#shading... the shadows and lights can really change one's facial structure

[anewp0tat0]

sup yalllll hope you're all cool. things are crazy rn but. great too. finally got some free time and what do I do.....

I'm sorry to everyone that won't find this interesting, I did this like 100% for myself. this week I saw a presentation on the show Arcane, and I immediately rewatched it afterwards because after 2 years I remembered how much I love it. especially the art style... I'm sorry but I've always wanted to try it, and with my favorite characters even better. so good thing I had a Sebastian head sculpt lying around which I use for reference. 11 hours later.....

the head sculpt was bald and naked so I had to imagine the rest, but I think that kinda lends itself to the style. I was too impatient to wait for the 3d animation course I will be taking next year if not sooner, so I just painted over the model. and thankfully, I'm happy to say that I'm actually pleased. it's not perfect, but I got what I wanted •v• I can imagine more clearly.

but the most important thing to know is Happy October!!! have a lovely day

[by-izzmizz]

I saw your Minthara drawings and just wanted to say WOW, you're talented! Do you have any tips for digital drawing, and especially getting facial features so accurate?

Hello there, MischievousSeagull.

Thank you for the ask and for the compliment. I really appreciate it. Minthara is just too gorgeous not to draw her (every day, for the rest of my life).

To answer your question, I must say I am very much an amateur and self-taught as well so my advice my not be what professional artists would always agree with. I personally regret not studying art and doing character and object studies when I was younger because I believed 'drawing from references was cheating' so I never did. Now I know that in order to draw a character and make it look like themselves you will need:

1. Start with high quality references:

I aim for a few different ones from different angles, with good light but not flat light as this washes out facial features. I usually find something I like and then wing the rest of it. I recommend checking out and supporting Baldurs Gate 3 community in game photographers, they are amazing! The bigger the resolution, the better, so you can see the the details clearly and avoid ending guessing 'is this a shadow or a dimple or a smudge?'. Also, studying the references will help you recognise the characters features. And Minthara has a few!

It helps me to keep the reference in grey scale for and even with slightly more contrast to better understand the structure of the face, especially if I am just learning to draw a new character.

2. Make the features match:

There are so many different ways of approaching the form here and I ended up trying out a few ones. I personally need to have some kind of guide for the relative position of eyes, mouth and middle of the face as it can save from making massive errors. But I am becoming more and more impatient and mostly just wing it and spend hours correcting it later.

Doesn't matter how you do it: using the Loomis method, Asaro Head/planes of the head model (I love it, it helps a lot, especially if you are planning to have more detailed shading in your art!), Reilly method or the thirds method, colour blocking shapes method that they teach in art schools (I do that chaotically sometimes) or just mark the positions of features from references or just trace it, this is 50% of success. It doesn't matter how you get there, especially if you are a beginner.

What I have been doing with Minthara is trying different faces, sometimes just the reference, with my chosen body position and choosing the one that looks 'least off' and then sketching it. I remember to mark the features of the face as it's crucial at this stage, whether you stylise your art a lot or just stick to the character proportions: thin lips, deep/almost hooded eyes, the way her buccal pads are shaped, the more pronounced nasal dorsum and the adorable angry look of concern with furrowed brows. And obviously the ears. However, I will make the ears longer and the eyes slightly bigger as it looks better for my style.

The structure is very important because and you gave to trust the process. The ugly phase can be torture and if the drawing has no redeemable features, I will never come back to it. However, the next step can lift it all up.

3. Shape it with darknesss and light:

Choosing the way you render can make a big difference in how the drawing turns out. What helps me at this stage, after I have my base colour established and filled my shapes with it, is to have a layer with shadows (copy the base colour and just change layer properties to multiply and time it dial it down to 50%) and a layer with light (the same but use a different mode like Add or Screen) and that's the base for shading on which I build my colours. But to be fair, I am not great at this and I still refuse to aim for a higher contrast in my drawings. This is something I'd like to improve in this srea. I learned to avoid airbrush and work with blending brushes.

I usually play with these light and dark layers until it looks okayish, then proceed with adding extra light and some details. If I keep forgetting where they light is coming from, I draw a little sun to remind me.

4. Ok, now crisis control:

Sometimes, even if I have the most perfect reference the more I render, the less it looks like the person I intended for it to look like. This is why I keep doing these things throughout the process:

A) Mirroring: canvas>flip horizontal every now and then. Our brains lie to us and if you look at your art long enough,you will not be able to see mistakes. Sometimes, when I want to finish something quickly, I end up not checking for errors (wrong eye position, nonsensical anatomy, etc), and seeing the final version after sometime, it can make me feel like a rubbish artist. Having breaks and coming back to unfinished art is a good way to keeping it a little bit more objective as well.

B) Levels in grey scale: Rendering is hard and with little understanding how colours work it can ruin the best lineart more sketch. It helps to have a grey layer set to Colour on top of your art to check if the dark and light balance is there and if shapes look the way you wanted them to look. My brain likes bright colours and sometimes they don't go well with the rest of the composition, this is where grey scale helps with planning it all.

C) Check what went wrong with the reference: If I mess up badly and nothing is improving my drawing, I will go back to the original reference. Mirroring both helps to look at the structure with fresh eyes but if that fails, I will try to redo the base form or marked features in the reference. If it's hopeless, I'll trace the features until the drawing looks right to me.

I used to draw by looking at reference on a (in)famous okeaki platforms and I learned many things from just going back to the form over and over using guidelines on both the drawing and the reference as one couldn't import a picture in that software like we can do in Procreate. I recommend just studying forms and shapes and simplifying complex structures. I'd be a much better artist if I wasn't feeling like it was cheating back them. Going to various exhibitions and learning that my favourite artists traced their own photos and built the composition around them blew my mind and encouraged me to explore more ways of creating art.

I hope this answers your questions and I hope to see your work in the near future and the planned animatics! I'm learning Procreate Dreams and hoping to create a few short animations, once I get the hang of it.

This was a bit long but it was a really good question and one that I often ask myself in the process. Thanks for asking! I almost ended up doing a tutorial on Minthara's features but that'd be overdoing it, haha!

Cheers to creativity!

Izzy

[nyaawn]

Adding to my previous 'Graphical Update and Derplander's face' post now that the benchmark has been updated, and overall it's an improvement. Rejoice user of hyur face#5, your WoL won't suddenly turn into old man anymore!

It's rather hard to take pic with similar light for ver1.1 because they had revamped their lighting placement big time, especially the indoor one. But hoo-boy ain't it look good. It register multiple light sources now? Making things like his collar and ears cast subtler shadows from different angle. They fix the fading facial hair and eyebrow too. Nice.

While face#5 regain its youthful visage, players who DO want their WoL to age can look to face#7, which retain its middle-aged-man look from previous benchmark, that stubble come complete with nasolabial folds, wrinkles, lines and all intact. Heck, you can argue that it look even more rugged now.

(note: When the first DT benchmark released I was on break from playing XIV and didn't have access to in-game Character Creator, so I used EW benchmark for comparison pics on my previous post and the updated ones above. They were captured on PC and labeled from patch 6.0. Since then I had subbed again, so part of pics below was taken from current-build CC, captured on PS5 and labeled from patch 6.5. I thought it wouldn't differ much, but 6.0's shadow is much darker compared to current (6.5) build. Huh. Is it because of different hardware? Different setting? Benchmark fault? Idk)

Yep. Same face structure, different direction. One brings youth, one brings the age. Two-toned echoes tumbling through update.... Well, anyway, they did a good job distinguishing face#7 from #5 with this graphic update. And it's nice to have more options. People who like this face type (and it feels almost every male hyur player use this one) but want 20s or youthful 30-something WoL can go with face#5. Those who don't mind 40s or 30-something-who-spend-too-much-of-his-life-standing-one-millimeter-from-blazing-inferno-or-toxic-fumes-AoE-too-keep-his-uptime-resulting-in-rough-skin WoL can go with face#7. That's me and I'm happy with this update. I just wish we can turn that stubble on and off without need of fanta($$), like every other facial hair options... But I guess that ship has sailed.

Looking at updated benchmark cutscene itself, there's improved lighting but all in all the change is minimal imo. And I'm sad to say that villain-esque eyeliner I mentioned in previous post is still there. Not as thick as previous, but still appear anytime I use hairstyle with bangs that drop shade on his eyes. Sigh maybe I should use that new DT hair afterall...? But ngl I don't really like it...

Don't get me wrong, it's great! ....It just doesn't compliment this face type.. On my previous post I wrote about how they add highlight to this face#7's forehead, and in theory I understand why they did it. But in practice and with this hair, I found it make his forehead distractingly bright and plastic-like and flat compared to the rest of his face that's carefully detailed and contoured. It looks odd, is what it is. That bright forehead also highlight (hurhur) how the front hair and roots don't have shadow at all, and my brain can't help thinking how wrong it look like every time I put this hair on him. Also I deliberately capture the above pic with indoor lighting, because in outdoor that forehead shine like lighthouse, good lord @_@. Being a Warrior of Light doesn't mean you have to become literal sun, dude.

So yeah that's my main wrinkle with this expansion, his hair and forehead. (first world problem) (while a throng of BLM and AST have a meltdown out there (*´・ｖ・). Tho I do feel pretty miffed right now regarding how they replace many gap closer with no-damage skill. Like, I can't surprise enemy by poking their head from above while laughing maniacally anymore?? HOW DARE YOU--- but this aimless rambling post already hella long without those rants. I'll keep it for another time..)

[nutty1005]

(Fluff warning) Why is Xiao Zhan a god-tiered beauty? A deep shallow analysis…

Original Article:https://www.weibo.com/ttarticle/p/show?id=2309404476336126165027#_0 Original Author: 织世靳靳子

(TN: This is a fluff piece, written entirely by a fan to praise his good looks. There is also quite a fair bit of Chinese beauty standards in this. Enjoy the pictures!)

(TN: Also, beauty should be beyond gender boundaries.)

What properties should a god-tiered beauty have?

When you think of a god-tiered beauty, who pops into your mind immediately? Is this adulation, or is Xiao Zhan worthy of this praise?

When a person is considered a god-tiered beauty, it usually means that this person is flawless, but is this absolutely politically correct?

I think not.

Beauty comes from imperfection, and they do not need to be hidden, because vividness comes from such imperfections. Audiences can be very sharp – no matter how much “beautiful” labels you attach on a person, these labels will not stay if the person cannot uphold these labels. The entertainment business is full of attractive people, but when you remove the make up and filters, you can really gauge the true physical attractiveness of a person.

I got a lot of surprise studying Xiao Zhan.

When deciding if someone looks good, we do not linger on how big his/her eyes are, or how tall his/her nose is, but instead we look at the proportion and general aesthetic.

If you were to choose the magical touch on Xiao Zhan’s face, which feature will you choose?

I would choose his eyes.

The truth is that in terms of absolute size, Xiao Zhan’s eyes are not very big, but it stands out because of their aesthetically pleasing shape. 

The shape of his eyes appears to be almond-shape (but more stunning), with a full lower eyelid and rounded upper eyelid. This gives off a sense of innocence when he looks up. In addition, the the shape of his eyes slant downwards but the outer ends hook up, and with the shadows of his thick lashes, which brings his shape closer to what the Chinese call “Phoenix Eyes”. All in all, the shape of his eyes is one of the rarest eye shape – “Favored Phoenix Eyes”. 

The lines of his eyes have always been aesthetically pleasing, but this is further enhanced once he had learned to control his gaze (see X-Fire competition period). The focus of his face is on his beautiful and lively eyes, which elevates the entire aesthetics.

Inner eye corners are more rounded among the Chinese, but because his eyes are pointed and long, giving off a very oriental appeal.

If you study carefully, you will notice that his eyes follow an “S” line. His inner eye corners are rounded, the outer edges slant gently downwards but quickly end with an upward tilt. This is a very rare type of demure oriental beauty. His usual make up is very light and natural, but if there are additional touches on his outer edges, bringing emphasis onto the lines of his eyes, his aura will switch from harmless and innocent to sharp and aggressive. 

You probably cannot stop yourself from imagining dating him

When he is not smiling, you can feel that sharp and aggressiveness off him. He gives off a nobility aura and he can keep up his appearances at any event. 

In videos, his eyes are large and energetic, and so alluring, it is almost as though these eyes belong to an anime character or a CGI character. Given that we know that the camera would magnify flaws and moderate the overall aesthetic level, we can only imagine how he looks like behind that camera, and it is probably not that “normal good looking person” like he says he is. 

Xiao Zhan does not depend on strong features – his brow bone and nose ridge are not tall. 

Rounded features, not strong

If I were a famous director, I would be very satisfied with Xiao Zhan as an actor. In my Weibo pinned post, I spoke about how he does not depend on shading make up to sharpen his features, but instead, he depends on simply on lighting. This is evidence of his good bone structure. He does not have the standard issues of sunken temples or broad zygomatic bow (TN: the bone area to the side of the eyes) that are common among Asian faces; his zygomatic bow does not broaden sideways, but instead expands outwards proportionately. This advantageous bone structure shows itself most evidently in period dramas, where an aura of heroism is required. This balances out his soft features. 

This is an unedited raw image from a HD camera – his features are simply enhanced just by lighting

This face of his looks good in any lighting. Under paramount lighting, his cheekbones stand out and makes his face even smaller. (TN: Smaller faces are considered more aesthetically pleasing in Chinese culture.) Under rembrandt lighting, his gaze becomes more vivid, and the shadows from his nose and cheeks makes the picture more dramatic. 

The Chinese have 4 ways to describe dimensions on facial structure – tall, low, flat and sunken. Most Chinese faces have low nose bridges and sunken structure, and for those who have this, when seen on HDTV, their facial muscle movements can be very obvious. In the case of Xiao Zhan, his facial muscle movements are clean and his facial expressions are especially pleasing, even when expressing extreme emotions. In addition, he does not require special lighting and can even withstand odd lighting. 

Looks good even when expressing extreme emotions

This is the true meaning of “no bad angles”. 

This is a random screen capture off a HD video. Still beautiful.

Generally, if anyone of us takes a picture from this angle, we probably end up looking like crap, but Xiao Zhan looks as thought he had been touched by Aphrodite. His cheekbones is the olive branch from Cyprus; his lips are the roses from Damascus; his Adam’s apple is the shackles of Prometheus, Mount Kaukasos. From head to toe, he is the real life representation of the sonnets of Shakespeare.

His beauty is breathtaking.

He looks like he descended from anime-land, but yet more vivid than ever

At the same time, Xiao Zhan’s features are tight knitted and his eyes sit lower in his face. This gives him a general youthfulness, hence he seems a lot younger than his actual age. I have often felt that his face looks almost anime-like, and in some instances, his expressions make him seem almost unreal.

If we try to convert some of our favorite anime characters to actual humans, how would they look like? From the side profile, the eyes should be position lower, almost towards the middle of the nose bridge. However, it is very difficult for this to occur while maintaining proper facial proportions.

We can immediately see from this picture that the middle section of his face is not too long. A long middle section usually ages a person. 

Under further study, you will realize that the mouth-lip area of his face is not too short either. However, his philtrum (the midline groove in the upper lip) is deep and slightly pointed upwards, which moderates the length visually.

The shape of his lips are rounded, but given his sharp eyes and tall nose, the “roundness” and “sharpness” matches in equilibrium, resulting in him looking incredible whenever he smiles.

I am an art student and I am studying his features simply from the angle of an art model, instead of the angle of his fan. The conclusion I have drawn is that his facial features are simply outstanding. Plastic surgery may be able to change the facial features, but will not be able to change proportion; moreover, we know that Xiao Zhan did not go through any of that.

In general, people with good facial proportions will standout in a crowd, more so with Xiao Zhan, who has great features, and these will be especially brilliant after he has good control of his facial expressions.

You cannot hide the smile even if you cover the lower half of his face

Xiao Zhan is an expert in facial expressions control. His smiles can be viewed over and over again, and they are not easy to recreate – I have slowed down GIFs to capture his expression sequence.

When bringing forth a smile, he will move the muscles around this eyes to bring up the outer edges, and this brings the joy onto his face even if you cover the lower half of his face.

He pays attention to the movement of the muscles on this brow and the area around his eyes, such that he is able to pinpoint the emotions in this gaze. This is actually not easy to do such that it looks continuous and natural. 

The essence of facial expression control comes from knowing your weaknesses during the training done in front of the mirror, and correcting them. I’m guessing here that he spent a lot of effort in his training, not because he has a lot of weaknesses, but because he has always been very strict with himself. 

This is his signature smile. He has a multitude of combinations in his expressions, none of them fixed in any categories but serialized, and recreated in sequence when needed. If not for that fact that he sweats so much, I would have thought that he is an AI, but then again, could AI create this magnificence? I think not. 

Xiao Zhan’s signature smile is smooth and stunning – it captivates people because of his confidence and ease.

The entertainment business has always been filled with beautiful people, but what makes Xiao Zhan stand out is the purity in him. He stuns people around him his clear eyes and his innocent smiles – and we pray that he will never lose this.

I know this – with his good bone structure, he will remain handsome for at least another 30 years.

Xiao Zhan is not just a “top celebrity” of this area, but he will also become “that god of period dramas” some decades later, and he will continue to shine bright as an icon of this generation. 

[same-side]

As always, it goes without saying, but practice is the best tool you have! I know it gets repetitive to hear, but you can’t expect someone that’s drawing for three hours a week to be on the same level as someone drawing three hours a day

For painting:

I have a tutorial on light and facial structures that you can find here! This should give a pretty good overview of how I think about faces and translate that to a painting.

Some little tips to remember when working in realism:

Shadows will generally have a countershadow. That is to say, when you have a very dark patch, (like the shadow on a thigh or the center of someone’s pupil) the dark will always give way to a lighter shade. We live in a three dimensional world where “absolute darkness” is only really encountered with things like vantablack. So replicate that with your art! For example, here you can see the center of the pupil is actually navy blue with a black ring around it, rather than solid black. in the second picture you can see on the neck there’s a lighter patch. This kind of countershadow will occur on thighs, forearms, necks.... really everywhere! Particularly on curvature!

Shading isn’t linear! By that, I mean that when you paint shadows or highlights or tonal shifts on things, they don’t cross straight left or right or up or down on your color wheel! They vary in shade, tone, saturation.... I have a tutorial for this here!

For sketching:

The direction of your hatch lines should indicate shape and form of what you’re drawing!

Curvature can provide depth and dimension!

For fabric: Closely packed lines means th fabric is tight. Wide, spread out triangles mean the fabric is loose

Drawing without a reference can be tricky. Something to think about here is just how referenceless does art “need” to be? There’s no shame in looking at something and drawing!!! No! Shame! Sometimes, of course, you can’t find the pose you want, photography isn’t dynamic or stylized enough, or you don’t feel comfortable looking at shirtless men (lmao me). But! You most likely have hands and feet right in front of you! Look at them when you draw for the love of god!!!

The biggest thing I can say is practice!! Do so much practice! Eventually at first you may need to reference a shoe to be able to draw it. But draw it enough times and you’ll hopefully memorize the details and shapes and how to recreate it from your mind! Here’s how I draw without a ref:

I start out with just a simple composition spine to get the pose and flow down. Once the spine is there, I add a dark outline that shows me my “silhouette”. It’s really important on this step that you have a good idea of what you want to draw - I’m taking a very clear image of what I want from in my head and making the silhouette on “paper”. Then I finish off the silhouette with important details like arms and hands. It’s really important to note here that... I have hands! Right in front of me! I got TWO of ‘em, in fact, lucky me!! So of course I’m going to look at them when I draw to make sure I do it right! From there I add details like fabric folds, make slight adjustments to the silhouette as needed, and then start working on the face!

Sometimes the image I have in my head doesn’t cooperate as well with me and I have to adjust, adjust, adjust. When that’s the case, I’ll duplicate the layer a bunch of times and make tiny changes to it until I have a version I like. Here’s an example:

This one shows me changing a face, but I do this with arms, legs, tiddies.... really anything! It allows me to compare and pick which one I like best without regret of “the one I did two times back was better”. This is a really good technique for when you don’t have a reference because it allows you to find the most natural version by process of elimination.

Additionally, if a pose isn’t being nice to me and I have to adjust it many times, I’ll finally merge that sketch down to one layer, change it to a different color, and re-line on top of it. Here’s an example of doing that. This allows crisp, clean lines. You’ll notice in this picture that many of the lines are disconnected, or have weird “hangnails” on them from where it was moved from somewhere else. Others may be blurry because they were resized. So this is where the relining becomes necessary.

I hope this helps!

[bluepenguinstories]

Happiness Overload Chapter Thirty-Two

Needle slid in. Rough armor, soft skin. Duly noted.

“AAAAAAAAAAAAAAA--” Erupted from the soldier's mouth.

My head tilted.

“Why do you scream?” I leaned forward, inquisitive.

No response. Skin shifted to a beautiful shade of green. Teal, or something akin to it. Some may protest that teal is more of a shade of blue, but it is a shade nonetheless.

“I can imagine such a procedure would be painful, yes,” I noted. “I remember when I injected myself. I thought I had been given the lethal injection, but soon, I felt rejuvenated.”

Soldier screamed further, gasped, then made seething sounds. I took note of each one, though lacking in a note pad, my memory was all the record I needed.

“Rejoice, man! You are proof that miracles can happen! Look at this,” I pointed to my arm, or my multitude of mini hands. The soldier croaked, puffed his cheek, and looked over. It was beginning. “Yes, you may find it odd, but this is the beauty of becoming part axolotl! Who knows what you, nay, what the others may become!”

Upon opening his mouth, the soldier spoke:

“Wow! I have GOT to tell the others!”

I nodded. “You will, you will.” I handed him the syringe. “I want you to spread this gift to the others.”

I released him and slid back into the shadows of the laboratory. Multiple soldiers ran in, the alarm having been alerted to Polo and I's presence. Polo was long gone, through the vents. I, on the other hand, was about to witness the birth of the next step for humanity.

As they ran in and stormed the place, before they could notice me, my acquired froggy friend lunged at one of them and took off their helmet and plunged the syringe into their fellow's neck.

Shriek. Next was the other two, which after you had seen it in action the first time, it became less exciting; still, the transformation never got tiresome. I relished in the rebirths of these fine men.

Once the scene had played its course, I stepped out to greet all of them.

“Greetings. You may call me Gumby.” I handed each of them their own set of syringes. “Resume your duties of protecting the secrets of these halls, but do so while birthing more amphibians!”

They all puffed their cheeks and croaked in agreement. I watched as they put their helmets back on and crept back outside of the lab.

Such an accomplishment before my eyes, it was almost enough to make me weep. But as a serious researcher, I am above such novelties.

Evils of being awake, the desire to chew on a pillow. Had it not been for the errors of the pleasure center of the brain, I would have choked on cotton or down feathers by now. Instead, I had to build them, package them, send them away. So grueling. So torturous.

Wave goodbye, every day. Whimper.

Some salt in the sky, a twinkle felt. Noticed a faint whiff of freedom, though my coworkers seemed immune. Out on the assembly line, I gorged myself on pillow fluff.

Euphoria was here. I could smell it in the air. That one smell I wasn't allowed to smell, but everyone else could; the scent of happiness.

My body craved it. My mind craved it. My shadow...

Each step, I ran my fingers through the metallic walls.

“Oh, if you could appear before me right now, what image would you choose?”

I wanted to know what image I had in my mind, but the only images were the ones others had seen. They were not images that would have satisfied me.

Do I have to wait until after I die to be cremated? Impatience. Intricate, insecurities. When the group came over, some of them began to chat, some of them took a dip into some salsa – pico de gallo. One dipped twice. Same chip. When one friend smoked...

Lungs. What do they do again? Cough, every night. Since I didn't know when. Sometime ago.

Water depleted. Supply ran dry. To be the same...

Smoke, ash. To be one of them. Many little dust particles. When I watched those friends, when we sat at the bonfire, I made my wish. Residual ash from the flame, to be part of it. Alive, and, well, a part of the process.

Entire body was turned to ash. So were the friends. We were most alive, in a fireside chat.

Several truths and misconceptions, lies and questions that some may have pointed out, had they the opportunity to dissect my thoughts. Those precious thoughts.

Let's begin with the first one: that there is no cellular range in such a remote location. That all and any signals would be jammed, blocked, intercepted. Yes. Very good. We, Lilypad, had considered this, so we brought miniature tower boxes with us and scramble the tracking so anyone hoping to intercept our call would have been left confused and disappointed. So when I called the World Wildlife Foundation, the group itself was in no danger. Gay amphibious humanoids and its allies that make up Lilypad are all high in intelligence. So of course, as seasoned hackers, we would also be seasoned engineers.

Second of all, the location and purpose: Groom Lake, or as its more common to call, Area 51 – believed to be called such due to an Atomic Energy Commission numbering grid. Whether or not this was true doesn't matter much. Call it Paradise Ranch, call it Hidden Valley for what little difference it made.

What really mattered was the purpose – originally a testing ground for the CIA for the U-2 plane, its ownership was later handed over to the US air force for the purpose of crafting other experimental air crafts which continued to this day. Yes, that part was true, to an extent. There have also been those who believe beings from other planets resided within the facility and others would argue that such a notion was preposterous. Rest assured to the naysayers, that part was false, to an extent.

It was of my experience that experimental weaponry of all kind has been built and tested. Beginning with vehicles, whether air, land, or sea, it didn't matter. Then it expanded – not all at once, but funding and nudges from my former employer, The Flashbulb, helped pull things along (not to say that the CIA and US military wasn't already part of The Flashbulb, but such direct involvement was a large shift) – biological weaponry in the form of chemical agents, toxins to fill the air, genetic experiments (which I am proud to say I made myself a test subject of), armor for soldiers, technological advances that would address a potential rise in an unstoppable force of soldiers designed with the sole purpose of subjugating those who did not fall in line.

All of what I just described has been what the facility functioned as at one point or another. At the present, it's been taken over as a whole by the ETNA corporation and the entire structure shifted and changed at a constant rate due to the desires of Etna, the artificial leader of The Flashbulb's Morale Department. Etna itself, herself, has become one with the facility. The very walls, the technology, the weaponry, they all could change at a moment's notice, if Etna so wills it.

I took my strides out of the laboratory, already taken stock of what I needed, and wandered into the halls, where I continued to be lost in thought of the history of where I happened to be.

“That's no good,” I noticed as I made the mistake of stepping on a soldier lying on the ground, helmet off. Pale green skin told me what I needed to know. “Someone had killed one of my babies.”

I shook my head and walked off. Not just one, but three.

“Whoever did this, I pray they get their due. As for you three, at the least, I hope you were able to spread our gift with others before your departure from this world.”

I walked on. Somewhere, a better view would present itself. I wanted to see crowds, nay, rows and rows, lined up. Their eyes would stare up at me and I would smile. To bring my dream to life, I needed the right topography.

Etna, if you would so kindly. Make it happen.

However much she fancied herself a god, I had my doubts she could listen in on my thoughts. Or perhaps, with the angel she had fused herself, the facility, and all of its soldiers with, she just may have. See, Euphoria was not a man-made creation. While the scientific side of me reels at the thought of calling anything an 'angel', a better term may be 'alien' or 'cosmic entity', which is just what the fanatics would love to hear. Euphoria was real, and she was not of this earth.

Frozen pea hailstorm bit the head of me. Hunger struck upon stomach for days, shelter not given unto. Dwelt sidewalks, dwellings. Under bridges, overpasses, benches, nomadic. Caught some grass at a park. Bit off some tree bark. Hunger so dire. Desire.

Rained down, my memory – sign of joy. Ode to thee.

Mother used to make the best frozen peas. Children sat at dinner table, hands raised high. One of them was I. Cannot remember the rest. Such a fond nostalgia, trip down a lane taken.

Hail of frozen peas, velocity punctured skin off of facial structure. Rest of body. Still, tongue stuck out, swallow some. Smiled, shed tears, blood ran from exposed flesh. Weak and feeble, no, strong. Memory so pleasant. Tasted of fondness.

Even in decay from the favorite meal, warmth could be found from the frozen.

Best memory was the last.

Life wasn't always like this; just a couple days ago, in fact, life was normal. Or, as normal as a life could be. Cold paradise we lived in, this city. For at least three years now, the ETNA Corporation had bestowed our city with great inventions, pioneering us from a no-name metropolis to something greater. However, just the other day, a chain reaction started.

No one knows the root cause, but it spread like a virus. People throwing themselves into traffic, the very roads themselves crumbling, traffic lights changing color and becoming strobe lights, just to name a few things. While there could be no logical explanation, a quarantine over the city was issued and the next thing I knew, we were all trapped.

Or, we were supposed to be. I overheard from some CDC agents that it shouldn't spread so long as they kept the city locked down, but I wasn't so sure about that. Nor was I so sure when a statement was released from the ETNA Corporation stating that the infection was due to a substance having infiltrated itself in their elevators and causing an adverse reaction in those who rode them. 'Those exposed to the elevators (as in simply been in them) were more at risk than those who had not used them, or seldom have used them' the statement had said.

I wasn't so sure about that because I think it had affected (affected? Infected?) me as well. Even now, I thought I could feel its effects. The strong desire to...

I don't know what. My mind goes blank before coming to a conclusion. Best way to describe it would be a sugar rusk. Or drinking an entire pot of coffee in one sitting. High on cocaine. Complete manic energy. Except this high you don't come down from.

At least, that's what I would imagine. I'm not sure if that's how I'm feeling. There's just...this desire to be that way.

An object in motion stays in motion...

There was a friend I once knew, her name was Rick O'Shea. Or, her name was something else. It's been difficult to recall simple things. Or, her name could have been Beau Meringue. Or, it was one of the two, something in between. Or, her name was never important, just her presence.

She was overjoyed by the state of the city. How wonderful the elevators had been. Each time she took those trips, she described it as a new experience. The only reason I never rode on one of them was because I never liked venturing outside. Call it agoraphobia, or a strong social anxiety. Just the thought of being surrounded by others would have been enough to send me into a panic. I only felt like I could venture out when she was around.

When the city was quarantined, she was still overjoyed, much to my shock.

I told her how we should leave, how this city was destroying itself, how it seemed like everyone had become crazed and maddened by their own manic bliss. She shook her head in rapid motions, almost violent. She told me, “what is there to leave? Can't you feel it all around you? In the air, dolphins exiting your body. How you know you're right where you should be. These dolphins are here to help us.”

I begged, pleaded. She didn't look confused, but may as well. Even though I told her how it wasn't safe, how we could all die, this only made her smile widen. As if all she heard was good news and pleasant tunes. So, I concluded, I no longer had her. I would have to leave on my own.

Through careful analysis of my surroundings, I had escaped the city and as of last night, stowed myself away in a nearby motel. Where I will be soon, I only wish I had an answer.

I stood at the balcony, my gaze fixed downward at the marvelous sight: rows of soldiers, amphibious, lined up, synchronized and looking back at me. My dream was coming to light. As a collective, they took off their helmets, stared each other in their beady eyes, and stuck out their long, stringent tongues. Their tongues flapped against each other and flies descended from ventilation shafts, something I could not have anticipated, but also pleased me. Flies were caught, the soldiers having taken a break from licking each other.

With my arms outstretched, I addressed my audience:

“Rejoice! This is the ideal next step for humanity! Outsiders may not like it, but this is what peak performance looks like!”

Tongues clapped into the air. Many of the tongues caught flies. All was well.

My next set of actions would become clear: descend from the rafters to join the crowd, be carried off with them, and we would rise up, ascend from this underground, and spread our joy to the rest of the world.

Before I could do any of that, I felt a hand clasp down on my shoulder.

“Good job, brother. I see you got your wish.”

Such kind words. I knew the one behind me speaking such words was smiling from cheek to cheek. It was just like him to do so. Yet I also know that such words carried malice.

“Have you come to take it away from me?”  I turned around, despite already knowing who was there. The tall figure, the shadow.

“Is that something I would do?” Marco laughed and released his grip on me.

“Have you come to kill my men?”

“I am glad, I mean that with sincerity. You gained your happiness without having to devour Euphoria. However, I still want to. Just to get a taste.”

“Is that what you came here for, then? Because if that's the case, I don't know where she is.”

“I have no need to kill your creation. You have been granted your wish, attained your happiness. I could never take that from you.”

“Then why are you here?”

He closed in and embraced me for a hug. His arms coiled and tightened around my back. It would seem his intention was to suffocate me. But in spite of the tightness, he didn't go far enough to do harm.

“She is everywhere. She is spreading her wings and giving everyone what they need.”

I struggled, but managed to reach into my pocket and pull out the syringe. I tried to stab it into him, inject him with the formula, make him subservient. Just to see what would happen. Just so he could no longer pose a threat.

But instead, the needle broke as I tried to push it into his skin. It never even made a mark.

“You think I betrayed you,” he spoke softly. “But that couldn't be further from the truth. See, I brought you here so you could get what you wanted and now you have it.”

I tried to break free. He wouldn't allow it. Was this some kind of divine punishment? Not that I believed in such nonsense.

“You should enjoy it while it lasts. For when everything in this world has experienced all this angel has to offer, it will end. The world will experience such happiness that it will not be able to contain itself and there is nothing that you, nor I, can do about that. Nor should we. The only influence I have had is where to direct this happiness, but it would have taken its natural course, regardless. When it all ends, I hope you enjoy yourself. I hope I do too.”

He released me and I could feel his presence fade. Somehow his nonsense made total sense.

This triumph I had felt was meaningless.

We found Gumby sitting on the floor like some kind of LAME-O (and no, that is NOT the name of a cereal).

I poked Gumby. Also, I looked down and noticed more friends!

“Hey, hey! Hey bud! Hey Gumbs! Gumb-o! Goomy! Hey!”

Gumby groaned.

“Hey, look! I have a girlfriend now!”

I roped along my girlfriend, who I still did not have a name for.

“Look! We tried to eat each other but then our mouths got stuck on each other and that's when I realized that's probably how people kiss!”

We demonstrated. Our mouths expanded to form a perfect circle against each other. I looked at Gumby. He still sat there.

“I don't care...” He groaned. I watched as he went to laying down and turned to his side.

“How RUDE!” My voice box exclaimed.

“The world is ending. What is there to care about?”

“Yeah! That's the spirit! It's so cool!”

In spite of my enthusiasm, Gumby sounded glum. So...glumby?

“I won. But I also lost. But then again, this is how it was always going to go. What should I have done differently, then?”

He laughed, though it sounded pretty un-funny.

“World's ending. What's the point to anything?”

“Dude! Totally! So go get yourself a boyfriend or something!”

“That wouldn't matter either.”

He closed his eyes and I let him lie there. This was getting WAY too boring for me, YO! My girlfriend and I frolicked ANYWHERE ELSE and left the lame-o to be sad or whatever.

[antheiin]

Revered - Supergiant Challenge

Part 2 - 2,689 Words

It’s not the right time to make a grand escape. Not at first. Apparently, it’s midday, a bit past the estimations Miriam had previously made. The light just came in too oddly for her to discern the position of the sun, or face this structure into context with the rest of the world. Something about being told a little bit more about what she’s missing out of her memory makes this a bit more real, and it helps her catch just how antsy Fedir seems.

Anxiety is another one of those traits that seemed to have passed between them. Fedir carries himself in that same nervous way she does, and as Miriam pulls the hood of the sweatshirt over her, things seem to change just slightly on one of those cosmic sorts of levels. There is danger here, and the idea of being flayed isn’t any better when it’s an imminent part of your life.

But, there is no moving out, and no grand, Mission Impossible style escapade. Instead, Fedir sits with her on the edge of the bare bones bed, and talks through these ideas in his head that are just now being spelled out. While her trust in him is infinite, the fear is still there, the factor of unknown that comes from entering another reality. No matter how much she believes in him in her heart of hearts, this is still not the Fedir she remembers holding, and no image she has ever perceived before this moment. There is a period of time that her mind was absent for, and it was a great long time, if time has passed the way she thinks it may have.

They will leave that night, he says, and there will be no true sense of freedom until they are well out of this town, and escape to somewhere they can be picked up as hitchhikers. Twenty miles northwest of the town is the M1 highway in Belarus, an area with enough traffic for a friendly car to snag them until they can cross the border, and perhaps, leave the continent entirely. It seems so simple, in the purest of senses. Moving from one place to another takes little more than feet and legs.

So, Miriam spends the warmest part of the afternoon restless, in and out of bed, pacing in restless paces around her room. Twice, the anxiety nearly makes her pull herself apart, fingers grasped around the barred windows until the knuckles turn white and ache. The only thing stopping her from trying to pry those off and escaping via the window that instant is a terribly unnerving sight.

The cloaks weren’t always this stormy color of grey. When they started, they were green, much like the herbs that grew from her hair, the basil leaves Katherine had plucked off after her lips had crossed Miriam’s throat. Then, when she’d realized how wrong this was and ran away, they’d changed to a shade of white she had once seen while traversing Poland in the wintertime. During the capture, they had turned blue. Water is the source of life, Katherine told her, pressing the flat side of a blade to her cheek.

What that meant, she wasn’t so sure.

Either way, the grey cloak had what looked like a taser on their hip, and Miriam had no intentions of playing around with that. So, she paces until her feet hurt and the sky turns dark. Eventually, there are footsteps at her door again, and Fedir comes again, hidden under one of those cloaks. Her own had been stuffed in the pillowcase with the pillow, with the other clothes he’d given her. Those were back on now, though, the cloak hidden beneath her legs, a bit more real, and subsequently frightening.

“Hey Mom,” the kiss on her cheek has a familiarity, and this Miriam plays like she’s known this for forever. “We’re gonna have to go fast. Time’s going to be more important than we want it to be. And uh, I don’t think we want to be seen. It was trouble enough just getting in here.” For the sake of herself, Miriam chooses not to ask more, and lets the other keep talking.

“So uh, the plan is that we just keep quiet as possible, and try to blend in. If we keep the hoods up, I think it should be okay from a distance. But we should keep it that way.” Fedir chews on his lower lip, and Miriam stands slowly to clasp the cloak on her own shoulders. “Get the plants off. I’ve got the other markings we’ll need to look real enough- and here.” A tube of foundation is pressed into her hands, thick and gooey and a shade too light for her face. “For your freckles.”

“Seems, reasonable.” Miriam is still going inches at a time, sightlessly slapping the stuff on her cheeks and rubbing it in until her face doesn’t feel as terrible. Side-stepping Fedir, she approaches a mirror to finish, speaking into it to avoid eye contact for a few moments. “What’s all around here, though? The most I can see is the yards down below. And some gardens.”

Fedir’s facial expression turns sour again. “Well, outside of the house is the gardens. Sacred, I heard them call them. Your’s.” No gardens she’s heard of, but Miriam nods nevertheless. “Then it’s down this road about half a mile, and then through the town. That’ll be the worst part, once we hit the woods, it’s two hours to this truck that I stashed just off a road. If it’s gone, option two is the highway.”

“It seems simple enough. What’s the issue with the town, though? I’d think this would be the worst.”

“I mean, it’s bad, yeah, but not that bad. If we’re calm enough, and nobody gets in our faces? It’s gonna be fine. But there are a lot more eyes in town, a lot more chances for us to fuck this up. Mob’s harder to run from than a few people.” Miriam laughs in reply, a wicked gleam in her eye.

“Oh, tell me about it. The absolute worst.” For a moment, things feel a little less dire, but the feeling sets back in soon enough. “I uh, Fedir, hon. Question.” Miriam chews on her lip, and gives her son a long look. “Do you remember Poland, at all? You were so small but, I figured I should ask.”

“No, sorry.” Fedir shakes his head back, raising a dark brow to give his mother a questioning look. “Should I?”

“It may be best if you didn’t. I’ll know who I’m looking for if I see them.” Miriam’s answer likely leaves something to be desired, but when Fedir opens his mouth to ask a question, Miriam shakes her head rapidly. “No, I uh. Not right before, whatever this cult bullshit is. I’ll tell you later, sweetheart. Promise.” A part of her just hopes he’ll figure it out on her own. Revisiting it seems to make things harder every time, and the new stress of waking up in strange places with strange sons exacerbates it further.

So, the pair stands in silence for a moment while Miriam finishes hiding her freckles and ties her hair up into a knot at the back of her head. It isn’t pretty, but when she draws the hood, hardly any of her red hair is visible, save for strands that look a muddled brown beneath the shadows. The plants are plucked from it too, left in piles of leaves and flowers that curl sadly at their edges.

Fedir, meanwhile, has pulled up the sleeves of his cloak to reveal two identical cuffs, both emblazoned with a symbol that makes her stomach tighten. “That was Katherine’s,” she mumbles without thinking, and Fedir only raises an eyebrow, before slipping one from his wrist.

“It’s the fastest way to get through places, if we run into anyone.” The way Fedir talks about it has the leadings of a story, but she just can’t make herself, and instead, takes the bracelet and secures it on her left wrist. It doesn’t burn, but it might as well have, given how Miriam recoils upon processing the weight of it. “The biggest part of this plan is that we keep our heads down and don’t get picked up as interesting. At least, through the house. When it’s nighttime, nobody really expects anything. I don’t know what I’m doing outside of some base ideas, so we’re going to hope for the best.”

“I thoroughly hate that!” Miriam rolls her eyes, but shoves her feet into her boots nonetheless, lacing them up until she stands a good two inches higher with the heel behind her. “So let’s not talk about not knowing what we’re doing.” Fedir nods as if he’s listening, before shouldering a backpack. Realizing she has nothing much to offer, Miriam scans the room and finds its barely lived in appearance to be nothing worth remembering. Really, the longer she looks at it, the more anxious she becomes.

Her room at home has flowing curtains and dark wood floors. Miriam can very clearly recall the shape of the quilt, rumpled up and everywhere, surrounding the familiar form that Remy seemed to take when he’d join her in the early hours of the morning. The loss of it, even for the moment, leaves her feeling more lost than she’d like to admit. Miss you is offered beneath her breath, too quiet for Fedir to possibly hear. And in thinking of him, she turns to stare at her son’s face, hoping to see traces of the in between places. The times where he may have been five or ten or twelve. The little in betweens that she misses now that they’ve seemingly passed.

However, there comes a time where there is no more stalling, and seven minutes past nine, the sounds from outside simmer down to the dull murmur of drowsy housekeepers. There’s a sense of dread filling her to the brim, so while they stuff her bed with sheets and other things to simulate a sleeping form, Miriam alters her face. It’s difficult to just pick out a new face and form for yourself in the blink of an eye, but she goes with one she knows, or at least, has seen before. Growing taller means that suddenly the room feels a little different, and the borrowed shoulders are far broader than what she’s used to, and Miriam can half guarantee she’s going to clip herself on a door frame.

She’ll have to thank Anda later, for letting her borrow their appearance, even if they aren’t aware of it.

Despite having only spent a few hours in it, opening the bedroom door and stepping out into the hallway seems like a foreboding sort of task. In her fit of anxiety, Miriam stands and stares at the door for a long while in her borrowed face, probably making a few uncharacteristic facial expressions.

“What happens if we fuck this up?” She doesn’t really want to know, but a morbid curiosity claws and begs for her to continue. “What then?”

Fedir looks uncomfortable at best. “The ritual goes through, for starters. And that does, whatever it does to you, the process wasn’t really disclosed.” He’s getting wry, bordering on a panicked sort of serious. “I probably die too, if I’m being completely honest. I don’t think an entire fuckin’ cult is going to smile at me trying to sneak their goddess out of what they consider to be sacred ground. Is this even? It can’t be.”

“Oh, absolutely not.” Addressing that first seems a little safer than reacting to that middle part, but she gets their eventually, clasping Fedir’s shoulder. “Let’s, I, I don’t have words for that, so let’s just please, please end up not doing that bit.”

And with nothing else to say that will make her feel any bit better about this, Miriam grabs and pulls the door open, having to scramble to catch it before it can smack the wall. Fedir receives a sheepish look, one that he mirrors back before taking the lead, shouldering down a highway too narrow to be comfortable. The place is clean, that much is certain. But the air holds the faint scent of rotting wood and burnt plant matter, something that makes the entire place feel oddly wrong. There is age here, and the home itself has a presence of its own, made clearer and clearer as Miriam and Fedir pass several closed doors on the way down the hall.

It turns out that this narrow hallway is simply a wing in something larger than Miriam could have hoped. The next hallway is wider, losing its claustrophobia in favor of another person, a faceless sort of man who Miriam doubts she will ever remember. He doesn’t speak, that much is sure. All he does is lock eyes with her, searching the face in a way that makes Miriam’s skin crawl. Maybe she can’t borrow this form for as long as she wants to, on the risk of being remembered, either as a repeating issue or as someone who just simply doesn’t belong.

The nod she offers is satisfying enough, it seems. There are no words exchanged, and it’s far more comfortable that way. Even luckier, he doesn’t move, chin held high and form otherwise unwavering. Fedir keeps his head bowed, intent on being seen as little as possible.

This hall is shorter than the first, and instead, leads out to the top of a staircase. The rotting wood is stronger here, and Miriam catches sight of further evidence when she seems a bleached out section of floor, missed stains of blood just outside of it. Just beside it, a dark haired woman burning a tied bundle of plants with a lighter, waving the smoke about it. Alerted by the sounds at the top of the stairs, she looks up, offering a lazy smile.

“Hello to you both.” Her voice is this wispy thing, barely there from how far away she is. “Is it nearly time for everyone to trade out?” For someone Miriam could happily consider the worst thing in existence, the longing in her voice makes her just the slightest bit sympathetic. “My feet are killing me.”

“Just started.” Miriam’s smile is pained, but they make it down the stairs unbothered, and get nothing more from the woman. “Today’s been killer.” Wow, she hates this.

“Well, I’ll let you go, then.” The woman’s frail hand sweeps across her chest, leaving curls of smoke behind it. “Safe travel back.”

“You too.” It’s Fedir who manages this time, making a beeline towards another archway. Miriam, unsure and unwilling to be left behind, follows dutifully. This area is an entrance room, as far as she can see, equally clean-but-wrong as the rest of this house has been. No people, though, just the two who Miriam will be content to never speak to again, personable or not.

It’s here that Miriam lets her disguise drop. Slipping back into her own skin means that everything feels a little bit more steady, a little less nth degree from reality. Fedir, glancing over, offers a shaky thumbs up as he exhales, the other hair holding tight to the door. Walk out, that simple. Miriam holds up one finger, then two. When she shows the third, Fedir pulls that door open, and the air outside feels like some other place entirely.

This other place is clean and fresh and washes away the house’s stale scent like it’s a rainstorm instead of a lazy fog. It feels more like a place Miriam could curl up in and call home. This place had to be the gardens, given the brief description that had transpired between the two of them. A place of exotic flowers and what appeared to be dozens of trees growing into each other.

“How long do we have before they know I’m gone?” It’s meant as a rhetorical question, and Fedir shrugs in reply.

“Dunno. Further we get first, the better, yeah?”

“Yeah.”

[oosteven-universe]

Red Sonja #03

Red Sonja #03 Dynamite Entertainment 2019 Written by Mark Russell Illustrated by Mirko Colak & Bob Q Coloured by Dearbhla Kelly & Bob Q Lettered by Hassan Otsmane-Elhaou     TREMBLE BEFORE THE VICTORIOUS QUEEN SONJA OF HYRKANIA! …for now. Yea, she outwitted Dragan The Magnificent, but it is a fleeting triumph. Spies and vipers surround, awaiting the perfect time to strike. A tale of tact, trust and trepidation…..     So while I have no idea how long Sonja the Red Queen will stay not only a Queen but in Hyrkania we’d better enjoy this while it lasts! Mark is most definitely one of those writers whose work seems to fly under the radar he is most assuredly on mine. The way he structures his stories is so strong and has both that brazenness and subtlety of subtext that is so incredibly engaging. Also, take the opening here for example, you can never trust what you see because things can change on a dime depending on who’s doing what. Still, the opening was perfect and deftly shows us the true nature of the citizens of Hyrkania. The dialogue is witty, fun and completely not what one would expect and these are just a few of my favourite things (when the dog bites, when the bee stings, when I'm feeling sad).     I never did think of Sonja as this leader or great tactician, she’s been a hellcat, a fighter and someone who’s so angry well ya know so to see her in this role, regardless if she decided upon it or not, is a revelation. We are seeing a new side to her that I am pretty much enamoured with and makes me love this crazy, fiery and unpredictable woman. I get why most men follow her adventures but as for gay men, she’s not one who is as beloved (which is odd considering Wonder Woman is). See I want more folks to read this to understand that this chainmail bikini-clad warrior is every bit as badass as WW or Xena.     Now the King, this pathetic weasel of a man and his entourage make me laugh hysterically at times. He’s so worried about being manly that he cannot turn away from their position, stance or otherwise, for fear of his manly pride taking a hit. A good leader knows when it’s time to retreat and say this isn’t worth the effort, and is this wasteland really worth it? Still, this kind of characterisation that every single character gets and which helps move the story ever forward makes me so happy that my comics reading is as wide and varied as the stars in the sky.     The interiors here are utterly fabulous to me. I love the linework and the attention to detail that it brings on the page. If it’s in the hair, which seems there’s a lot of that going around, or the clothing or even the backgrounds in play everything has this wonderful sense about them. Then there are the faces and the facial expressions that bring out emotions and feelings of the characters and I firmly believe if you can master these and show them well your someone to be admired. So yes that is most definitely what we see here from both men (the flashback by Bob sigh). I think how backgrounds are utilised here are exceptional for expanding the moments and bringing a size and scope to the book about how big the world around them is.     The utilisation of the page layouts and how we see the angles and perspective in the panels show off some extremely talented eyes for storytelling. Then there is the colour work that we are seeing and this is also so good it almost makes me want to cry. Seriously the way that light sources are utilised and how in turn that affects the shading and colour gradation alongside the shadows it is perfectly done. Also each person with their individual hair colour and clothing I’m thoroughly and truly in awe of what we see. ​     I think this is one of those underrated characters, franchises and books on sale today. Fans of any strong-willed, vibrant women should also be a fan of this and so what it’s not a “Big-2” book it’s just as good if not better than those are.

[mohammadyousef2]

Using a Ring Light - A Detailed Guide

Consistently you go over expert appealing photographs. Do you ever think about what strategies are used in taking such astounding, stunning pictures? The Ring Lights is as yet an expert procedure used by many style photographers and regardless of whether you have never observed one, you have unquestionably observed a photograph taken by utilizing it in one of your day by day design magazines.

 The ring light gives a trademark additional accentuation to the eyes of the model and assists with making a wonderful picture. Numerous individuals know this about the ring lights, yet they don't realize that with its assistance, they can really expel the hard shadows from the subject's experience making the pictures look all the more enthusiastic and striking.

 The principle capacity of the ring light is to reduce shadow and diffuse light equally regarding the matter. Because of its capacity to disperse light so equally, it is incredible for close-up shots, regardless of whether photography or video. Ring lights accentuate detail and shroud shadows just by their natural roundabout structure. The delicate light conceals wrinkles and flaws making it ideal for representations and even make-up instructional exercises.

 For a similar explanation as above, capturing such adjusted light delivers a radiance around the subject, and enlightens highlights bringing an expert level and true to life look to the shot. YouTubers regularly use ring lights because they're economical and can improve their facial highlights all through the whole video. Get very close with the ring light for large scale work. Use a focal point ring light to catch a more front focused light. The white bulbs within a ring light can be changed out for different shading bulbs so as to create various impacts. Jumble around with this. This is particularly useful for cinematography.

 The right method of utilizing a ring light is to use it around the camera focal point to catch the concentration in the eyes. In any case, on the off chance that you are feeling trial, take a stab at utilizing it from the side. In the event that you figure out how to put your light appropriately, you can get one of a kind outcomes. Notwithstanding, most photographers like utilizing it the conventional way.

 It's smarter to learn by utilizing it in a conventional manner before you begin exploring different avenues regarding the light. With these ring lights, you frequently need to use tripod stands but since they are substantial, you can likewise have them mounted on the divider. Top of the line ring lights enable you to shoot under low ISO conditions and longer central separations, cheapest mobile accessories online.

 Such ring lights forestall any twisting on the last picture, decreasing your post-handling time. That is the reason you have to buy items that spare you time over the long haul. Assess the time you have and decide how much time you have for altering versus the spending you have for your hardware, so as to settle on the best choice on which ring light is directly for you.

 Numerous photographers need to go significant distances to arrive at the areas for their shooting plans. It's in every case better to buy ring lights that are lighter in weight and less cumbersome. Buying enormous arrangements and afterward not having the option to heft them around for your photo shooting is definitely not an insightful venture. Are you looking to buy a ring light? VolgoPoint is the best place to buy ring lights of your choice at the most economical prices!

[howtodrawaeyes]

Drawing a female face

In this tutorial I want to show you how to draw a face in a relatively small space. If you want to draw the entire body of a human on a sheet of paper, you need a lot of space. The head requires only a very small area, which complicates the drawing of the face.

In this Turorial I only go to the face. The Turorial, in which I explain to you how the lady Draw lady in the whole, you can find here… The goal is to draw a face like this:

Tutorial

A few info in advance: The face takes on the entire drawing sheet a very small area. This has advantages as well as disadvantages. The advantage: You do not have to draw all the details in the eyes, mouth and nose. Also, the hair does not have to be worked out in detail. The downside: even a tiny change can change the entire face or facial expression. Drawing on such a small area can be extremely difficult. You need a very steady hand and a good eye. You should be very careful with a change to such a "face small" face! As always, you should start here with a sketch. A sketched face usually looks quite different than later the finished one. So that the sketch resembles the desired face, it is best to think of all the shadows, make-up and small details of the face when drawing the sketch, and then try to grasp it roughly. On the sketch you can try to your heart's content. On the drawing sheet you first draw only outlines and rough facial contours. Do not press too hard, so you can erase mistakes later. With elements such as eyes, nose, mouth and hair an indication is sufficient for the time being. Draw them fairly symmetrically. There are still some mistakes in the drawing. The headband flies out later - it did not fit. You see, it's not a problem if the drawing does not really go down in the beginning. You can easily pre-shade the nose. Keep the nasal bone bright in the middle and make the gradient on the side slightly dark. The same thing you do at the tip of the nose. You'll leave the "bump" bright while darkening the slope slightly.

If your image has a dark background, it's best to draw it now, in such a way that the background protrudes a bit into the hair. This is illogical, but later corrected by erasing. A too-drawn background has the advantage that the outer hair appears a little transparent and the background shimmers through realistic. In addition, the object in the foreground is no longer so misplaced or "copied in". For the moment it is enough to darken the background.

Now it goes on with the face. Ignore the headband - it was a stupid idea. First, you'll darken the "outside" of the face (cheeks, chin, outer forehead). These places must be dark, because here is the most shadow and the face bulges outward. In addition, the hair cast a small shadow.

Forehead:

The forehead should remain bright in the middle. Hatch them outward dark.

Eyes:

Draw the outline of the eyes slightly . Do not create a panda eye woman. In my example, this is far too violent, one recognizes the similarity to a panda bear. No: the lady is "overworked". Details like the pupil and the iris are also easily traced. Note that the whites in the eyes should also be shaded! The further out the eye you are, the darker you have to draw the eyeball, because it archs here more. Eyelashes and eyebrows you should not draw, at best only hint. They would only cause problems in later blurring of the underlying skin.

Nose:

Again, less is more! The highest points, such as the tip of the nose or the bridge of the nose, should remain light, while the nose edge must be slightly hatched on the slope. The underside of the nose (at the holes) and the outer part of the nostrils should be dark.

Mouth:

First, erase the strong, dark strokes that sketched your lips so that they are only slightly visible. Then you draw the underside of the upper lip dark, as well as a bit of the "top piece" of the top of the lower lip. That was a great sentence. Meaning, the more the lips lead to the mouth opening, the darker you have to shade. The middle piece of the lower lip lets you shine brightly. Basically, you can do that for the middle section of the upper lip too. Thus, both look moist and shiny. The outer areas of the lips let you softly leak into the normal facial skin. If the lips are to be emphasized with lipstick, you can draw the contour more clearly. Under the lower lip is always a small shadow over the chin - do not forget it. You do not have to pay attention to the small size of the teeth, it is enough to shade the "toothed strip" outwards and under the lips.

Neck:

The neck is darker and shadier. Under the chin, you make the skin a shade darker than the rest of your face. The outer areas are also slightly darker than the middle ones.

Face in general:

Blur your hatching (if you want to blur) from the previous steps with a brush or a clean handkerchief on which there is still no graphite. Be very careful - tiny mistakes can make the entire face appear inconsistent. Go very carefully. If you cover up wrong, you can mess everything up! I erased my eyes a bit lighter. In the previous step, they were just too dark.

Mend error:

First, I removed the headband and drawn hair over it. That was terrible.

The cheeks:

They should be blurred dark on the cheekbones. The spot above the cheekbone to the nose and under the eye you leave bright or erase it brilliant, because that looks very lively.

Pony / Hairstyle:

To draw the pony, you just have to smudge the hatched brow. Then you erase the hair with a very sharp / thin eraser or an eraser. That was the whole trick with the pony. If you do so, you have a realistic vaulting of the shining brow and can later continue drawing the pony at will.

Long hair:

Shadow the long hair first with a hatch, which you then blur. Try to follow the shadow of the head on the inside of the hair and make the hair darker there. After you have roughly shaded and darkened your hair, draw a few strands with a very sharp pencil over it. Just drag down a few lines as you like to create a coarse texture. The border on which the hair falls over the face, I erased again bright. Similar to the pony.

Please compare this picture with the picture of the previous step. It now becomes very clear how much shadow and darkening (is there the word?) Affect the look of a face!

Eyes:

The eyelids are now softer - the black is no longer dominant. The eyeball looks much more real, as he is a little lighter. I also reduced the size of the pupils, which deprives the lady of the "paralyzed drug look" of the previous step.

Nose:

On the nose, the biggest change can be seen. It is not for nothing that I wrote before on the nose "less is more". The strong shadow is now much softer and less noticeable. The nose is now less dramatic. The more shadow she casts, the bigger and more striking she looks. The rest - apart from the body - remained unchanged. You can see how much shades influence the look of a face. That's why it's so hard to "sculpt" an unshaded sketch that resembles your desired face. As you will see in the next step, the face should be brightened even more.

The whole face and the eyes have lightened again (with erasing). With less contrast between the light and the dark facial parts, the face looks much younger, fresher and softer.

The eyes:

The contrast pupil / iris should be clear. If the pupil is not too small, a light reflection is mandatory, it gives the eye a lot of life. It is still missing, but the contrast pupil / iris is already better.

The hair:

Shadow the gray area, as described above, just a bit more. After that you erase light strands over it and draw their edge with a very sharp pencil and very thin lines. These lines should be peppy and drawn in one go. They can be set "randomly" in the direction of the hair and should follow no pattern. Orient yourself to the hair structure you worked out in previous steps. If your image has a background, it must now have all the details that are adjacent to the face, because it continues with the hair and the hairstyle. Some too strong dark strokes, I have removed again and erased particularly bright spots even brighter. The blond hair now looks much brighter and shinier.

If your image has a background, it must now have all the details that are adjacent to the face, because it continues with the hair and the hairstyle. Some too strong dark strokes, I have removed again and erased particularly bright spots even brighter. The blond hair now looks much brighter and shinier.

The individual differences to the previous picture are not immediately noticeable. Nevertheless, the face appears alive throughout.

The hair:

Since they are blond, they have to be bright. Logical. Thick dark pencil strokes are counterproductive. They have to be erased again - but only so far, until you can see light strokes. Furthermore, the hair is much better shaded in this step than before. This is particularly evident at the point above the shoulder and at the top of the crown. The head is now more self-contained, because the dark background is present and a bright, clear contour "framed" the entire head. The contour can be easily erased.

The eyes:

The eyelid and the area above are now much softer shaded / make-up. I have minimized the strength of the eyelashes by erasing. The same applies to the pupils and the eyes. They look much brighter and more natural now. Very important is the shiny point of light in the eyes. It gives the complete face a lot of vitality and freshness. The nose and the mouth are basically unchanged. In my opinion, her hair was a bit too "greasy" and dark in the step before. The strokes were just too dominant for blonde hair. That's why I erased a few strands of hair again and brightened up places that hit a lot of light. By better shading the hairs throw light waves and fall more realistic.

In my opinion, her hair was a bit too "greasy" and dark in the step before. The strokes were just too dominant for blonde hair. That's why I erased a few strands of hair again and brightened up places that hit a lot of light. By better shading the hairs throw light waves and fall more realistic. That's it already". As you have seen, when you draw a face you can lose yourself in many details and endlessly wander around it. Shadows and light allow the extraction of many optical effects and are able to hide a lot. I hope my tutorial helped you and made a bit of fun.

Should you want to see me like the rest of the picture and the complete one Lady has drawn throughout, please click here … Read the full article

[calamity-bean]

How do you draw Burn Gorman's face and make it actually look like him? You do it so well and every time I try he just looks like a creep.

This is the greatest compliment I have ever received, because Burn Gorman is a shape-shifter who looks different in every picture and I have no IDEA what his face is doing half the time. Honestly, there are tons of artists who draw him better than I do. Nonetheless: thank you.

I don’t know how to help with the creepy, but in my experience, making someone recognizable is less about getting every detail right and more about figuring out which details to get right. In other words: 1) identify their MOST MEMORABLE features, and 2) exaggerate those features to hell and back. Even a really simple sketch can be recognizable if you reduce to the most distinctive or unusual parts of the person’s face.

Burn’s face, of course, is a trip. Let’s see what we can tell from a quick trace.

The blue lines are just the basic guide I use for every face: a smooth ovoid shape with a couple guides. Comparing that simplified shape to the way Burn’s actual features fall on top of them, the most significant things I see are:

CHEEKBONES. Oh, the cheekbones. Regard how nobly they jut beyond the edges of the guide, whereas his jaw falls more or less along the guide but is much more square. Don’t underestimate that jaw.

Although his jaw has some heft, however, his chin comes to a sharp point. So overall, I’d say his face has what I often see described as a “shield” or “heart” shape.

See that line to the side of his mouth? The line going from cheekbone to chin? What a weird line! INCLUDE IT. Seriously, it’s so recognizable and so good for keeping the facial anatomy lined up.

Mouth: wide. Upper lip: flat. More on that in a sec.

Crow’s feet and circles beneath his eyes, especially when he smiles (his eyes go very squinty and crinkly when he smiles). It’s not as visible in this pic, alas, but there also tends to be a distinct line/shadow that curves down from the inside corner of each of his eyes toward his cheekbones.

In light of all this, in even my most simple line drawings, I:

Push out those cheekbones. Make them sharp enough to kill.

Make the line from cheekbone to jaw, then from jaw to chin, slightly concave, so that his jaw juts a bit but his chin hits a point.

Slash his mouth across his face in a flat, unrealistically wide line.

Mark his cheekbones, the lines beneath his eyes, and, often, the line from cheekbone to chin.

With more finished pieces, it’s really a matter of preserving those essentials while fleshing out additional details. You can also rely more on shading to emphasize his bone structure (e.g., highlight on his cheekbones and shadow in the hollow of his cheeks), though I tend to keep line art as well:

Otherwise, when it comes to fleshing out details, I think the most important one is his mouth. Everyone knows Burn’s mouth is a bit … well, I’ve seen fic describe it as “froggy.” It’s beautiful, but it’s definitely one of his more unusual characteristics.

WOW that is an unsettling closeup. Um. Sorry about that. But what I want you to notice about this pic is that his upper lip:

Has a rather broad philtrum (the groove between the points of his lip’s Cupid’s bow) with a shallow, gradual curve.

Is pretty much the same thickness near the middle as it is at the outside corners. On some people’s mouths, the lip looks thinner at the outside corners and widest at the points of the philtrum, creating that recurve bow shape. Burn’s lip is pretty even throughout.

His smile is a whole nother can of worms, with a shape that I struggle to capture and to describe, but you can see in this one how I’ve followed the general principles above — a wide and shallow philtrum, with the upper lip still thick when it hits the outside edge of his mouth:

Of course, Burn is a shape-shifting alien man, so a lot changes from angle to angle. Front views emphasize the squareness of his jaw, while three-quarter views soften the jaw and emphasize the point of his chin instead, making his face seem longer and narrower overall. In profile, you can see that his whole jaw / mouth / chin area sort of of juts forward — which can also make his mouth look pushed forward in three-quarter views (as in the photo below) — and that his nose is short, triangular, and slightly upturned.

Note that I totally screwed up Burn’s nose in that drawing with Bucephalus, by the way. I mean, I screw up his nose in new and fascinating ways every time, but this one is really something. The bridge is way too convex.

Honestly: I mess up Burn’s face so much. I never draw his eyebrows the same way twice, his nose is different in literally every drawing pictured here, and I didn’t even bother tracing his eyes earlier because I usually go pretty stylized on those. But for me, that’s the point. I’m not trying to be photorealistic. What I’m trying to do is to make a caricature of the features people notice most about him — the ones we go on about in fanfic: the Cheekbones from Heaven; the froggy mouth. That way, my hope is that the end result will capture something so quintessentially Burn that viewers think, “Oh, Burn Gorman!” when they see it … Even if so many other details are wrong.

I could probably spend forever dissecting this guy’s face, but I reckon I should stop before I get any more boring and/or creepier. I hope this is at all helpful to you in your art! ❤

[isanyonetoknow]

honestly depends on what you want to draw and how. but, assuming that you want to draw things/people in a realistic fashion, this is my advice (based on my experience):

so the first thing to do is to get used to drawing strokes. like being able to keep a vaguely steady hand, being able to shade delicately, and being able to replicate some basic textures. this is often boring and repetitious work and you don’t have to nail this down to Perfection, but you should be able to do this moderately well.

another thing is just drawing shapes well, since drawing is built off shapes a lot of the time (there are a lot of different ways to actually draw the structure of something -- some people use line figures, some use geometry with angles and stuff, some use shapes. when you practice a lot you can skip a lot of the structure part since you’ll know how to make a face without drawing the circle and so on)

so once your basic strokes, lines, and shapes are nailed down, you want to practice. this is where doing still life drawings usually come in. it’s also a good way to learn how lighting casts shadows.

for all of this, i have a bunch of sheets and refs so if you do decide to do any of this, hmu and i can send them.

for learning how to draw people, it also depends what exactly you want to focus on (portraits vs full body vs everything). I focused first on portraits, and the way I learned was learning to draw each feature of the face individually and then how to draw the face and neck, and then putting all the pieces together.

after i learned the basics of putting together a face, i worked with a lot of reference pictures to try and replicate them. since i was working in pencil, something that made drawing from a ref easier was to make the drawings greyscale, so you really see where the shadoes are.

so it’s really just a lot of practice at that point.

then when i wanted to learn full body, i learned a lot of anatomy and proportions. so i’d learn where the muscles are and how they move, as well as the human structure made out of generic shapes. then i put those two together to have a full human. then i practiced with different proportions.

and then you look at movement and different poses, because no one’s going to stand stock still all day. you learn how far joints will bend, you work on shading, aka practice practice practice

i haven’t ‘officially’ learned about clothes but for that, i also used a lot of reference pictures to see how clothes interact with the body. still not the greatest at it, though. 

oh and hair is something you practice with your strokes (since different hair types will require different strokes and if you’re working only with greyscale, you need to look at the pigmentation and replicate that. so blond hair won’t have dark strokes, for example)

your style of drawing will probably develop as you go along. i know mine rn is more of a ‘kinda realistic but also simplifying the features’. you can probably change your style by looking at art that you want it to be like. 

for color/doing it digitally: i’ve only used color pencil (not watercolor or paints or anything), so if you want advice on that, i can help. i haven’t done too much work digitally but i do think it’s better if you learn traditionally first and then digitally (if you want to end up doing both), because i think it’s a lot easier to go that way than digital -> traditional. 

so in short:

references are really going to be your friend

lots of practice involved

it can be really frustrating in the beginning because you’ll think that everything sucks (i know when i started shading i was very much like Ew)

honestly depends on how you want to draw and what. it’s pretty flexible

and yeah, as mentioned i have a bunch of reference sheets for like, anatomy and facial structures and proportions and shading, so if you want access to that, lmk. i also know a bunch of other tips that can help (when drawing, be sure to periodically take a few steps back to look at your drawing in full because it can help you find if something’s off; you can always go darker with your lines and shadows but you can only erase up to a certain point so start lighter and then shade in more; the darkness of your lines will very much mess with how a face, for ex, looks, so make sure that your lines aren’t all hard) but they’re specific and i’m not recalling all of them now, so uh. ig you can hmu later if you have a question on something specific and i’ll try to help.

quick question. i wanna learn to draw. how do i do that

[torritgrey]

Art Professor Draws Crayon Self-Portrait

"Drawing a self portrait from life is a self passage for visual artists"

SET UP 

-the problem with using photographs as reference images is that you’re getting 1% of the information you would get from real life

-think about your easel in relation to your mirror in relation  to the light

-used a mirror that’s not too small

-set up mirror so that you can see yourself and your easel at the same time

LIGHTING

-great way to show the mood of a picture

-clamp lights are great!

-think about balance between shadows and light

FACIAL STRUCTURE

-don’t focus on likeness

-interpret the face as a series of abstract forms

-think about the structure of the skull first

-eyes, noes, and mouth are the accessories

-jaw bone is a good landmark that shows the shape of the head

-chin helps lower section of head and how it connects to the neck

-cheekbone leads you to the ear

POSITION YOUR HEAD

-direction of the eyes changes the ways a portrait is received

-eye contact vs. no eye contact

-eye contact acknowledges the presence of the audience

-what angle for your face?

-straight on views are kinda boring

-not compositionally interesting

-profiles are difficult

-would need to set up two mirrors

-3/4 view is the most ideal

-get a sense of the three dimensionality of the head

THUMBNAIL SKETCH

-thumbnail sketches are ways to think through composition 

-“the first mark you put on a page is the fifth mark”

-because you drew a rectangle for your thumbnail so that’s four marks already 

-have to think about the four corners of the page as active participants

-play with zooming in and out/ dramatically changing the scale

-good idea to tweak cropping of thumbnail sketches afterwards

-do around 5 or 6 thumbnail sketches for a piece

-ask yourself which one will be most interesting to draw/paint and which one is the most interesting compositionally

-then add shading to that thumbnail to see what the lighting is going to look like

-do not try to capture details at this stage

FIRST SKETCH

-start with a light line sketch of the entire composition

-yellow ochre, burnt sienna is good 

-pick a color that’s different from your skin tone so it makes you work harder to see different colors

-helps you develop more sophisticated flesh tones

-tackle biggest shapes first like cheekbones, eye sockets, chin

-with lips, the most important line is the middle one, the one between the upper and bottom lip

-when you draw eyes, don’t just look at the outline

-imagine the eyeball inside, don’t just think about eyelids

PROPORTIONS

-look at your drawing from a distance to tell what’s out of proportion

-important to sketch in hair, draw the overall direction of hair, don’t have to draw individual hairs

BLOCKING IN COLORS

-for your first layer, all you need to consider are highlights and shadows

-look to see color, search for blues, greens, colors that you wouldn’t normally imagine to be in skin tones

-brushstrokes in all different directions makes the painting more dynamic

LAYERING COLORS

-start drawing reflective light

-distribute the same color in multiple areas so that the color doesn’t look out of place

-warm colors for highlights, cool colors for shadows when using artificial light

-in natural light, the highlights are cool colors while the shadows are warm colors

-whites of eyes aren’t actually white, more of a darkish grey

-“remember that the eyeball is a wet squishy thing”

-has reflections

SHADOWS AND HIGHLIGHTS

-if you look hard, you will really see blues in flesh tone

-once you add cool colors, your color dynamic will completely change

-purple is a great color for shadows

-very dark but not black

-using grey and black for shadows will make a piece very flat 

-don’t draw individual hairs

-draw patches of light and shadows

FINISHING

-go back and reemphasize some areas of the face to make them sharper

-look for pockets on the side of the lips

-they show the way that lips are embedded in the face

-don’t make things too outliney and graphic, might end up too flat

-you can go in with a dark color and soften the transition between lines

-be aware of the transitions in your portrait, mix soft and hard color transitions

-start to make stylistic decisions

-do you want to leave brushstrokes? do you want to make the colors smooth?

-seeing brushstrokes tend to give the piece more energy 

-ask yourself which direction you want to take the drawing/piece in 

[hbell76-blog]

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[beaukmox538-blog]

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Paper代写：The Calatrava

本篇paper代写- The Calatrava讨论了卡拉特拉瓦。卡拉特拉瓦是世界上最著名的创新建筑师之一，拥有建筑师和工程师的双重身份，他认为美态能够由力学的工程设计表达出来，而在大自然中，林木鸟虫的形态美同时也有着惊人的力学效率。他的设计灵感都来源于大自然，动物的脊椎，羽毛，就连动物生长的纹路都被他玩弄于鼓掌之间，他甚至把人的肢体语言和谐的运用到建筑中。本篇paper代写由51due代写平台整理，供大家参考阅读。

Calatrava became famous for the design of bridge buildings, and his various and strange forms, which are similar to those of alien visitors, are the sketches of nature and the pulse of life. Like a poet, all poetry celebrates nature, which is his bionics art, which has no equal charm.

Since the 1980s, both postmodernism and structuralism have launched the revolution of aesthetic values with ugly, strange and irrational. Hence, all kinds of strange, absurd and strange buildings spring up like mushrooms. But gradually, people started to become more and more uncomfortable from the original freshness to the later difficulty in accepting, and the architecture lost its original beauty. Calatrava, on the other hand, also USES his peculiar and unusual architecture to bring us back to the beauty, especially the bionic architecture created by natural law, which is in contrast with nature and brings fresh wind to the architecture.

He is one of nature's disciples, use material heap to build a house like a bird, he had a heart to build a bridge, so all of the buildings have the shadow of the arch bridge, his fascination with the dynamic beauty of all things, for construction on the wings to fly, he ignored the curve of the building structure, the building toward the sky there is no gravity, such is his, unique architectural master calatrava.

In 2001, calatrava's first work in the United States was an extension of the art gallery in Milwaukee, Wisconsin. To exploit the natural beauty of the location, calatrava has put the building on the water. He walked along the avenue in the direction of the newly built up a index bridge, white concrete material of pylon incisively and vividly highlights the bold temperament, outdoor shutter shade, like a leaf fine feathers, as the transfer of the day time, the feelings of the blink also ripples in this piece of feathers, it will always follow the sun to adjust own point of view, as a spiritual quietly trembling in the quiet lake in the city.

If too many people aren't familiar with the buildings above, let's take a look at another landmark building - the Athens Olympic stadium.

With the world's six billion people cheering and the Olympics returning to their native land, calatrava turned that dream into an interpretation of nature's language. Calatrava's design is to add two large arch beams 304 meters long and 80 meters high to the original venue, and to use steel cables to pull up the fiberboard roof with a total area of over 10,000 square meters and a total weight of 16,000 tons. Calatrava called the project the "Olympic dream," and it transformed the 20-year old stadium. Two steel domes span the top of the course, and translucent glass is suspended above the seating area to allow sunlight to enter and keep out the heat. Calatrava hopes that this building, made of steel, concrete, with views and the light of Athens, will give an unforgettable image and inspire the Olympic spirit. The entire home pavilion is inspired by Byzantine architecture, with domes and blue-and-white tones, all from the Aegean sea. The colors of the sea, peaceful Greece, and green buildings have shocked the world. This is the natural beauty of calatrava's architecture.

Calatrava, an architect and an engineer, believed that beauty could be expressed by mechanical engineering, while in nature, the beauty of the wood bird and insect forms also had an amazing mechanical efficiency. His design inspiration comes from nature, the vertebrae of animals, feathers, even the patterns of animals' growth are played by him, and he even USES human body language harmoniously in architecture.

Bionics, however popular, does not seem to have much to do with architecture. We have seen bionic furniture, they all have certain scale, but the building is piled up is the track of the firmament, what this needs is a kind of adventurous spirit and innovative will. In this process, calatrava integrates the solution of architectural functional problems with the dreamlike expression of his works with his unique ability to reconcile things, providing us with new ways to improve the city, landscape and human beings themselves.

For example, the contour of birds is the shape of buildings in the train station of sallas in France. He made full use of the structural principle of animal bones and endowed this station with the dynamic beauty of flying by the way of static expression. A bird, saw it take off, this great architect fixed it in this moment of dynamic beauty, so the building opened its wings and began to fly.

For another example, in the erstine warehouse, the gate of the warehouse adopts the graceful cantilever design, and the shape of the door seems to be the facial expression when a person smiles, which gradually changes with the opening of the door. It is easy to see from the above examples that whatever is given by nature, whether animals or people themselves, is the most magnificent coat of calatrava architecture.

People always say: life is not lack of beauty, but the lack of eyes to discover beauty. Can we understand that the building is not necessarily ugly, but our vision is not beautiful and vivid structure.

As the avant-garde usually put it: "new things don't appear out of thin air, new designs often come from a comprehensive understanding of history and life." Calatrava USES the movement of human body to reexplore the basic elements of architecture. In fact, in the whole design process of architecture, the natural support is static, and the presentation of the final results is also static. The only thing that is moving is actually the designer himself, whether it is the emergence of inspiration or physical action. Like the creator, he used his own inspiration to support the bridge between nature and artistic beauty, making everything impossible to become a reality.

Therefore, we can't help but think about what a successful designer should rely on, whether it is conforming to conventions or novelty. In fact, the fresh air we breathe every day has already given us the answer, that is, as long as we follow the laws of nature, existence is reasonable and there is infinite hope.

Like calatrava, there are many ways to "survive" by talking to nature and building.

If the soaring architecture were not the fluttering of the birds, we might not see the miracle of the sallas; If the twisted building weren't for the human body's one turn, we wouldn't see its 360-degree stunning. Design needs inspiration, and the most inspired place is endless nature. If we really learn anything from calatrava, it is to make the song of nature more violent.

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