.5. BORDER. Still gray.

Jim: “I would keep mum, myself, if my continued animation depended upon something held under my tongue.”

34.6. Jim’s hand pressing a tiny hole into the clay. Pluton is looking over the edge of the box.

Jim: “Just like planting a seed, hm?”

35.

35.1. Jim’s hand swipes over the hole, sealing it by pushing clay back over.

Jim: “There, now—”

35.2. BORDER, but with the image of ‘eyes opening’, slightly, in white.

35.3. BORDER as 35.2, but wider. Jim, Sol, Pluton, and Carter coming into view.

35.4. BORDER as 35.3, wider. Jim, Sol, Pluton, and Carter in full view.

35.5. Same panel width as 35.2-4, but a full, unshaded panel of Jim, Sol, Pluton, and Carter.

36.

36.1. The golem sits up, form still vague, androgynous. Carter shocks, Jim smiles, Sol looks nervous, Pluton is deadpan and does not move from looking over the edge of the box.

Jim: “How is that?”

36.2. The golem looks at Jim. Everyone’s expressions are the same as 36.1.

Jim: “Can you try speaking, now?”

36.3. The golem, closeup, mouth open slightly.

36.4. Same as 36.3.

Golem: “C’n try… speaking.”

36.5. Now Sol is shocked, too.

36.6. Same as 36.5.

Sol: “He can talk?”

37.

37.1. The golem, frowning.

Golem: “...can.”

37.2. Sol and Carter, even more shocked.

Randolph: “M-mimicry?”

37.3. The golem gives a headshake.

Golem: “Nuh-uh.”

37.4. The golem’s gaze shifts in the direction of Sol.

Golem: “Why… c-call me….”

37.5. The golem, looking down.

Golem: “He?”

37.6. Sol looks as though he has realized; unlit lightbulb? Carter is fizzling smoke from his noggin.

38.

38.1. Repeat of 37.6. More smoke from Carter, lit lightbulb on Sol.

Sol: “You’re a girl!”

38.2. The golem nods.

38.3.

Sol: “I’m so sorry, I never realized—you looked like a boy, so?”

38.4. The golem, puzzled.

Golem: “...looked?”

38.5. The golem starts to push out of the box.

Sol: “Of course, I should know, appearances and all, but—”

39.

39.1. The golem starts to rise from the box, form changed towards a more definite shape.

39.2. Continuing from 39.1, more and more defined, more and more upright.

39.3. Fully upright, fully defined as feminine. Dotty as per concept art.

39.4. The golem, in full view, looking down at herself while Jim, Sol, Pluton, and Carter are gathered around.

Golem: “Be...tter?”

40. Four quarter-width panels, one full, two half-width.

40.1. Jim, smiling.

Jim: “Quite so.”

40.2. Sol, beaming.

Sol: “Amazing!”

40.3. Pluton, feline.

Pluton: “Miau.”

40.4. Carter, stunned.

Randolph: “Transmogrification!?”

40.5. The golem, smiling.

40.6. Jim, Sol, Pluton, Carter.

Jim: “And how should we call you, Miss…”

40.7. The golem, thinking.

Golem: “D…”

41.

41.1. The golem, DOROTHEEA “DOTTY” SZOMBATHY, smiling, her speech bubble forming the CAPTION:

[Dorotheea Szombathy But you c’n call me Dotty!

Age: I dunno, like eight’r nine months older’n Sol?

Birthdate: I guess February of 1903? It was Tu B’shvat, I think.

I love helpin’ Sol, and all kinds of toys and games! My clay came from Horezu, but I was born in Bran! That’s in Transylvania, you know? The one in Rumania, not Usonia]

41.2. A view from behind Dotty as she continues talking. Jim and Sol look dumbfounded, Carter is letting out smoke from both ears and his eyes have rolled all the way back in his head.

Dotty: “I was asleep on the boat to Usonia, but someday I wanna try riding it while I’m awake….”

Jim: “Oh, she certainly can talk.”

Sol: “יא”

42. END page of “Can You Tell Me The Way To Usher St?”

42.1. CAPTION:

[סוף.]

42.2. A bubble of Dotty.

Dotty: “Say, c’n I wear clothes now?”

#33 usher street #my writing

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wolf-zer0 · 4 years

Text

everything not bolted down is fair game (too bad no one told you who else is playing)

Category: Gen Characters: Dream Relationships: None Summary: Dream's been running jobs since he was tall enough to reach locks and fast enough to scale a building sub-fifteen minutes. There's no one else who knows the game as well as him. (Technoblade might beg to differ, but no one asked for his opinion). He's slicker, he's smarter, he's just all around better than all these morons who somehow think they're in his league. When he decides to steal the Manberg Emerald from the Museum of Natural History, he thinks it'll finally show the world who the top dog really is.

(Turns out, there's already a pack of top dogs. And they're all too willing to knock him down several pegs.) AKA Dream's a cat burglar and an arrogant asshole who gets dunked on by a bunch of children AO3 link: https://archiveofourown.org/works/29952117

“...We interrupt your regularly scheduled programming with a breaking news report. Police have announced their findings that Nightmare, one of INTERPOL’s most wanted, is most likely behind the recent robbery at the National Museum of Art...”

“...Nightmare’s true identity remains a mystery. Despite years of activity and dozens of burglaries attributed to him from across the world, no leads have been found. The only evidence authorities have is his signature smiley face symbol spray painted on the wall next to the space where the stolen painting, valued at around $155 million USD, had previously hung...”

“... Investigators believe that his next target is the Manberg Emerald. The massive gemstone, estimated to be worth nearly a quarter million dollars, is currently on display at the Museum of Natural History…”

“... In order to stave off the potential theft, museum officials have moved the Emerald to a secure containment facility within the building, far from public access…”

“...The police are asking the public to watch for any unusual persons near or around the Museum, and report any suspicious activity immediately…”

The night air is cool and crisp around him as he stands at the very edge of an office building’s roof. The city hums beneath him, thousands of feet down. Headlights glimmer against the black of the pavement as people go about their night, mindlessly chattering to one another. They continue their lives without a single glance up.

His silhouette blends seamlessly into the moonless sky. The wind is calm, ruffling the edge of his hoodie just slightly. The smog and bright lights of the big city hide all hints of him from view. It’s the perfect night for a felony. Cocksure grin painted behind the blank smile of a mask, he pulls down the edge of his hood, tilts forward over the edge, and drops.

The wind whistles past his ears as he falls, office windows flickering before his eyes on the way down. The dull roar of the city sharpens. He doesn’t flinch as the lights on the road grow brighter and brighter.

The line clipped to his harness pulls taut. There’s a sudden, sharp jerk as he reaches the end of the rope, and all movement stops. He hangs headfirst in the space between earth and sky, just above the roof of the Museum. With a deftness born only from years of practice, he releases the carabiner and drops safely down onto the roof. Footsteps near silent, he creeps closer to the grating. Strains his ears for any sign of trouble. Nothing. Not a soul notices anything amiss. Perfect.

There’s a reason Dream’s the best in the game. Not a single person could be considered a contender, let alone a real opponent. (Technoblade’s the closest thing, but the guy’s about as easy to rile up as a brick wall. With the social skills to match.) He pulls up the grate he’d found and loosened during his recon and slinks down into the vents.

He loves his crew, he really does. He and Sapnap have been running together since they were kids. They learned how to pick a mark together, how to stitch a wound together, how to run circles around the competition together. Dream honed his sticky fingers, Sapnap taped his fists. They clawed their way out of obscurity, covered in blood and sweat and tears. They took in the view from the top, and they laughed.

George was a recent addition, but not an unwelcome one. Sitting behind his many screens and fingers dancing over the keyboard, he worked his magic in ways neither of them could even imagine. He barely breaks a sweat busting through the most robust security programs. The three of them are a well oiled machine, breezing past crew after crew on the race to infamy.

Dream really loves his crew, they’re his family. But sometimes he thinks he loves running solo even more.

The rush of the chase, the thrill of the hunt, the danger that comes with dancing on the razor’s edge of success and failure where a single mistake can send him plummeting to the ground. It’s fucking addicting and Dream is hooked.

He doesn’t do it often, just often enough to satisfy the itch under his skin. Sometimes, he makes it interesting by letting his crew in on the hunt. George will try to sabotage the security systems, Sapnap will stalk the halls ready to strike. They’ll even recruit help from other crews to add the extra adrenaline he craves.

He’s running without help or hindrance tonight. His only help if things go south is the gear on his back and his ability to get the hell outta dodge. Of course, there’s no real chance things could ever go south.

As Dream soundlessly shimmies his way through the ventilation shafts, his mask’s heads-up display maps out the twists and turns leading towards the Museum’s storage area. It’s honestly kind of pathetic how easy it is to get to the vault. He thought a place with so many priceless artifacts would pose more of a challenge. He may need to find another mark that poses more of a challenge, but first he needs to get what he came for.

He finds the vent he needs quickly, and gently removes the covering. Dropping down from the ceiling, he checks the security camera feed in the corner of the HUD to make sure no one’s watching. All he sees is the lone security guard snoring in the breakroom, teetering dangerously in his chair with his head thrown back. It’s just too easy.

He picks his way through the restricted area of the archives, careful to stay out of camera sight lines. He doesn’t touch a single thing, doesn’t dare leave a tangible mark that he’s been here. Sapnap calls it paranoia, George calls it perfectionism. He calls it pragmatism. Makes the chase that much more enjoyable, watching the authorities scramble for even a fragment of evidence. It’s not fun anymore if he’s not in control.

The vault is massive, with thick steel walls and a shiny control panel. Dream snorts at the laughable protections. This is just so sad. The fact that they thought this thing could keep him out? Hysterical. He could crack it in his sleep. He has before. It’s fucking child’s play.

It barely takes him a minute to get inside. He grins. Add one massive emerald to his stash, thank you very much. He swings open the door with a flourish.

The vault is empty.

Empty, except for a single sheet of lined notebook paper.

The piercing shriek of the alarm drowns out his screech of outrage. In his camera feed, the security guard jerks to awareness, eyes wild and limbs flailing. A warning pops up on the HUD telling him the police are on the way, ETA 5 minutes or less. The paper flutters to the floor as he turns on his heel to make a very quick escape.

Rage bubbles in his chest as he leaps through a nearby window and into the starless night. Running through the alleys and leaping fences, he spits curses at whoever decided to mess with the king.

The sheet of paper lies hidden where it slid beneath a locked supply closet door. As the authorities search the building for any signs of the thief, they somehow overlook the sliver of pristine white under dusty boxes of records. Scribbled on the abandoned sheet is a single line of writing, scratched letters and dark ink mocking in their simplicity.

git gud loser >:3

Far from the museum sits a warehouse. It’s been vacant for years, slowly rotting away as the world continued on without it.

It’s not vacant anymore.

Light from nearby streetlamps streams through the dusty windows, casting watery shadows across a surprisingly comfortable living space. A large, dark wood table takes up most of the room, surrounded by five mismatched chairs with the contents of a first aid kit scattered across it. The kitchen is a mess, with dishes left in the sink, take-out boxes piled around the trash can, and notes like “Whoever ate the last of my yogurt, I’m coming for your eyes dipshit!” and “Please don’t forget to grab some milk at Sam’s, we’ve been eating dry cereal for almost a week :(” stuck to the fridge. The living room has a massive couch, blue fabric worn soft from use and stained in several places, set up in front of a huge television set. Some kind of animated movie is playing, all bright colors and high energy musical numbers.

Climbing gear hangs on the wall across from the kitchen, harnesses and ropes and winches carefully sorted and organized for ease of use. A wall of computer screens sits nearby, mounted over two desks covered in the remains of caffeinated beverages and scraps of circuitry. A closet is tucked into a corner, uniforms and wigs and all sorts of accessories spilling out onto the floor. A well loved punching bag swings slightly next to a dented lead pipe that leans against the wall, gloves and hand wraps nestled into nearby cubbies.

Rather than using the couch, the warehouse’s current occupants are tangled together on the floor in front of the TV. It’s hard to tell where one starts and another ends in the pile of limbs and snarky comments. A lanky blond with fading bruises on his cheekbone and a bandage across his nose is squashed in the center, grousing about some stupid line and earning a pinch from a shorter brunet curled up against his side. Another blond in a deep purple hoodie snorts as he types away on his phone, head pillowed on the brunet’s thigh. A girl wearing a green t-shirt snipes back as she runs her fingers through the two-toned hair of the boy stretched out behind them.

A half-open backpack lies across the kitchen counter, carelessly tossed aside in the mind-numbing high that follows a successful job. The brilliant green facets of a fist-sized emerald nestled inside the fabric glitter in the light of the TV screen as the five jeer and taunt the characters.

Dream may think he runs the game, but he’s not even a player. A single King can only win so often before they’re forced to fold.

And nothing beats a Royal Flush.

#mcyt au #mcyt fanfiction #dreamwastaken #minor felonies au #guess who started a new au?#its me i did that #this is for all the nerds on the dsmpbb who enabled me #especially snap #and panz #love u two!!!#zero's fanfiction

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ask-art-student-prussia · 6 years

Note

You’re one of the only Hetalia art blogs still active that I absolutely love! Do you know any more of them?

Actually!!! I spent the past week sitting on this question, but im finally able to compile (most of) i have a bad memory and theres just so many, you see) the hetalia artists ive admired. ill write up a little blurb on each so you can know what to expect

warning, this is super long

I’m going to list my fav Prussia focused artists first:

@theknoflook is SO SO SO good at capturing the worn/rough-round-the-edges Prussia and they’re 100% the BEST at drawing the aged feel of him. They draw a lot of characters with human imperfections, it’s just such a RAW emotion I feel from each drawing.

@maplevogel I’ve admired since I was like,,, 13. You have no idea how much I want to be able to draw like them. Their watercolour illustrations are KICKASS!! They have such a sense of mystical-ness to each piece, everything is so unreal in what they draw it gives me such a sense of calm-ness. Constantly they’re using watercolour to it’s full extent, im EXTREMELY floored and always have been.

@mieudiary is another person ive admired since i was a absolute baby. Their art teeters on anime-realism and their use of lighting, shading and blending is SOOOO GOOD. They’re able to make their characters so real yet overly gorgeous lol. They’ve got the best damn detail in form/muscles (flesh) ive ever seen.

@kisamesfacioplegia is LITERALLY DRAWING RENAISSANCE PAINTINGS OKAY. Their art is always refined and carries the same aura as those huge paintings you find in museums, with extremely good storytelling and illustrations. Best historical prussia and germany on this site imo.

@carnagekiid (i dont know if they do aph anymore but their recent work is JUST AS GOOD) has the cutest modern interpretation of gil and is my fav. i personally am not a fan of like,,, the “ideal” canon prussia, and the way they draw emotion/use of colours (for all their work) with prussia has that like,,, UMMF of character, yknow what i mean??? they focus on ruspru i think but idk lol

Okay those are just the best prussia’s ive seen, heres some more general hetalia artists that focus on other characters

@payadraws is quite possibly my FAVOURITE HETALIA ARTIST???? IF NOT AT LEAST IN THE TOP 3 BC THEIR STUFF IS SO GOOD AND STYLIZED PERFECTLY. their linework is stunning, and colouring has that tone over all of it that harmonizes the whole piece. The way their utilize their style in everything is PERFECt, idk how to use words for it, just take a look. Their austria/switzerland is deadass on-the-money.

@tomato-bird Literally how does one even manage to do this. theyre professional and it fucking SHOWS. Each composition, each stroke of their pen, it shows dude. Their art has like,,, the emotions, the feeling, is really well executed and they have so much attention to detail it blows my fucking mind. like ,,, this gives of hard renaissance level mastery vibes

@paperdrawsshit is SO GOOD at using that like,,,, the form/silhouette of characters. like,, the shapes they use, the flow of each pose, the hands, ALL OF IT SCREAMS PERFECTION. Each drawing has such flow and structure at the same time, and each character has such a pretty fashion sense. Excellent use of lighting and i strive to be as good as them in drawing people

@jackce THIS ARTIST HAS LIKE.,, SUCH A CLEAN CUT ART STYLE ITS GORGEOUS. Each drawing has the smoothest lines and the characters have distinct features. Their prussia, italy and germany styles stand out so much because of the way they draw the noses, jaw, features etc. Like they look like screenshots out of a professional 2d animated feature. Seriously.

@starstray (not sure if they draw hetalia anymore but i need to tell yall about them anyway) has such gorgeous like,,, composition. like if you dug through a collection of paintings from the renaissance you’ll find a few of theirs scattered in their. The use of like,,, linework paired with the way they colour is so perfectly executed. its so balanced im shaking

@amazing-prussia has the cutest, quirkiest style with what they draw. the hair/clothes are so stylized and fluid and i love them so much!! Each drawing looks so quick and perfected, every time I see one of their pruaus doodles i fucking DIE.

@glass-soda has such gorgeous illustrative style. It’s so unique and the way they colour and draw people have this wonderful POP to it. The colours are so balanced and bright, its so SO!!!!!! LOVELY. LIKE,, IDK HOW TO KEEP FROM RAMBLING ABOUT HOW MUCH I LOVE THEM JUST LOOK.

@ask-risorgimento-italy (ack, dont know their main sorry) Their illustrations are so well done, you can see the thought and practice in each character!! and i love the “realistic” feel to it. I say that about characters who dont have like,,, idk “anime hair”?? but not only the hair, the clothes, the form, the ENVIRONMENT. THIS ARTIST KICKS ASS WITH THEIR ENVIRONMENT BUILDING. LOTS OF DEPTH. ABSOLUTE LEGEND.

@hetapolis !!!!! THEIR ART IS SO CLEAN AND SKETCHY AND BEAUTIFUL. OKAY. Shading/colouring is GORGEOUS. and the way they draw each character to be distinct and have unique features ITS SUPER PROFESH AND LOOKS AMAZIGN!! I admire their style so much yall got no idea

@thedisappointedidealist12 has REALLY GOOD LINEWORK/STORYTELLING. LIKE WOW. Every time i see something theyve drawn im shaking bc the pacing and execution is AMAZING. Everything about the way their art looks is super balanced and you can see the exact emotion each character is expressing.

@captainjellyroll OKAY. THIS PERSON. LEMME TELL U BOUT THIS. FIRST OF ALL. THIS IS ONE OF MY FAV ANIMATORS. THEYVE BEEN MY IDOL SINCE I WAS 11. Their work has so much energy, colour, and you can see the thought in each composition. I love them so much,,, each drawing has its own burst of energy!!! i want to be able to be like them when im older and live with like 5 cats.

@tea-artblog (they dont draw hetalia much anymore but their recent art is 100% worth looking at) OKAY. YALL. This is one of the people who’s art i looked at constantly when i first joined!! Their art is so like,,,, balanced and has just enough contrast and the colours???? EVERYTHING WORKS SO WELL. The eyes/expressions are SUPER CUTE.

@sully-s ANOTHER ARTIST WHOS STYLE IS ONE OF MY FAVS. It’s super fluid and the colours are perfect!! Each character has their own uniqueness I cant express my love of how perfect their lighting/colouring is. Their illustrations are straight out of a movie art book, its so GORGEOUS. and the environment REALLY has depth!!

@ask-victorian-austrian (dont know their main ack sorry!!), THE LINEWORK IS SO DETAILED AND CLEAN. I love the way they draw clothes/fashion, its all so detailed and gorgeous and you can feel the weight of the cloth and the lace and everything okay???? Seriously I love all their blogs, they have a bunch, and you should check out all of them!

@amoxesyoew HAS SUCH CUTE DRAWINGS!! The style in their characters’ hair is so flowy and the way they draw faces and eyes have this adorable quality to it!! the pureness of the emotions they draw are really prominent and i constantly just DIE because of it! I love love LOVE the gercan they draw too

@arschbiene THE WAY THEY DRAW FACES??? SPOT ON. The colours are SO spot on and i love the POP they give. The shading?/? SPECTACULAR. And each doodle is super cute and like,,,, when people say each drawing has a story behind it?? I FEEL THAT WITH THEIR ART OKAY. HIGHKEY.

@ekinoksin ???? HELLO??? THIS RENAISSANCE VAN GOGH MICHAELANGELO MASTERMIND OF AN ARTIST IS LIKE THE SAME AGE AS ME>????? I just foudn that out. BUT the way their art has so much depth!!!! THE BACKGROUNDS??? THE ENVIRONMENT?? ITs ALL EXTREMELY WELL DONE. And they have this texture to their art that makes it look just like historical paintings its so good!!! Im SHOOK.

@alfredtalia WORM. THeir characters all have structure and expression and everything about it has such like!!! UMFF. The way they draw certain things,, theres minor details!! and you may not notice them!! but they ADD SO MUCH!! Everything feels like it has attention to it, and it is so well balanced!!

@avlerie (again, not sure if they still draw hetalia but their art is really pretty) the way they add texture/detail to their art is SPECTACULAR. The hair???? the bodies??? It seems so structured and well drawn!! THE EYES THO. THE WAY THEY DRAW EYES ARE SO BEAUTIFUL I CANT GET ENOUGH

@elhuesoardiente DUDE IDK HOW THEY COLOUR/DO THEIR SHADING. BUT ITS SO UNIQUE AND GIVES THEIR ART THIS EXTRA LAYER OF DEPTH. The art is so gorgeous with the way they do their lighting, and everything about it has balance and harmony im just shook

@ask-2p-uk no idea how someone can even pull off art like they do. the lines/colours ARE REALLY WELL INCORPORATED to EACH DRAWING. The way they draw expressions?? is so unique??? like i love the hair too, it has this flowy-ness to it!! EVERYTHING about their style is so colourful and pretty and unique i just ghhghghg dont know how to explain it, just LOOK AT IT.

@lucerna-lunam the way their shading is,,, the “mystical”-ness of their art??? ABSOLUTELY INCREDIBLE. IDK How they manage to draw stuff with such like,,,, sparkle to it. But their lighting is really well done, the EYES are so gorgeous! even the way each drawing is textured!! It comes together so perfectly!!

@suckmyicelandick THE WAY THEIR HAIR IS DRAWN??? SUPER SHINY AND GORGEOUS. I love the way their draw their characters, the hands/face/hair is so stylized the second you see their art you just KNOW its drawn by them. The eyes are super detailed and its so pretty im just sobbing i love their style

@aph-lithuania OKAY one of the first hetalia artists ive ever seen when i was new. THEIR ART IS SUPER PRETTY. The colours are really smooth and THE WAY???THEY DRAW BODIES?? THE FIGURES ARE SO WELL PROPORTIONED????!!! Everything about it is so cute!!!

@ask-mr-luxembourg BRUH??? HELLO?? COLOURING, LINEWORK, PROPORTIONS, EVERYTHING IS 10/10. Seriously they way they draw hair has such texture, and the way the bodies are drawn are so good. everything about them!! and the eyes?? DEADASS KILLED ME. Their art has seriously so much detail and i just DIE every time

@ellmovy HOW DOES ONE EVEN MANAGE TO DRAW CHARACTERS AS WELL AS THEM?? Each character has distinct features and like,,, the hair is always stylized and it looks SO GOOD????!!! The amount of detail they put into drawing small things like eyebrows and freckles add so much to the overall piece like WOW

@haeko9page THIS ARTIST. HAS THE CUTEST ART EVER. Their comic strips are seriously so adorable and has really good pacing! Each time they draw comic strips, the frames are so varied and it comes together SUPER WELL. Idk how to explain this, but like,,, the “camera angles” and the way they draw expressions/character interactions go together like peanut butter and jelly!

@kyotemeru-arts (they dont draw hetalia much but i love their art so much) dude the flow?? of the poses their characters have?? the flow of the characters themselves?? SUPER WELL DONE LIKE WOW. Also the way they shade and highlight things ?? like using more than one colour?? THAT REALLY MAKES THEIR ART POP. I LOVE THE WAY THEY CAN PERFECTLY DRAW FLUIDITY IN THEIR ART.

@frukmerunning GOLLY GEE DO I HAVE SOMETHING TO SAY BOUT THEM. Just the way they draw faces, eyes and like,,,, bodies in general,, ITS ALL SO PERFECTLY BALANCED. The way they manage to make sketches look incredibly refined and capture the movement in each drawing???? LIKE IVE ADMIRED THEIR ART FOR SUCH A LONG TIME ITS BEEN 300 YEARS

@miss-ostrich-art BRUH how does one manage to draw ???? like them??? the way their characters’ forms and muscles can be seen but like not overly detailed??? they have the PERFECT amount of detail in each drawing, and the expressions!! the way they draw noses and facial structure and *italian hand gesture* PERFECT.

@maryluis THEIR EXPRESSIONS ARE SUPER DYNAMIC!!! AND THE POSES HAVE SUCH FLOW. Also did i mention the amount of detail they put into minor things?? like WOW. Seriously i think out of this list i like the way they draw expressions the best. Also this might be a weird thing to focus on, but the way theyre able to draw the interior/background/angles of things are INCREDIBLE.

@cioccolatodorima YOOOOOOO THIS IS LIKE THE FIRST ARTIST I SAW WHEN GETTING INTO THE FANDOM. ONE OF THEM AT LEAST. Their non-hetalia work is actually my fav and i want to do just what they do when im older! I love their illustrations, and their way of drawing characters/character design (ginjinka of mr.kitkat are my favs). The way their lighting looks, is SO pretty and the linework is ABSOLUTELY STUNNING. their art blog (not just hetalia) is @rainbow-taishi

@ask-badlydrawnseborga lemme tell yall about a thing. i love how funny their art is, and like,,,,, i know its “badly drawn seborga” but the way the hair flows and the proportions,, everything about it is SO nffhhklahjdj polished. LIKE IDK HOW TO EXPLAIN IT BC THEYRE SUCH A MEMELORD BUT I GENUINELY HAVE SO MUCH LOVE FOR THEIR SKILLL

@sabrow3 NOT ONLY IS THEIR ILLUSTRATIONS SUPER CUTE, IT HAS GREAT PROPORTIONS AND DEPTH. I love their attention to detail in clothing and historical things, and like,, the line work is AMAZING. Seriously, I want to be able to draw as well as them, its incredible how the amount of work and effort is shown in each drawing.

@buruzaitama !! The way they draw characters has like,,, this level of realism and the way they do their lighting just pushes that to the next level. I don’t know how people can pull off drawing realism yet still make it so unique that i can instantly tell that a piece is drawn by them, but this artist IS SO GOOD AT THAT. LIKE WOW

@inkodoodles Okay their “1 hour drawing challenges”? IM FLOORED ANYONE CAN DRAW THAT IN ONE HOUR. The have such detail and flow and movement in each drawing! And the lighting they have is so soft and calming, it lends itself to each piece REALLY WELL. Whatever emotion each drawing is supposed to give is conveyed to a tee

@heyheyartman BRO the style??? is so fucking UNIQUE AND ICONIC?? And the way they manage to pace comics and storytell is sO GOOD. Like,,, the way they can use shapes for each of their characters is so refined and stylized i love it. Their use of colour seriously KICKS ASS and im floored every time i see their work.

@merasgar their art is so detailed!! and the backgrounds/environments are so soft and gorgeous to look at! I have like,,,, no idea how you can pull off such beautiful hair and eyes in each drawing!! They draw a lot of rochu and like,, the features look so PERFECT for the characters ghhghghg

@yosb ALRIGHT LISTEN UP THIS ARTIST SERIOUSLY HAS ONE OF MY FAV STYLES. It’s so refined and you can see the distinct features of each character. The style isnt realism but the characters FEEL REAL. They have such a perfect way of paying attention to details and putting in proportions/facial features to each character im so amazed and love their work so much

and of course i want to include @paachubelle though theyre working on their own project ( @the-otwya-project ) now, they’re one of my like,,,, friends that i made on this blog through hetalia ask blogs and i figured id like to include them on this list. Idk how people can draw in pencil with such detail and everything but they do it EXPERTLY. The line work is always so clean and the shading is always so well done!!

of course, im very clumsy and forgetful so i know i forgot some names but i cant remember things!! Either way, these are some of my all time favourite iconic hetalia (and non-hetalia) artists!! I want to be able to draw as well as them one day!

#diamondsketcher #admin post #zonkeywave

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nytreecx · 5 years

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Marinette is not a Bad Designer

Alright… I’ve seen one-too many bitter posts by fans of Miraculous Ladybug disappointed by Marinette’s deep-down costume choice to not put my thoughts on the matter forward.

When considering a design in textiles, we are taught to critically observe it through two lenses: functional and aesthetic. Simply put: how it serves its purpose and its overall appearance (usually how visually appealing it is). Despite often clashing and getting in the way of one-another, they sometimes are easier to see as concepts that blend into one another. In water colour, if you paint red and blue next to each other, they are going mix to create purple. (I blather when I explain these concepts, so if you wish to get to the analysis of Marinette and Adrien’s designs skip ahead to ***)

As an example for this outlook, I’ll use a cushion on a lounge. Its functions are to provide lumbar support; help maintain good posture; filling the gaps of a comfortable sitting space the lounge may have missed; to last continuous uses; and to complement and accentuate the design of the lounge. This means function will control the shape, size, density, and – to a degree – the fabric choices such as category and type (e.g. woven and cotton respectively) of the cushion, and provide a starting point for the aesthetics via the lounge’s aesthetics. The cushion’s aesthetic purposes on a plain lounge are to create interesting and appealing focal points; on a patterned lounge, they provide plain yet grounding points to bring focus and calm to an otherwise busy design. Aesthetics therefore controls the shape, fabric type and pattern (e.g. cotton or plush, and floral respectively), and notions such as piping and buttons. I have most likely missed a plethora of points, but I am aware I am usually long winded and am an amateur.

Of course, some designs need to heavily lean to one side of planning. A wall-hanging is a piece of art using textiles mediums; therefore it will have dependence on aesthetics planning to be successful. Its function is simply to look good. A tent taken on a camping trip, however, is going to be all purpose. It wants to keep you safe from the elements, and not take up too much room in your car or weight in your backpack. If the tent is made from chiffon, with bolts of cloth dedicated to frills and decorative drapes, it will be bulky; be even more difficult to stuff into its bag than your sleeping-bag; tear easily on the first bit of nature it comes in contact with; and metaphorically take on the properties of fairy-floss when it rains, not only drenching you, but keeping you wet and trapped as the delicate and light fabric becomes heavy and collapses on top of you and whatever unfortunate soul tried to foolishly take refuge in it. One may even say its aesthetic purpose it to look durable. The only acceptation I can think of is a camouflage design, where a specific pattern and frills that mimic leaves are necessary.

***

Through this, I have hopefully illustrated that the relationship between function and aesthetics is one of give and take. Adrien does not give a damn about this. His father may be a famous designer, and whether or not he has shared a few tips of the trade, this boy grew up on manga. He is going to hit this super-hero costume with as much magic-girl that his kawaii desu ne heart possesses. He’s got cuffs; a long-ass tail that has its own pose in the transformation sequence; paw prints on the boots; unnecessary seams and piping; morphed pupils (that may be an automatic change to give him night-vision); and a big bell that rings, for crying out loud. The only functions I can see are steel-caps, pockets, removability of the tail, and claws. Even then I suspect these were mainly chosen for the aesthetics. Even his seams are what you would call aesthetic seams. It’s a suit made from magic. You don’t need seams.

Marinette, on the other hand, is focused on the function of this being a superhero costume. She knows she will be going into battle. Taking leaf out of Edna Mode’s book and then the whole library, she forgoes the iconic billowing cape and anything else that would hinder or even put her in danger her while fighting. Seams, zipper tags, cuffs, tails, and bells can be exploited by getting grabbed by a villain or accidentally caught on an edge or pointy debris while dodging or escaping. She only has an allusion to antenna as ribbons rather long poles sticking out of her head will basically become handles for whomever she is fighting. The only fault I can see is keeping her pigtails (*SPOILER* which we know she can change from the leak of Kitty Noir *SPOILER OVER*). Even then they may serve to create some kind of barrier from the back for her miraculous. She doesn’t need such things as steel caps because her magical fabric is already all the armour she needs.

I’ve had fun creating alternative costumes for Marinette. With function in mind, and wanting to reference the beetle, I added plate armour to the front to mimic the underside of the ladybird; angled spikes on the arms and legs like many beetles have to catch blades and cause damage; white spots like on their head on a black helmet that conceals her identity better; and the red and black shell only as a detachable shield on the back. Apart from being a design more appropriate for an AU, I forgot one important thing that all these features I wanted as tributes to the source material took away. Marinette knew that a superhero needs to be recognisable. Hence, this is the goal of the aesthetics.

The simplicity of the fabric’s pattern is to be iconic. What’s the most salient part of a ladybird? The black spots on their red shell. What pattern has she chosen? Exactly that. She is supposed to be a hero of the people. Someone every citizen can recognise as she swings by so fast she’s a blur. Parisians are going to be attacked so often that the red with black polka-dots needs to inspire feelings of safety, so that when they see her they don’t instantly think she’s akuma they need to seek shelter from. When she rescues terrified and flustered citizens, or toddlers crying for their mother, she needs to be recognised immediately; to create a focus point for the panicked mind; and to inspire peace and a sense that it will all be okay now that she’s here. A plain pattern in bold colours is the easiest way to do this. Adrien has even done this with the almost unanimously black outfit and silhouette alluding to a cat with the ears and tail. Her simplicity is necessary BOTH functionally and aesthetically.

*SPOILER*

In the event they swap kwamiis, they retain their design philosophies, and yet are influenced by someone they love and care about’s take on it. They need to hold onto the established iconic design the other has come up with, yet express they are someone else with their own unique take on it. Adrien keeps the iconic spots as the main feature, but adds panels of black to accentuate the pattern; give a nod to the actual ratio of black to spots on the ladybird; suggest armour; and to add depth and accentuate muscle anatomy. Marinette turns the bells and whistles into lines on the fabric to remove the danger of them while honouring them. Her plat imitates a tail instead of a more-easily-grappled belt and the collar tells of her Chinese heritage. In the event of the mouse fiasco, she needs to alter her design philosophy from hero to “omg please don’t find out I’m Ladybug”. Her colours are the usual palette she wears to inspire Marinette thoughts for Chat; her hair resembles mouse ears and are definitely and defiantly not Ladybug’s piggy tails; and her stripes and spikes, and tail create the farce that she is an inexperienced hero by forgoing the ungrabblable and to be easily recognised as the animal of their miraculous holder attitude Ladybug adopts.

*SPOILER OVER*

Being a designer isn’t just “Ima add frills for days cuz that shit’s tight”; knowing that busy patterns next to each other clash; making things look visually appealing or stunning; or even knowing what’s hot this season. It’s about making something for and around a purpose. And through this, Marinette can indeed retain her title of “good designer”. Thank you for reading my one thousand and five-hundred word essay. I hope this has enlightened some confused and vexed fans.

#miraculous ladybug #ml #ladybug #marinette #adrien #chat noir #love this child please #ml spoilers #ml leaks

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coolbloggerthings · 5 years

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The 6 Most Common Mistakes With Creature Animation Demo Reels

More and more animation development studio are hungry for animators who have experience working with animals and creatures in a more realistic style. Many recruiters at visual effects studios, video game studios, and commercials studios have a really hard time finding quality animator candidates as demo reels with strong creature animation are few and far between.

If you are interested in this type of animation, here are some of the most common mistakes I see on demo reels. Avoid these at all costs in order to create more believable and memorable creature animation and improve your chances of landing one of those jobs!

The animation is too “clean”

Working in a realistic style (or, ideally, a slightly exaggerated “hyper-reality” in order to make your animation more exciting, dynamic, and memorable) means that you will need to have a higher level of detail and complexity in the movements.

This style of animation is an art in and of itself, and requires a slightly different mindset as you approach the work. You will still be using all of the principles of animation that you are used to, but in a more integrated and, often, a more “messy” way.

Adding some dirt to specific curves in just the right way, overlapping the actions while making sure they affect (and are affected by) each other, and being willing to have a slightly less perfect pose or arc at carefully chosen moments can make a huge difference in making your creature work feel real.

Keep in mind that this “messiness” needs to be very subtle. Readable silhouettes are just as important (if not more so) than ever and your arcs still need to feel organic, etc. Subtlety is key with creature work. In the Creature Animation classes, we work with the students to strive for “simplified complexity,” which I know sounds like words that shouldn’t go together, but mastering this concept is a huge part of bringing to life a realistic creature.

Look for opportunities on your creature to add small little details, secondary actions, tiny overlapping actions, muscles firing and relaxing, etc – as long as these are all kept extremely subtle, they can all work together to create the feeling of one large thinking, feeling, breathing complex creature.

Once you identify areas that you can add complexity (this can be as simple as toes spreading as the weight presses onto the foot, or how that toe move affects the claw, etc), then it’s time to simplify these actions in such a way that no individual “little” action draws attention to itself.

A nice dragon sequence from Harry Potter and the Deathly Hallows Part 2 – done by Double Negative

If someone’s first reaction to your epic shot of a dragon roaring is to say “wow, that claw pressing on the ground during the footplant was awesome!” then you are doing something wrong. Those types of movements, intended to add tiny bits of complexity and realism, are not meant to be the stars of the show. They should be felt rather than seen, at least on a first viewing of the shot. The goal is that they will all come together to make that dragon feel huge and real, but the key to pulling that off is to keep them all a bit simplified and unnoticed.

Action, pause, action, pause, action

Creature rigs tend to be more complicated and detailed than the average animation rig. Whether it’s a cat or an ogre or a giant robot covered in moving parts or a dragon with complex wing controls, you can bet your bottom dollar that at first glance, the rig will probably look intimidating.

There’s a reason for this, and it’s because we need to achieve that high level of “simplified complexity” mentioned above, and you just can’t do that with limited controls.

Unfortunately, that means that we often see animation on demo reels that have some interesting animal behavior or creature ideas, but those movements tend to be too broken up.

Instead of a gorilla running into frame and picking up a ball and throwing it, we see a gorilla run into frame and come to a stop. Then pick up the ball and stop. Then lift the ball and stop. Then he throws the ball.

Worse, often even those actions themselves can be full of discrete body movements that feel disconnected. Arms moving that aren’t driven by the shoulders, shoulders that don’t react to arms pounding onto the ground, big chest movements that have no effect on the hips, etc.

References of gorillas running

A careful study of live-action reference and a focus on overlapping actions can make a huge difference. Beware the feeling of disembodied limbs or discrete actions that don’t flow through one another. It completely kills the illusion of an organic creature.

The speed doesn’t match the size.

Few things can kill a shot quicker than having something that is meant to be large zipping around the screen too fast. Often, animators are more used to animating humans, and we get into a routine of timings that we are used to. When you’re thrown into a situation where it’s time to animate a gorilla or a huge dragon, it can be difficult to wrap our brains around the timing and spacing that this character will need to be using in its movements.

This stands out especially in moments where a character is changing direction, starting an action, or coming to a stop. Often, I will see a large creature doing some cool action and then he comes to a stop that is far too abrupt to accommodate for his weight or to give time for his momentum to naturally dissipate. This kills the feeling of weight and ruins the illusion of size.

Remember – there is no single “correct timing that will work for all characters.” They are all unique. They have different sizes, emotions, shapes, and actions – all of which will radically affect the speed that they will move.

Look At My Imagination!

Imagination IS one of the most important aspects of animation. I don’t want to belittle it or downplay the importance of actively working to cultivate and strengthen your imagination.

However, there are times to rely on your imagination and there are times to at least partly set it aside.

Even when working with a fantastic creature design, we need to carefully ground the movements of that character in the real world. Animating some alien quadruped? Look at its anatomy and figure out what quadruped(s) it most resembles. If you don’t base the animation at least somewhat on those real-life animals, people are going to have a hard time buying the performance.

At the 6:50 mark in the video above, ILM Animation Supervisor, Hal Hickel, reviews creature design for the film, Pacific Rim, in this presentation at the Bloomberg Businessweek Design Conference in 2014. A nice reference on how the creature animator thought process works when animating alien creatures.

Sometimes on reels, we see creatures who resemble the anatomy of animals we are familiar with and yet move nothing at all like them. There are probably times to do that, but I would argue that a demo reel is the wrong place, as your work has no context and very limited time to impress. If you have a lion running around like a lizard, we likely aren’t going to marvel at your imaginative choices, we are going to think it looks bonkers and move on to the next reel.

Rotoscoping

A direct copy of live action reference is going to give you some movement that will feel pretty good. It’ll be solid, it will likely have a decent amount of that “simplified complexity” if you have really studied the reference carefully. It will be good animation.

But will it be great?

Probably not. Reference is a hugely important step to successful creature animation, but being a frame-by-frame slave to it is a mistake. Here’s a couple more words that seem to not go together but are just as important as simplified complexity: subtle exaggeration.

You are the artist. Your job is to look at the reference and to make artistic choices. That’s what makes your animation worth watching. As a creature animator or visual effects animator, your goal is realism, but that doesn’t mean we aren’t using the principle of exaggeration.

You need to filter your reference(s) through your artistic eye and carefully choose what to exaggerate. We make this pose a little more dynamic or that movement a bit snappier or this fall a bit heavier through the use of small (sometimes extremely small) amounts of exaggeration.

It’s this carefully planned “subtle exaggeration” that will take your work out of the realm of feeling “rotoscoped” (which can easily start to feel dead or robotic) and give it that spark of life that makes it memorable and exciting to watch.

Your goal should be to make your work slightly larger than life. That’s what makes it special, but of course the tricky part is keeping those exaggerations within the realm of believability and not “over-animating” the character to the point that it no longer feels real.

Inconsistent style

A plague of many an animation test (creature-specific or not) is an inconsistent style. There is nothing wrong with stylized animation. All animation styles (from the cartooniest to the most photoreal) are valid and beautiful and none are more artistic or special than the others. What’s important on a demo reel is that the style of the animation, at least within that specific shot, feels consistent.

Very often we will see a nice heavy creature walking along and then do something that feels far cartoonier than the previous few seconds felt and then revert back to Big-Heavy-Creature-mode. The middle of the shot will have quicker movements or overly stylized poses in comparison to the rest of the scene. It’s common that part of a shot will suddenly feel “animated” rather than real.

Any time you are animating anything, it is important to know the style you are working in and keeping that consistent is a big part of an animator’s job. Learn how to do that and show it off on your reel

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sevensity · 7 years

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Hello again :3 I was wondering the RFA (+ Minor Trio) would react to the MC being a professional competitive horse rider (dressage, jumping, cross country, eventing, pas de deux, etc...)? Thank you and hope that wasn't too much :3

Ahhh so when I first read your ask I was like ?????? I don’t know what any of these words mean??? So I’m sorry if I get terminology wrong, I’m not a horse-riding expert even though I did do some research >.

on a side note thank you for the reblogs with the commentary lmao I really do read all of them, and I could write a V soulmate au like someone said but it’s gotta be a proper request heuheu

Update: @makosharkies actually drew a thing for me so if you wanna see some Saeran vs horse art go check it out

YOOᔕᑌᑎG:

Oh jeez this kid was so happy to find out about you being an equestrian

Not only is horse-riding hella cool, but also

just horses in general????

because horses are great?????

Insists he come watch your practice that day, and you let him even though you had a feeling Yoosung was gonna go all horse biology on you

Sure enough, when you get to the area where all the horses are kept, Yoosung is just shaking he’s so thrilled

him: casually pulls out his vet notes

you: casually puts them back in his bag

Yoosung I’ve been with horses since forever I think I can name their body parts myself thanks

Yoosung loves watching you ride, wow MC looks so cool like medieval movie people

lmao medieval movie people good going Yoosung

But also he gets to watch how a horse’s body moves in real time

So it’s a really good study session for him too, though the first thing he says to you afterwards is

“I never knew a horse’s muscles looked so powerful under their sleek pelt!” (help me out here is it a pelt or skin or w h a t?)

Yoosung what about me

“You looked beautiful too!”

‘Too’????

Anyways, he tells you that next time he’d like to see things from up close

Yoosung I sincerely hope that you don’t become obsessed with my horse

ᘔEᑎ:

LMAO THIS GUY

We all know how much of a romanticist he is

MC has horses???? Like real horses???

Well I am an equestrian so yes

MC pleasecanIrideahorseIwanttobeyourprinceandrideoffintothesunset

When he sees you at a jumping competition, you make it look so easy

If MC can do it, so can I!

Reluctantly, you try to give him a little lesson on riding, but Zen keeps distracting himself by trying to always look good

“Okay, so before you actually get on, there are some basics you need to know-”

“If the horse runs really fast, I bet my hair’s gonna look a-m-a-z-i-n-g in the wind.”

“Zen, are you even listen-”

“We gotta get the timing right though, the sun has to be in front of me, so that I can have a perfect silhouette.”

“Zen you-”

“Is it okay if I let go of the reins? I’m gonna have to take a selfie…what kind of pose should I make? Oh I kn-”

“ZEN FOR FUCK’S SAKE DON’T STAND DIRECTLY BEHIND THE HORSE IF SHE KICKS YOU YOU’LL GET SERIOUSLY HURT.”

In the end, Zen doesn’t learn how to ride by himself, let alone be able to do basic jumps

But because of his pouting, you gave in and allowed him to ride with you

more like you two were just chilling on the horse while the sun set in front of you

You’re holding a portable electric fan in your hand so that Zen can get his desired wind effect

Of course you spend hours there while he takes thousands of selfies

Jaehee’s the only one who believes him when he tells the RFA that he now knows how to ride a horse

ᒍᗩEᕼEE:

when you tell her that you have to take a day off work for a competition, she insists she come along and watch

Jaehee is blown away by your concentration, and the teamwork you and your horse possess

Wants to use it as a reference for working standards at the cafe lolol

When you bring her closer to your horse, she straightens her back, then gives him a deep bow

“Hello, my name is Jaehee Kang, am I am MC’s girlfriend. It truly is a pleasure to meet you,” she says, before standing upright again.

Your horse simply nibbles at the carrot you offer him, because it’s a horse and horses like carrots better than formal introductions I guess

*gasp* does that mean I’m a horse too? wow the more you know…

But honestly Jaehee you’re so cute what am I supposed to do with you???

Oh I know

Over the next couple of weeks, you give Jaehee a few lessons about horseback riding, and of course being the intelligent and hardworking person she is, Jaehee picks up on them right away

And one day, you have her dress up in a pretty outfit, and bring her over to the yard

Jaehee sits sattleback as you guide the horse around the track, wanting to show the world how beautiful your girlfriend is, and how proud you are to be able to call her that

Jaehee’s a blushing mess

You decide to to it again soon

ᒍᑌᗰIᑎ:

The first time Jumin saw your dressage performance, he was floored

There are other animals as sophisticated as Elizabeth 3rd???

Your horse’s trot just captures his heart, and that night he watches more dressage videos with Elly

Lowkey tries to teach her how to do the fancy horse walk

lolololol could you imagine a cat doing that

makin’ my way downtown

He’s gonna build a private establishment just for you, one that’s really close to his office so that he can come visit you during his breaks

It calms him down after a stressful day at work, watching you practice so diligently

He makes sure you have the best coaches, best facilities

But he knows not to suggest getting ‘better’ horses,since he would promptly arrest anybody who suggested getting a ‘better’ cat (not that that even existed in Jumin Han’s mind)

The guy thought he was a cat whisperer

He’s actually a horse whisperer

You’ll walk in on his brushing your horse, singing her a lullaby in a foreign language

you swear the horse is singing it right back at him

But Jumin promises to sing it to you too

ᔕᗩEYOᑌᑎG:

Oh he knew

He even attended your pas de deux competition when you just joined the RFA

He was that one dude who kept screaming every 5 seconds and had to be escorted out

When you officially introduce him to your horse/s, Saeyoung looks like a kid who just met their superhero

“It’s a HORSE!?!?!?”

Yes, yes it is.

bOI S TOP WITH THE MY LITTLE PONY REFERENCES

IT’S SERIOUSLY GETTING OUT OF HAND

You never knew he was a closeted brony

Names your horse after his favourite character

“Seven please he’s called Shadowfax not Rainbow Dash!”

For some unknown reason, Saeyoung knows how to ride horses??

And he’s actually pretty good at it????

Except he still lacks common sense????

“Look at me!” he exclaims, ‘Rainbow Dash’ prancing around the arena with Seven on his back,”No hands! No hands! No– gah!”

He’s is flung from your horse and lands in a bush

His glasses askew, bramble stuck in his hair, he declares that he immediately wants to do it again

In the end, you guys make a pas de deux routine together, and it’s a beautiful thing to witness

somehow the horses dab at the end

ᐯ:

He’s happy when you tell him about you being an equestrian, but his thoughts are tinged with sadness because he can’t see what you’re doing

Still, V says that he wishes to be there when you practice, so you bring him along and sit him somewhere nearby (you don’t want him to wander off while you aren’t looking istg even if he’s blind he just doesn’t know how to stay put)

He hears everything, the sound of the horse’s hooves, the soft words you give your horse in between rides, and he even begins to think that he can hear the sound of the wind as you gallop around the arena

His fingers are aching to take a picture, but all he can do is imagine with eyes that can no longer see, what a sight to behold you must be

I did a Seuss thing

Not three days pass before he confronts you with his desire to get surgery

When he goes back to watch you, he brings along his camera

You were more incredible to watch than he ever thought possible

He wants to capture every moment of you looking free and cherish them forever

ᔕᗩEᖇᗩᑎ:

Actually really afraid of horses but definitely won’t admit it

So when you tell him about being an equestrian, he sorta just freezes for a moment

He clears his throat, “Ah…oh, cool,” he growls, trying to appear disinterested

You you tell him you want to bring him to a cross-country event, but he just gives you A Look™

“Will there be…you now…horses there?”

Saeran p l s

But he can’t lose face in front of you, and forces himself to go

He waits with the crowd while you do your thing, but he can’t hype himself up for you because he’s too afraid for your safety

Basically, since he’s scared of horses, he’s also afraid of seeing you on a horse

horsesareevilIdontunderstandthemwhatiftheyhaveahiddenagenda

That’s pretty much all he can think about

When you’re done, he all but snatches you off of your horse, glaring at it as if it were his love rival

“Um Saeran did - did something happen between the two of you?”

“You never know what a horse is plotting,” he mutters to himself.

“What?”

Saeran pouts and looks away, and you tell him you have to go see your coach but you’ll be right back

So he’s left standing awkwardly beside your horse

He keeps giving it suspicious glances, half-expecting it to morph into some strange monstrous creature

“Who the fuck are you?” he finally hisses, staring the horse down. “Are you an impostor? Professional cosplayer? Well, whatever you are, you better watch out, because I’ve got my eyes on you…all three of them,” he adds, tapping his arm.

*does the I’m watching you thing with his hands while slowly slinking out of the frame*

Horse: who the fuck are you?

ᐯᗩᑎᗪEᖇᗯOOᗪ:

He’s totally with Saeran in the ‘horses are plotting world domination’ club

You want him to come watch you? Nuh-uh

No matter how much you beg, Miss Vanderwood will not go

So you think to yourself

If he will not go to the horse, then the horse will go to him

“MC!!!! MC!!!!!” you hear Vanderwood screeching that afternoon.

“Yeah?”

“Why…WHY IS THERE A GODDAMNED HORSE IN THE LIVING ROOM??”

“I thought some bonding time would be nice.”

Vanderwood runs around the house, screaming for hours

When he finally calms down, you find him seated in a corner of the living room, whispering things to himself

You think, good, he seems to have come to terms with your horse, and you approach him with a small hopeful smile,

“Hey, Van-”

You pause

He’s clutching a tattered book to his chest as if his life depended on it

What’s this? you think, stepping in some sort of thick liquid

There, on the floor, a strange rune-looking symbol had been painted, with your horse standing in the middle, munching on some oats

“VandeRWOOD WHAT THE HELL ARE YOU DOING?”

“I MUST SUMMON SATAN TO GET RID OF HIS SPAWN! SO I’M SACRIFICING THE HORSE!!”

“NO DON’T YOU DARE SACRIFICE THE HORSE!”

“Fucking waTCH ME! DIES IRAE, DIES ILLA, SOLVET SAECLU-”

The horse vanishes only to reappear in the bathroom

Vanderwood loses his voice for a week, and still has nightmares regarding the whole incident

You never speak of that day again

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lizshine74 · 11 years

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Found sentences, Happy New Year, and how have you been while I was away?

Writing here with more regularity is a goal I have for 2014 for mostly selfish reasons. The more I am writing and thinking about how to stay focused and producing words on the page in spite of an already full life, the more likely I am to write more than in fits and starts. I also hope that you, reader, might find among these posts the aid or inspiration you are seeking in your own creative practice. 🙂 I hope to post more visual prompts, letters, found sentences, and musings on writing practice than ever this year.

I made the decision to put a piece of writing I’ve been lingering on away and start something new, to add one more mostly done book to the proverbial drawer. They say that I shouldn’t feel bad about that and that these failed attempts at writing books have made me strong and agile-minded for the book I’m about to begin. I hope so. There is contradictory advice on just about every aspect of writing out there. When I came across this article on Twitter today from Writer’s Relief, I nearly lost my nerve.

Then, I reminded myself how my decision had emerged while freewriting with some friends at The Spar Cafe downtown Olympia and how you know a truth when you come upon it, no matter how difficult that truth may be. So, I’m starting a new book and so far I don’t have a plot, only a main character I’m obsessed with getting to know named Hannah Farouche. I’m also working away at a dozen or so short stories I’ve got going.

Here are some sentences I’ve been collecting over the last few months. I meant to share them along the way, but I saved them up instead. I think they are exceptional and worth looking at on their own.

From Open Secrets by Alice Munro: “On the runway, in Honolulu, the plane loses speed, loses heart, falters and veers onto the grass, and bumps to a stop.”

From Cat’s Eye by Margaret Atwood:

“Around the corner was the Maple Leaf Tavern, where I drank draft beer in the dark, two stoplights away from the art school where I drew naked women and ate my heart out” (91).

“One day someone appears in the schoolyard with a bag of marbles and the next day everyone has them” (68).

“Futon, duvet: This is how far we’ve come” (13).

“Despite their cool poses they wear their cravings on the outside, like the suckers on a squid” (122).

“I’m sitting in the mouse-dropping and formaldehyde smell of the building on the window ledge, with the heat from the radiator going up my legs, watching out the window as the fairies and gnomes and snowballs below me slog through the drizzle to the tune of ‘Jingle Bells’ played by a brass band” (127).

From The Flame Alphabet by Ben Marcus

“The occasional ambulance stopped on our block, stayed too long, drove away finally, too quiet, its lights revolving in funereal silence” (21).

“Hello was the perfect word. It began and ended all contact, delivering us into private chambers from which we could enjoy other people in textbook abstraction, without the burden of intimacy” (27).

“I looked east toward the man-shaped silhouette between two houses where the sun would appear in a few hours, but there was nothing there to suggest a sun could ever heave itself into the sky again” (94).

“What a lovely chart one could draw of this word sorry” (112).

“Such a shared habit allowed ritual nudity to occur at home, a nudity that often heralded nothing but private fits of sleep on top of the same, vast bed” (235).

“We wrestled in much the same way we had when we were erecting the play tent for Esther when she was four, sliding collapsible stilts through a long canvas sleeve, except this time there was no play tent between us, just deflated geometries of air, and we were two old acquaintances grimly determined to extract pleasure from each other” (236).

Buy my books here.

Interested in hiring me as a coach to get you boosted with your writing goals?Find free resources and information here.Some past posts to keep you making time: Adjust your pace accordingly.It’s about the routine and how you shake up the routineThere are things you will have to give upSee it to achieve itWashing the dishesWrite slowlyA celebration of the pauseMonday, a run through the driving rainZen accidentGet out of your comfort zone

Found sentences, Happy New Year, and how have you been while I was away? was originally published on Make Time.

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whatwillyoudodifferently · 8 years

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Hearts Of Gold – A Very Brief Look at the Character Design of Jojo’s Bizarre Adventure

If I were to describe Jojo’s Bizarre Adventure in a single word, I think it would have to be “audacious.”

I would be very surprised if there’s anyone out there that doesn’t have even an inkling of an idea of what Jojo is about, but to put it as briefly as possible: Jojo’s Bizarre Adventure is a long-running manga (that has since given birth to a multi-media franchise, including animation, video games, and an exhibit in the Louvre) that tells the story of the Joestar family, spanning years, generations, and various casts of characters. The foes that the Joestars face range from vampires to superhuman immortals to everyday human beings empowered by the ghostly avatars of their resolve and desire. The Joestars and their allies use their own ghostly avatars (most commonly known as Stands), along with other forces such as the manipulation of energy via proper breathing or the weaponization of the Golden Ratio. Oh, and later in the story alternate universes come into play.

I’ve joked in the past that the secret to Jojo’s success is that the mangaka, Araki Hirohiko, simply does whatever he wants. Emotions are rarely anything less than bombastic, characters pose like abstract art pieces, Stand abilities range a seemingly endless range of possibilities, and are named after popular Western musicians and songs, and can be found in infants, turtles, hawks, haunted cat-plant hybrids, intelligent colonies of plankton, and trees. Basically, Araki never seems to ask himself “is this TOO ridiculous?” Honestly, in my opinion, at times it can be— but most of Jojo’s appeal is in how fantastic and delightfully bonkers it can get. If there’s anything Araki does differently, it’s that he is unafraid to let loose, which has made Jojo’s Bizarre Adventure the pop culture sensation it is today.

And if there’s anything Araki is good at letting loose about, it’s character design. Araki (who has gone on the record confirming the importance of the fashion world as an influence for his work) has a knack for designing outfits that are absurd and iconic and outlandish and stunning all at the same time— and in the world of Jojo, a character’s wardrobe is always a key part of their design. Iconic hairstyles, accessories, and tattoos are plentiful. And I could write an entire essay about the otherworldly and delightfully bizarre Stands alone.

I’ve come to find I have a deep love for character design and the thought that artists put into them— so much so that I’m actually in the middle of writing another essay about the character design for another series, Yowamushi Pedal. But as a sort of “appetizer” for that essay (and a “warm-up” to get me back into proper writing form for this blog), I’ve decided to write a small essay on what’s probably my favorite example of character design from this series while also examining what makes it so good.

Higashikata Josuke is the protagonist of Diamond is Unbreakable, the fourth major part of Jojo’s Bizarre Adventure, and (at the time of writing) the part that has most recently been adapted into an animated series. Unlike previous Jojo installments, DIU has a specific and consistent setting: Morioh, an average and unassuming Japanese town whose only real oddity is the disturbingly high amount of missing person cases. This, of course, ends up being linked to the power of Stands, and Josuke and his companions take it upon themselves to solve the mysteries of their beloved hometown and bring the unknown killer to justice.

Despite a few vices typical of your average teenage boy and a shockingly explosive (and specific) temper, Josuke’s defining character trait is his kind and noble heart. His major goal of the series is to keep his hometown safe from malevolent Stand users, but he actually ends up befriending many of the enemies he and his companions defeat.

What does all of this have to do with character design? Simple: Josuke’s design effectively communicates almost all of this information.

We’ve already established Araki has an eye for fashion, and even working with a typical high school uniform he’s able to create a look that’s all at once stylish, grounded (at least, for Jojo) and instantly recognizable. But the main thing I want to talk about here is the repetition in Josuke’s design. Repetition is one of the principles of visual design, and the idea is simple: repeating a visual element in your design will create a sense of unity and cohesiveness. This is mostly applied to things like graphic design, but I find repetition is a great way to create excellent character design as well.

Have you guessed what the repeated element in Josuke’s design is? That’s right: he wears his heart on his sleeve.

Or, rather his collar. Josuke customizes his school uniform with pins, and three of those five pins are heart. Most notable is the larger one he wears on his open jacket flap, opposite a large peace sign. One could definitely say that “love and peace” is Josuke’s ultimate goal in bringing the killer of Morioh to justice.

Speaking of the flaps of his jacket, take a close look. While it’s not as obvious as the stylized pins, the shape of Josuke’s open jacket creates what’s unmistakably a heart shape. Even Josuke’s silhouette calls to mind a heart: compare the width of his shoulders and chest to his waist.

Of course, we can’t talk about Josuke without talking about his hair. Josuke’s hairstyle is great, not just because it’s snazzy (it is) but also because it’s a rare QUADRUPLE-hitter of character design. First, obviously, is the fact that it continues the heart motif (only at certain angles— it’s even more pronounced in the anime). More important than that though is the fact that it’s instantly distinctive and even iconic, setting him apart not only from his fellow “Jojos” but from other characters in Japanese pop culture as well. Even if you only saw him in silhouette, you could probably identify Josuke by the shape of his hair alone.

Perhaps most cleverly of all, though, is how it sets up a contrast that serves to communicate Josuke’s character depth. See, in Japan, particularly in Japanese media and pop culture, pompadours are typically shorthand for a delinquent. When the audience first meets Josuke, more likely than not they’d assume he’s a bit of a rough kid (especially since the previous “Jojo” was a delinquent himself), leading them to be surprised when his introduction scene sees him attempting to be friendly with a local turtle to get over his fear of reptiles.

It’s a classic set up and reversal: “the delinquent with a heart of gold.” Nowadays it’s starting to become a bit of a cliché, but at least it’s a starting point for character depth. But Araki gives this trope another twist: in Josuke’s introduction (and establishing character moment), Josuke encounters some of his upperclassmen. They talk down to him, harass him, and even hurt the poor turtle, but Josuke, being a freshman, is of course too polite to talk back to his senpai.

And then one insults his hairstyle.

Instantly Josuke’s entire demeanor changes. One broken nose later, the upperclassmen are running for their lives, the turtle’s shell is mysteriously fixed, and the audience is beginning to get it. Josuke is a nice guy, he has a set of morals he sticks to, but he’s not a pushover, and he’s definitely not opposed to violence. In short, he’s far more than just a high school punk.

As for why Josuke’s hairstyle is such a big deal to him, that’s the last important detail about it: it ties into Josuke’s history, and therefore, his motives. As it turns out, Josuke’s hairstyle is modeled after that of a mysterious stranger that helped him and his mother many years ago. Inspired by the man who saved his life, Josuke decided to live his life as he believed his savior would, which reflects in his compassionate nature at the time of DIU— wouldn’t you know it, linking neatly back to the heart shape, specifically as a symbol of love.

It’s things like this that make me wonder is Araki is a genius, or simply ridiculous.

Anyways, the short and long of it is that’s Josuke’s pompadour continues the heart theme. That theme also just so happens to continue in his Stand, Crazy Diamond. There’s hearts all over Crazy Diamond’s design, some blatant, some more subtle (hint: look at its shoulders). And of course, its helmet-like head is an obvious parallel to Josuke’s hair while also incorporating a heart-like shape. As an extension of Josuke, it’d only make sense for Crazy Diamond to also possess his motif.

But what does the motif mean? Well, I probably don’t have to tell you. Even if you somehow didn’t know that hearts are visual shorthand for love and affection, the round edges might clue you onto the fact that it’s a “soft” shape, similar to how a circle carries connotations of approachability. Hearts are love, kindness, compassion— all that warm and fuzzy stuff. Basically, Josuke’s “hearts” are all meant to clue the audience to the fact that he’s a good kid.

This is reflected in the main ability of Crazy Diamond. On paper, Crazy Diamond’s ability is “restoration,” allowing Josuke to return anything to a previous state. The most common application he uses this ability for, however, is healing the wounds of others. As Jotaro says early in the story, while humans are naturally drawn to violence and destruction, Josuke’s strength is rooted in his compassion. It’s his compassion that leads to him befriending his many allies over the course of DIU, even those who started as his enemies. And ultimately, it is the culmination of all these different bonds that lead to the defeat of Morioh’s killer.

Diamond is Unbreakable is often referred to by fans as something of a “slice-of-life” series. While there’s plenty of action and drama, this classification isn’t entirely inaccurate, what with the small town setting and the fact that most of the cast are high-schoolers and otherwise average people, despite all the punch ghosts. Even with all the fights and mysteries, DIU is more of a story of characters, of their strengths, weaknesses, inner conflicts and interactions. It’s a “softer” chapter in the story of Jojo’s Bizarre Adventure, and Josuke, with all his “softness,” is the perfect protagonist for it.

In talking about Josuke’s character design, I actually ended up talking a lot about a lot of other things, including Josuke as a character and the themes of Diamond is Unbreakable— and that’s precisely why Josuke’s character design is so fantastic. You see, aesthetics are great, but a character’s design should ultimately tell me about the character, and if it also happens to communicate some central themes of the story, well, the more the merrier. Josuke’s character design is one of my favorite Jojo designs, and stands as a testament to the power of a few repeated elements as well as what a good character design can communicate.

Araki Hirohiko, your manga is ridiculous, but it’s a damn good kind of ridiculous. Shine on, you crazy diamond.

Diamond Is Unbreakable can be watched with subtitles on Crunchyroll, along with all the previous seasons of David Production’s current adaption of Jojo’s Bizarre Adventure.

#jojo's bizarre adventure #jjba #diamond is unbreakable #josuke higashikata #wwydd?#manga #anime #character design

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