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puppyeared · 27 days

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renaissance dogys

characters belong to @canisalbus

#i love i loveeee ludovica sm shes so cute. ive only known her for 5 min but i fell in love with her design and i love her friendship #with vasco ^_^ i think them having each other makes hiding their sexualities a little less lonely so thats sweet #ik in modern au shes considered an old friend of vascos but i originally assumed she and vasco fake dated in college or smth #to get their parents off their backs until they came out properly and continued to stay in touch as friends after LMAO #im not very familiar with period fashion so i had to look at renaissance costumes as reference. but i have to admit i love the #high waistlines used in some of their dresses.. i have a minidress with a similar high waistline pressed against the chest and sleeves #also if u squint machete is holding a little paper bag in the 2nd photo which is supposed to be his lunch courtesy of vasco <3 #idk what ludovica would wear in modern au but i thought poet shirts might suit her because theyre like somewhere evenly between #masc and femme. to me anyway.. based on observation lesbians seem to love poet shirts and i think she looks good in one #these are all shitposts.. ill draw serious art of them one of these days i promise #i listened to fools rush in and it reminds me of them.. especially when it goes 'though i see the danger there / if theres a chance #for me then i dont care' like its so poignant and bittersweet.. a little indulgent when u think of those small moments they have togethr #save me gay catholic furries... gay catholic furries... gay catholic furries save me #my art #myart #doodles #fanart #others ocs #canisalbus #fur #furry art #machete #vasco #vaschete #ludovica #sfw fur #furry #anthro

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taffywabbit · 1 year

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reminding myself there are no truly "bad days", because every single day, someone somewhere in the world has taken a photo of an extremely tiny animal and shown it to someone else, and that's very good actually

#buny text #bless the people who take photos of incredibly small baby bunnies and post them on line. they are what keeps me going #when i was running the bunnieswithVGM twitter it was like. genuinely a healing experience getting to look at rabbit photos regularly #i highly recommend looking at pics of very small rabbits and thinking to yourself 'you tiny fucking thing. how do you exist'#it's very important and also fun. and then you can share those images with a friend #the tiny fucking animals on the internet are free and you can take them with you

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menelaiad · 1 year

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the infamous 'last sighting of a barbary lion in the wild' photo taken by marcelin flandrin (1925) haunts me to my core. there's something so achingly poetic about it.

#this is so random for me but i saw this the other night and it genuinley hasnt left my brain #there's a lot of debate around this subspecies and whether they are #extinct or w/e #hence my wording BUT #this photo and that kinda ....... 'last one in the wild' fact has sTUCK with me #so small. in the space. so alone. walking away. leaving their prints behind.#it honestly nearly moves me to tears if i think about it too much #straight up put this in my drafts last night and now it makes me TOO emotional

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fuckyeahgoodomens · 5 months

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SFX Magazine Issue 372 - Designing Good Omens ❤ 😊

PRODUCTION DESIGNER MICHAEL RALPH REVEALS HOW THE SHOW’S CENTREPIECE SET, WHICKBER STREET, WAS GIVEN A DEVILISHLY CLEVER UPGRADE FOR THE SECOND SEASON

WORDS: DAVE GOLDER

Invisible Columns And Thin Walls “The new studio is Pyramid Studios in Bathgate – it used to be a furniture warehouse. And unfortunately – or fortunately, because I accept these things as not challenges but gifts – right down the middle of that studio are a series of upright columns. But you’ll never spot them on screen. I had to build them in and integrate them into the walls and still get the streets between them. And it worked.

“There’s all sorts of cheeky design values to those sets. Normally a set like this is double-skin. In other words, you do an interior wall and an exterior wall, with an airspace in between. But really, the only time a viewer notices that there’s that width is at the doors and the windows. So I cheated all that. I ended up with single walls everywhere. So the exterior wall is the interior wall, just painted. All I did was make the sash windows and entrances wider to give it some depth as you walked in.”

GOOD OMENS HAD A CHANGE of location for its second season, but hopefully you didn’t notice. Because Whickber Street in Soho upped sticks from an airfield in Hertfordshire to a furniture warehouse in Bathgate, Edinburgh. It’s the kind of nonsensical geographical shenanigans that could only make sense in the crazy world of film and TV, and production designer Michael Ralph was the man in charge of rebuilding and expanding the show’s vast central set. “I wish we could have built more in season one than we did,” says Ralph, whose previous work has included Primeval and Dickensian. “We built the ground floor of everything and the facades of all the shops. But we didn’t build anything higher than that, because we were out on an airfield in a very, very difficult terrain and weather conditions, so we really couldn’t go much higher. Visual effects created the upper levels.”

But with season two the set has gone to a whole other level… literally. “What happened was that the rest of the street became integrated into the series’s storyline,” explains Ralph. “So we needed a record shop, we needed a coffee shop that actually had an inside, we needed a magic shop, we needed the pub. To introduce those meant we had to change the street with a layout that works from a storylines point of view. In other words, things like someone standing at the counter in the record shop had to be able to eyeball somebody standing at the counter in the coffee shop. They had to be able to eyeball Aziraphale sitting in his office in the window of the bookshop. But the rest of it was a pleasure to do inside, because we could expand it and I could go up two storeys.”

For most of the set, which is around 80 metres long and 60 metres wide, the two storeys only applied to the shop frontages, but in the case of Aziraphale’s bookshop, it allowed Ralph to build the mezzanine level for real this time. According to Ralph it became one of the cast and crews’ favourite places to hang out during down time.

But while AZ Fell & Co has grown in height, it actually has a slightly smaller footprint because of the logistics of adapting it to the new studio.

“Everybody swore to me that no one would notice,” says Ralph wryly. “I walked onto it and instinctively knew there was a difference immediately, and they hated me for that. I have this innate sense about spatial awareness and an eye like a spirit level.

“It’s not a lot, though – I think we’ve lost maybe two and a half feet on the front wall internally. I think that there’s a couple of other smaller areas, but only I’d notice. So I can be really annoying to my guys, but only on those levels. Not on any other. They actually quite like me…”

Populating The Bookshop “The props in the new bookshop set were a flawless reproduction from the set decorator Bronwyn Franklin [who is also Ralph’s wife]. It was really the worst-case scenario after season one. She works off the concept art that I produce, but what she does is she adds so much more to the character of the set. She doesn’t buy anything she doesn’t love, or doesn’t fit the character.

“But the things she put a lot of work into finding for season one, they were pretty much one-offs. When we burnt the set down in the sixth episode, we lost a lot of props, many of which had been spotted and appreciated by the fans. So Bronwyn had to discover a new set decorating technique: forensic buying.

“She found it all – duplicates and replicas. It took ages. In that respect, the Covid delay was very helpful for Bron. There’s 7,000 books in there and there’s not one fake book. That’s mainly because… it’s a weird thing to say, but we wanted it to smell and feel like a bookshop to everybody that was in it, all the time.

“It affects everybody subliminally; it affects everybody’s performance – actors and crew – it raises the bar 15 to 20%. And the detail, you know… We love a lot of detail.”

(look at the description under this, they called him 'Azi' hehehehe :D <3)

Aziraphale’s Inspirational Correspondence “There’s not one single scrap of paper on Aziraphale’s desk that isn’t written specifically for Aziraphale. Every single piece is not just fodder that’s been shoved there, it has a purpose; it’s a letter of thanks, or an enquiry about a book or something.

“Michael Sheen is so submerged in his character he would get lost sitting at his own desk, reading his own correspondence between takes. I believe wholeheartedly that if you put that much care into every single piece of detail, on that desk and in that room, that everybody feels it, including the crew, and then they give that set the same respect it deserves.

“They also lift their game because they believe that they’re doing something of so much care and value. Really, it’s a domino effect of passion and care for what you’re producing.”

Alternative Music “My daughter Mickey is lead graphic designer [two of Ralph’s sons worked on the series too, one as a concept artist, the other in props]. They’re the ones that produced all of that handwritten work on the desk. She’s the one that took on the record shop and made up 80 band names so that we didn’t have to get copyright clearance from real bands. Then she produced records and sleeves that spanned 50, 60 years of their recordings, and all of the graphics on the walls.

“I remember Michael and Neil [Gaiman] getting lost following one band’s history on the wall, looking at their posters and albums desperately trying to find out whether they survived that emo period.”

It’s A Kind Of Magic One of the new shops in Whickber Street for season two was Will Goldstone’s Magic Shop, which is full of as many Easter eggs as off-the-shelf conjuring tricks, including a Matt Smith Doctor Who-style fez and a toy orang-utan that’s a nod to Discworld’s The Librarian. Ralph says that while the series is full of references to Gaiman, Pratchett and Doctor Who, Michael Sheen never complained about a lack of Masters Of Sex in-jokes. “He’d be the last person to make that sort of comment!”

Ralph also reveals that the magic shop counter was another one of his wife’s purchases, bought at a Glasgow reclamation yard.

The Anansi Boys Connection Ralph reveals that Good Omens season two used the state-of-the-art special effects tech Volume (famous for its use in The Mandalorian to create virtual backdrops) for just one sequence, but he will be using it extensively elsewhere on another Gaiman TV series being made for Prime Video.

“We used Volume on the opening sequence to create the creation of the universe. I was designing Anansi Boys in duality with this project, which seems an outrageously suicidal thing to do. But it was fantastic and Anansi Boys was all on Volume. So I designed for Volume on one show and not Volume on the other. The complexities and the psychology of both is different.”