do you have any advice on drawing slugcats/scavs? i love how you draw both... sincerely...
i'm rising from the dead just to answer this one even though i'm not much of an adviser or a tutorial guy x) my style is not consistent and i just flow with most of things
but here's some tutorial-ish things
slugcats are just...blobs at this point in my style, i don't use many additional lines or smth for them
it's like this one "how to draw a rat" meme where there's only two steps: "draw any shape" "done"
scavengers are more complicated tho!
they have actual anatomy and as stated - i'm still figuring it out x) but at least it's fun
here's some other scavs i drew for a little example - a random one and kinda an OC of mine
i hope this helps even if just a little bit, i really have no idea how to explain my drawing process or give drawing advice :")
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Another chance to talk about Rain World's random symbols that suspiciously resemble Hebrew letters for no reason at all.
Random wall symbols are not a rare phenomenon in this game. But there is a singular specific room that caught me thinking for a little too much.
In SU_B04 you will find those three letters
When I first played the game I never noticed it, but now I can't remove my eyes from it every time I start a new playthrough.
The letters resemble those three letters: Sameh caf and shin, and they actually create a word (it's so exciting I know). The thing is, the letter shin is mostly used as a prefix, in this specific order it's used to create a word that means "That throne". And the problem is that in English it will sound perfectly fine, but in Hebrew this word is meaningless and confusing because the lack of a sentence. (let alone the word כס is also kind of incorrect on it's own because you need to add another word: the royalty - המלוכה, to imply this is a royal throne but it's not important now)
When you add a prefix to a word YOU HAVE to use it in a sentence. This is how valid sentences look, the meaning of the word changes depends on the context presented in the sentence.
Of course this is probably just a funny coincidence, because in the same region you can find a similar sight that is complete gibberish (???, D and G)
But the thought of Rain World, by random chance, containing a whole Hebrew word (in an invalid way but still) that means "this throne" on some luxurious ass pillars is completely hilarious, and spark my interest so much.
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Nightcat Hangout!
Thank you so much for what is now 700+ followers!! You are all so amazing, and I cannot be more grateful <3
i apologize if i messed up a design at all! and if you have trouble finding or would like a high quality photo of yours, shoot me a message or ask in the reblogs!
thank you all sm again, you are amazing!! and of course, thank you outer wilds for being an amazing game to draw them all in haha
here's the photo on google drive if you would like a HQ image
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"Bridal Portrait of Uncertain Origin"
Artist unknown, circa the Fall of the Preeminent (estimated)
Oils on bespoke canvas, silk tulle, gilded oak frame
Shortly after the last Yin-Yang Eclipse prior to the Merge, this portrait was discovered in the attic of the Temple of Airjitzu, despite no records of the portrait ever being displayed inside. Indeed, "Bridal Portrait of Uncertain Origin" lacks any solid provenance or provable history. The materials and techniques used only further obscure the truth; perhaps the only thing certain about it is that it exists.
Examination of the structure of the canvas and gilded wooden frame indicate classical techniques from the end of the Era of the Stone Warrior; however, chemical analysis of the paints, varnish, and other materials used to finish the base revealed compounds identical to substances readily available in civilian art supply establishments of pre-Merge urban Ninjago, specifically those available shortly before the portrait's discovery.
Further complicating matters, the image itself is a web of self-contradictions and mismatched details. The subject's pose is highly informal, but the portrait itself - from the level of detail in the oil paint to the larger-than-life scale - is lavish enough to suggest a formal reason for its creation. The subject's attire, too, is highly unusual. Of all known ceremonial attire in the realms, the blues, sharp lapels, and floral motifs rendered here most closely match traditional Djinjagan royal wedding garments (hence the portrait's given title). However, the presence of only two arms, human legs emphasized by a jumpsuit, and the highly unusual structure of the outfit preclude it from being truly Djinjagan in origin and match no other known ceremonial garments from any realm.
Despite all of these bizarre qualities, perhaps the most intriguing part of the portrait is the silk tulle veil flowing out from the painting to drape over the edge of the frame. Independent analyses by multiple art historians found absolutely no point of the connection between the veil and the canvas; the fabric seems to proceed from the image itself, as if the frame is in fact only a window sill separating the viewer from the bride. Furthermore, chemical analysis of the veil revealed trace quantities of organic Latrodectus sotoii venom - a toxin found only on one island in all sixteen realms, which was nowhere close to the portrait's point of origin. Combined with the spiderweb embroidery on the veil, as well as the subject's trio of spider shaped brooches and venom-coated raised hand, the presence of this toxin may be the most reasonable thing about this portrait.
(Now: notes from the artist.)
The process for this one was utterly unlike any other artistic project I've ever done. This all started with me thinking back over a past Skybound analytical piece of mine and thinking how fun it might be to try putting it on an actual person instead of the template croquis I designed it on. (Also: seeing how my texturing methods have evolved!) One Dallon Weekes photo and a Reel about quick contrapposto armature doodling later and I was off to the races.
Initially, this was only supposed to be a souped up edition of the original look - the second image shown just above these notes. Then, while I was trying to figure out how I wanted to display the veil, I wondered: wouldn't it be neat to let it drape out of the frame? Except for I didn't have a frame involved at that point.
At which point I decided, well.... let's make a frame happen. There was already a decidedly haunted portrait energy coming off of this thing (fully intentional, but that's what happens when two of the albums you associate most strongly with your Skybound work are Vices and Virtues and Violent Things), so I thought: let's put it on display. Let's let the veil creep out to meet actual gallery air. Furthermore, why not give it a scary ass, borderline SCP ish existence? I do love an excuse to try and write a museum plaque.
Put another way: If you walked into a gallery and saw an oversized portrait of you on one of the worst days of your life that never happened, except for all the details were wrong (but just right enough to suggest the artist knew what she was doing), would that be fucked up or what?
Some other assorted notes about this:
The design of the gallery space itself was inspired by an image of Crystal Bridges, an art museum in Arkansas that I'm hoping to visit later this year on a trip I'm taking to that area. I've had a family friend hyping it up for years now, and I've looked into it a lot; it's an incredible space. In the fictional lore of this painting, it ends up in a Crossroads art preservation institute of some kind that hangs on to art and artifacts from throughout the realms that crashed together in the Merge. (I couldn't quite squeeze that into the plaque writeup without sounding clunky.) Crystal Bridges, an American art museum with a dizzying range of works, inspired that idea and seemed the most appropriate place to base my fictional gallery on. Here's the image I used as reference, taken from a Google result from their site:
There is, in fact, text on that plaque on the wall. It's too tiny to read, but I promise that's text. Barring a few minor changes, it's the same as in the writeup; I typed it out, screenshotted and removed the background, and laid it out on the plaque. Much easier than trying to draw out teeny individual words.
Something else I couldn't fit into the plaque but tried to imply via the details was that this piece survived whatever collection it was originally in and made it through the Merge inexplicably intact, much like Nya's memories of the deleted timeline still hanging on even after the full reset. Weird as some stuff in this world is, there truly is no escaping it. Better get some nice lighting on it and try to get to the bottom of it. (I do also think it's funny how I bent over backwards trying to help this unnamed plaque author curator character trace every possible origin path when the motive for making this was just... fun. I just did this for fun and then I tried to make it look so grand and terrifying.)
The outfit in the portrait is faithful to the original design, with a few tweaks: the web collar is now gold to stand out against the veil, the veil itself is much longer, there are now two more spiders on the skirt, and there's a birdcage-inspired crinoline under the skirt. That last one was a technical decision, as the lace this time around didn't feel like it could hold itself up. Also, it's a convenient source of more symbolism if you need one.
That's about all the notes I have for right now - if I think of others, I'll be sure to add them. If you have any questions or comments, the inbox is always, always open.
Thank you for stopping by the exhibit.
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