#this one is for the boring times tbh

[survivalistghost]

today we're at

descendants of the sun

our beautiful beautiful man song joong ki as armyman yoo shi jin and the fl song hye kyo as the doctor kang mo yeon. second lead couple, as usual, more widely shipped as always, seo dae young and yoon myeong joo.

admittedly, i was looking forward to military man x doctor trope vv much but i was not too happy with how they pulled off the main couple.

i. im sorry, but i was so used to ship vincenzo and hong cha young from vincenzo that my brain could physically not compute song joong ki with another woman. i know they were married BUT.

ii. the fl. my dear lord. so annoying. AT FIRST, i really understood where she was coming from. i truly truly understood her moral dilemma. but oh dear god is there not a limit to writers just having the fl find reasons to reject shi jin just for the sake of plot twists?

iii. BUT i really liked how they explored that dilemma about her protecting people by saving lives and him protecting people by taking lives. it honestly got repetitive tho, so that made me lose interest as well.

iv. one thing i gotta admire — the amount of depth they gave each character. every side doctor who came with the relief team had so much of a story, and it was made in a way that was not intrusive to the lead couple or even the second lead couple.

v. and ugh, of course, the badass females. i mean, the military doctor? she was peak badass. it did annoy me in that scene where the guys were sent a package by some girls and the two doctors went ballistic over that. but when they fought over that idiot college guy or whoever — idk, it irked me but all the well, we always love jealous protags.

vi. of course, a separate point for song joong ki. that man is a work of art. i used to think he’s got such a baby face when i started vincenzo, but by the last ep of vincenzo, i. . .really stopped thinking otherwise. but his performance was, as always, amazing, and i havent seen reborn rich yet but im excited. + the epic bromance, in competition with the goblin and the grim reaper.

in short, if you like hard to get girl tropes, some action mixed with drama, a LOT of second hand embarrassment, then please check out descendants of the sun. 

5/10

[turtleblogatlast]

Fun little silly thought I had about the Lair Games and specifically Leo deliberately losing is all the reasons he could have for doing so.

My favorite headcanon for his main motivation is that Splinter wasn’t proud of him anymore.

I imagine that, in the beginning, winning the Lair Games was Leo’s opportunity to shine. He wasn’t artistic or the baby of the family like Mikey, wasn’t a tech genius who created amazing inventions like Donnie, wasn’t the eldest who was insanely strong and dependable like Raph. So he had to shine somewhere else- anywhere else- and what better way to get attention than to be a winner? A champion?

And then he won too much. And it wasn’t special anymore. He got too big headed, too cocky, he knew this was his element and he ran with it.

Splinter’s words of congratulations slowly petered out. Suddenly, there was no real reason to win.

Winning feels empty when the only one cheering you on is yourself.

So- Leo schemed. And he’s a great schemer, fooling his whole family (and Donnie did deserve a win- people were way happier when he won.)

He even gave up his prized possession! His room!

Though he knows his brothers probably think it’s a bad prize. A terrible one, even.

Leo doesn’t sleep much as is, though. So Dad’s snores were more comforting than anything. It was reassuring to hear him so clearly alive and close by.

Even if the distance between them was larger than Leo’d like.

He’d just have to find something else, something more to show his dad that Leo was someone to trust, to be proud of, to love.

He gets his chance soon after, when he needs to pull off a plan against Big Mama at his dad’s side. Leo can only hope this victory is one that has a lasting effect when his father looks at him with pride once more.

Victory, for Leo, is a pretty loaded term.

[dum-vivere-vinum-rubrum]

YURI JUMPSCARE 😨😨🏃🏻‍♀️😨

[matchlocksunflowers]

taking some extra anatomy classes this year, here are some of my notes in case they could help someone. should be updated every weekend (aside from october 28th and november 4th which are free days) with the following lesson's notes. (further explanations at the end)

anyway. here goes:

SCENE 0-1: LEARNING HOW TO LOOK/OBSERVE

when drawing, we each more or less have our own methods when approaching certain subjects, with multiple tools at our disposal in order to achieve the desired results. 

but generally, when drawing a model (or most things from life, actually) we can in some sort of way define a general order as to when to draw what: 

Looking / Observing

Blocking In

Correcting

Details

for today i’ll focus on the first one of the list, looking / observing.

the existing nuance between “seeing” and “looking” exists in the sense that “seeing” is more passive than “looking”. when you say “i can see a cat”, you aren’t paying too much attention to the cat. but when you say “i am looking at a cat’, you are actively paying attention to the cat and what they’re doing. 

(given the class is in French, the nuance was similar, using the words “voir” and “regarder”. but due to French not having a close equivalent to “watch” i cannot make more parallels about this, as my knowledge of English and French-to-English translation is still fairly limited)

when looking at a subject, the primary objective should be to understand what you’re looking at. you can look at a subject (or the world as a whole) under multiple filters: values, hues, proportions, in 2D or 3D, and so on. you need to define how you want to look at a subject following these filters of vision. what do you want to look at first? what do you want the viewer to look at first? this is important to define before you put your tool to your support. 

generally when drawing from life, it’s a bit reckless to rush to draw the model without actually observing them a minimum. you should take the time to observe, you are allowed to take your time to observe. no amount of limited time should paralyze you from examining the model the best you can before you put your tool to use. 

getting this more precise vision of your model can give you a better vision of their body, which is often hidden under detail. when drawing them, you should ask yourself “how is the model posing?” 

why look/observe? (probably like the most given piece of advice by pros and art youtubers who aren’t pros but still get called pros cause they have 1 million subscribers on youtube) 

this question is very easily asked but also very easily answered: 

to know how and what you’re going to draw 

to time yourself correctly and have a good time management (drawing a pose in 2 minutes is completely different to drawing a 10 minutes one), thus,

to avoid rushing to draw the subject. as said previously, take your time. start slow, but stay accurate to the model. (teacher compared it to a musician rehearsing a piece, first slowly, then speeding it up progressively as he gets to know the piece itself better and better. unfortunately as someone who is as farthest from a musician as can be, i cannot honestly attest to if this is accurate). 

but really, there is actually no such thing as a “finished” drawing. a graphite drawing could always have color added afterwards, a painting could always get more and more detailed. a piece is “finished” only when you deem it is finished. the French Académie des Beaux Arts didn’t like the Impressionists because to them, what the impressionists were doing were half assed jobs, since the idea of “transmitting a vague feeling, or an emotion through a specific style of very visible strokes” was absolute fuckery to them. speaking of, 

to transmit an emotion, or a feeling through the posing of the model. the more technical and controlled the strokes will be, the finer the wanted sensation will be felt by the viewer. this also ties in the physical aspect of the model. ideally, in order to achieve this, you can try posing the same way the model does. it may be a bit awkward but it works (depending on your learning type, of course.) 

to understand how the whole “body system” works. “i know the rules of the human body, therefore i make little to no mistakes.” 

adding a whole context to the pose helps: adding a situation in which the pose could work in gives some meaning to your drawing, as well as helping you remember it better. it also adds a narrative element to your drawing(s), which are absolutely always a plus. (memorization is also an important tool!)

now let me play devil’s advocate and ask: why not look/observe?

well, uh, there are two reasons my teach told us: 

to let your instinct and imagination go wild and free, trust your gut and have fun!! 

and, tying back, 

to let yourself be surprised by what you’ve done.

form synthesis (or just different types of approaches to draw form)

when drawing a model, there’s a few things that can be mentioned: 

multiple types of lines exist with different purposes within the drawing: the action line(s), structural lines, and contour lines. 

action lines define the overall movement of the pose. the principal one is the one you see when giving a better look at how dynamic the pose is. the secondary ones are the ones you can find in secondary rhythms when examining the pose a little longer. 

(here's a better example, actually:)

structural lines are pretty much the “stickman skeleton” you sometimes see in certain how to draw books (specifically the more advanced manga themed ones).

contour lines surround the form in a way as to draw all of the outer body without using inside shapes or lines. (it is also the basis for the Bargue method which will be slightly discussed below. there unfortunately won’t be any talk about cross-contour lines, as it hasn’t been talked about in class (yet?)) 

generally, lines take either an I shape, a C shape or an S shape. (teach said it’s preferable to mostly use I and C type lines when drawing live models. probably due to the fact that S shapes are much trickier to use “effectively” within a piece (effectively not meaning much in this context, if nothing at all. again, have fun.)). using these lines tell a lot about the model and the pose, telling a sort of dynamic storytelling which varies depending on what type of line you choose to represent your model. 

we can mostly talk about 2D shapes when three or more points have been linked by lines. sometimes, lines can skip articulations for the sake of dynamism. shapes should be thought about in their entirety, the difficulty that can be encountered usually being remaining vague but accurate with your form. 

now, a quick word about: 

the Bargue method (or, the fuck do you mean the Americans used it in art schools before us, Bargue was literally born in Paris, i fucking hate the Académie des Beaux-Arts)

the Bargue method is probably fairly well known among certain art schools or artistic communities. if i do recall correctly; it originated with Bargue noticing the low level of the students of the Académie des Beaux-Arts de Paris (or some other place basing itself solely on academic style art and paintings located in the city of Paris in the country of France on the continent of Europe) and devising a simple way to learn how to draw accurately from life (or plaster casts, depending on what you prefer). it solely based itself on straight, contour lines, forming a base around which to slowly add details to. apparently, a lot of art schools in america base their teaching of life drawing on this method, but given i do not feel like getting over $200k in debt without even mentioning living and travel costs, i cannot say if that is actually true. 

here's an example of it:

it’s pretty much basing yourself on simplifications of the form to attain absolute accuracy. no curves here to distract you, only straights. somehow, when pulled off correctly, it gives a very neat impression of realism.

anyway, that’s all i wrote down. hope teach won’t see this anytime soon, and hope this kinda helped a little bit. next week’s notes should be about blocking in shapes, so we’re starting to be a little more concrete with the actual drawing process. 

these classes were taught by Mr Francis Buchet at a class given at the Académie de la Grande Chaumière, so most of the things i’m saying here are taken from him and his class. if you live in/close to Paris and are interested in learning artistic anatomy, i suggest you look up where he is giving public classes, since they’re infinitely more engaging than these notes. his instagram is be linked below. (hoping he doesn’t get mad at me for sharing these notes… in any case i will use my own example sheets to avoid getting in any more trouble.)

and, may i remind you: these notes are only here to showcase one approach among many others, so they don’t mean much in the grand scheme of things. i myself am in absolutely no way a professional, so please, take all of this with a grain of salt (or a spoonful, even). draw how you enjoy drawing, and find happiness in the way you want to draw. 

Francis Buchet's instagram: x

so, seeyou next weekend! (or earlier, if i draw something i want to show here.)

[cluescorner]

I gave myself a writing challenge and I am fascinated by it

So basically I put the robins in a randomizer to give them a new order/role (because I just...kinda wanted to see what would happen + I like role-reversal AUs) and got results that are giving me a fucking brain blast.

Stephanie, the first sidekick who defines the role

Tim, the sidekick who dies and comes back wrong

Dick, the sidekick who saves Batman from himself

Damian, the sidekick who was never supposed to be a sidekick but would go on to prove everyone wrong

Jason, the youngest sidekick who is still the Kid Wonder

...So this is fucking wild. I've got some ideas and several of these fit perfectly (Dick's role is pretty similar to his one in canon), but some of these are fucking INCREDIBLE to explore (Steph being the first Robin is something I never even considered but tbh I kinda love it).

I probably won't write a fic or anything because tbh I don't like publishing my writing that much, but I might expand this into a full AU and post about it. I might randomize other stuff too (ie, stuff that I cannot change vs stuff that I cannot keep the same) but this fucking rules as a starting point.

[skitskatdacat63]

Fernando S1E4 - “Out of My Comfort Zone”

[sea-jello]

practice i did a while ago w poses i found on instagram plus the i think memories prompt from morrotober that i didn’t want to do the background of so never finished

[britcision]

It’s funny when the DC fans get annoyed that half the fandom hasn’t kept up with the entire extended DC universe and know everybody’s stories and backstories and different versions and shit

Danny Phantom had 3 seasons of 20 minute episodes and a handful of comics and most of us haven’t even seen that (and do not intend to 🙌)

Meanwhile people are being confused at me for Jack Fenton liking both fudge and also ham, which came up in every single episode I saw as a kid

My darlings

My beloveds

If you want your preferred versions of the DC characters in a prompt, you may well be the only person who can do it

So do it and tag it and I’ll come eat it along with the horde and you’ll never be rid of any of us

[lorephobic]

here are my delirious saltburn notes if anyone actually wants to see them. mostly im just laying out scene order for my own reference, but theres definitely some incoherent observation & analysis in here if any of you are crazy enough to look thru it

[system-splintered]

This might be a surprise but I often don't see most people as equal to me. Not that they aren't people, more that I and the person/people I value are something greater, as the definition of something is defined by the majority of what that thing is, so the majority of people being basically, well, moronic animals, it's a feature of humanity. A select few, my partner, sometimes a few others irl, and some people I know from here and discord, I see as more than that, but most people are just... An obstacle, or a tool, to me. I try not to let that affect how I treat people but that's often difficult for me. I'm nice, even charming on occasion, to most people I meet, particularly when certain parts are in front, or I see the person I'm meeting as potentially useful as an ally, but it's not because I feel like they deserve the kind of respect I maintain for people I truly care about from me. It's because people are nicer to you if you're nice first. Even if it's "fake" nice, as long as you don't tell anyone (that's two-faced, also a crime in the eyes of egotypicals) they genuinely don't seem to notice that it's all an act.

I think most people deserve the maintenance of this veneer of respect, as not doing so is typically offensive, but genuine respect is vulnerability, and I only show my belly to those I both see as my equal, and whom I trust not to bite and tear at my softness.

Sometimes someone will be in this group of equals in my eyes, and they say or do something I resent, and a switch flips in my brain, and I just don't give a fuck about them anymore.

It worries me that one day, my partner is gonna be one of them. So far, she's my longest lasting exception to the rule of generally not liking or respecting or showing vulnerability to anyone.

She's also the only one genuinely in the position of having earned my complete respect and admiration. For everyone else, it's been temporary and negotiable, able to be lost and at its root, incomplete. For her it's been nearly eight years, and a lot of mistakes, and it still hasn't gone away, but every time my symptoms flare and the group of people I see as even worth giving the time of day shrinks, my concern grows that the only person I've ever truly loved unconditionally, will turn out to have some conditions after all.

She's the only one I care about the opinion of. And she knows how I feel about most of humanity and agrees with me.

I think we both may have ASPD.

[lightbulb-warning]

this is getting ridiculous there's so much stuff i wanna draw i need to clone myself immediately

[elinaline]

It's difficult to trust Tumblr suggestions when two of the latest shows everyone here has recommended as masterpieces felt like ehh to me. Like yeah it's great to have adult animation and those are pretty to look at but can we have a story that actually isn't fetishizing a culture or trauma porn ? Can we have actually well written characters ? Like can I fucking have at least two dimensional characters and a world that makes sense please ??

[solradguy]

I have a question for you and anyone else, you might kin your kin, but would your kin, kin YOU ~pumpkin anon (I wish 2 believe my kin would infact kin me <3 I love jacko)

No hahah I don't think Sol would hate me, but I don't think we'd vibe like that at all. I could probably get a conversation out of him through our common interests though. He'd probably get a kick out of my 3D printer and record collection lol

[clonehub]

"why does the fandom complain so much!!" do you see what we've been getting

[oceanwithouthermoon]

the realization that tumblr does not work like twitter and i cant just vague post about random discourse or arguments otherwise people will wrongfully assume its about them has flipped my whole life upside down

[commsroom]

thinking about eiffel making hera a mixtape on cassette by recording over some old Goddard protocol tape he found in storage, but he doesn't have access to his tunes in a way he can transfer to a cassette recorder so it's just him singing out of key and getting lyrics wrong in a way that makes them more about Hera

this is soo sweet. he's such a massive ham; i love the idea of eiffel, like, dedicating the classical music they pick up to hera, or asking her to dance and dramatically - kind of awkwardly, in low gravity, but also just because he's not a very good dancer anyway - 'waltzing' with himself, or just... singing to her. pointing at her cameras. incredibly off-key. i love the thought of hera hearing some of those songs - the actual, non-eiffel versions - on earth for the first time, after all the times she's heard him singing them.

there's this interview gabriel urbina did a while back, where he was answering character-building questions, and said that eiffel once made someone a mixtape "in the way that only an obsessive 90s teenager can really make a mixtape"- like he really put effort into it, and really cared about it, and the person it was for didn't really appreciate it. and he never fully got over that. i think about that a lot, and how important music is to eiffel, how much is communicated through music... i think it would really mean a lot if hera could make a mixtape for him, someday. i think that's such a sweet sentiment, like a continuation of the way she gifts him music for his birthday.