#closeups beneath the cut<3

[orbitfalls]

Black sisters portrait i’ve spent too much time on <33

#closeups beneath the cut<3 #bellatrix black #narcissa black #andromeda black #click the pics for better quality <33 #atlas art tag

[beansprean]

Support me on Patreon or send a tip on Kofi!

A commission from andieandiiandee(@TikTok) based on chapter 14 of “Hounds of Love” by @andiforyou!! ❤️

(ID in alt and under cut)

ID: 1. Waist up of human Nandor dressed in a chainmail shirt with chest plating, a silver sword dangling from his left ear, a brown leather belt, and a brown leather baldric over his shoulder attached to a real sword at his hip. His hair is half up, twin braids from his temples forming a bun at the crown of his head and held in place by a leather clasp threaded with a stick. He is leaning against a doorframe, arms crossed, and staring offscreen with hooded eyes and a small smile, a pink heart floating by his face. 2. What Nandor is looking at. Waist up of Jeremy and Guillermo from the back as they chat idly, the vague idea of a coat rack in front of them. Jeremy is wearing long white robes. Guillermo, half turned toward Jeremy with a smile as they chat, is making motions to shrug off his puffy winter coat. 3. Extreme closeup of Nandor's eyes as they fly open in shock, cheeks flushing red. 4. Close up of Guillermo in profile, from the bridge of his nose to just below his chest, as he shrugs his coat off to reveal his bare shoulder and arm in a plain black tank top, a golden chain around his neck disappearing into the shirt. His right hand, wearing a leather glove, pulls out a piece of black fabric with a dotted white design. 5. Hips up of Guillermo from Nandor's POV on a glowing pink background, surrounded by golden sparkles, as he drops the coat completely and throws a poncho over his shoulders to complete his outfit. He is paused in motion, eyes downcast, pink mouth pursed, arms raised chest-high as the poncho flutters into place around his shoulders. It is black and translucent, decorated with a silver beadwork pattern of spiderwebs. The end of the poncho hits right at his waist line, edges scalloped like bat wings with silver pearls adorning each peak. Four short makeshift spider legs are sewn to the bottom of his tank top, two on each side. In the background are pink-tinted close ups in Nandorvision: the flex of Guillermo's bicep, the stretch of his fingers beneath the glove, and the roll of his back and stomach beneath the tight tank top as his arms stretch overhead. 6. A pink-tinted Nandorvision fantasy: full body of Nandor and Guillermo in their current outfits as Nandor grabs Guillermo at the waist and dips him, knee pressing forward between his legs and head dipped to mouth at his neck. Guillermo's arms are looped around Nandor's shoulders and he is smiling blissfully, hearts floating around his head, cheeks flushed as he tilts his head to allow Nandor access to his throat. His left leg hitches around Nandor's hip as Nandor's right hand creeps beneath the hem of his tank top. 7. Shoulders up of the real Nandor, staring slackjawed at the visions before him, cheeks flushed red and eyes wide, irises gone pink to reflect where his mind is at. 8. Small corner panel of Nandor, chest up and casting a shadow on a sparkly pink background as he comes back down to earth. He blushes, flustered, and closes his eyes with resignation, thinking to himself: "I'm going to be beating suitors away with a stick..." /end ID

#wwdits #nandermo #mlm #hounds of love #fic rec #human nandor #nandor the relentless #guillermo de la cruz #jeremy wwdits #what we do in the shadows #what we do in the shadows fx #my art #fanart #fan comic #image described

[unskilled-dabbler]

Dangers Revealed and Hardships Healed

Artwork to accompany @empty-cryptid's fic Madremonte's Garden and the Wakos' Cave for @encantobigbang

(see their tumblr post about it here)

Details exploring Pepa's gift, the relationship and childhood of the triplets, and how they feel reuniting after Bruno had been apart from Julieta and Pepa for so long! It's wonderful. Highly recommend. 10/10 fic.

A more detailed closeup along with the fic summary beneath the cut <3

Madremonte's Garden and the Wakos' Cave

The triplets decide to rekindle a tradition they had before Bruno hid in the walls. Taking a hike to a special place for some sibling bonding sounds like a wonderful idea now that Bruno has returned, Casita is reborn, and the family is healing nicely.

This event was a lot of fun and empty-cryptid was a pleasure to work with. I love what they came up with and I hope everyone reads it.

#encanto #encantobigbang #pb&j triplets #pepa madrigal #bruno madrigal #julieta madrigal #the triplets reunite #la familia madrigal #encanto fic #encanto fic: madremonte's garden and the wako's cave #empty-cryptid #By Nyda

[iconiccookie]

These are the photos of the second scene I recreated for the fic Cloud City by the incredible @late-to-the-magnus-archives !

It was so amazing to collaborate with her for @malevolentbigbang

Also go and check out my fellow artist for this fic @luneatic-art they made an incredible peace of art for it!

This scene can be set up in two different ways so I seperated them into 2.1 and 2.2

They have Spoilers for the last few chapters, so everythingis under the cut!

Scene 1 / Scene 3

Scene 2.1:

[ID scene 2.1: Two photographs set in a dimly lit room with brick walls, wooden floor and a large window at the end of the room. The glass of the window not seethrough and the only lightsource. In the first room the light shining into the room is tinted yellow. On the right is a long, dark wooden table with bloodstains on it's left side. On the left is a rectangular golden mirror, standing in the corner. The frame of the mirror depicts four tendrils, two on the right and two on the left side that curl into spirals in the four corners and each thin out to the middle where they meet. In the middle of the frame's top side is a star with two thin tendrils on each side of it. On the bottom of the frame is another wavy tendril. Instead of a reflecting surface the mirror is a gateway to another dimension with a dark background and yellow light emitting from within. The king in Yellow is reaching out of the mirror with two black tentacles that have golden details and five extensions of his cloak. From beneath the cloak strands and out of the mirror five bits of golden wire emerge, forming spirals on their ends. The second photograph is set in the same room but it's a closeup of the King in Yellow from an perspective that could be Arthur's while being lifted up. The walls behind the King in Yellow are black and have gold veins on it. Everzthing is illuminated by yellow light. One of the bigger tentacle is reaching toward the viewer in the bottom half of the photograph. /End ID]

Scene 2.2:

[ID scene 2.2: Three photographs of a dimly lit room with brick walls, wooden floor and a large window at the end of the room. The glass of the window is white and not seethrough, it is the only lightsource. On the right is a long, dark wooden table with bloodstains on it's left side. On the left is a rectangular golden mirror, standing in the corner. The frame of the mirror depicts four tendrils, two on the right and two on the left side that curl into spirals in the four corners and each thin out to the middle where they meet. In the middle of the frame's top side is a star with two thin tendrils on each side of it. On the bottom of the frame is another wavy tendril. Instead of a reflecting surface the mirror is a gateway to another dimension with a dark background and yellow light emitting from within. The king in Yellow is reaching out of the mirror with two black tentacles that have golden details and five extensions of his cloak. From beneath the cloak strands and out of the mirror five bits of golden wire emerge, forming spirals on their ends.In the center of the room is a construct made of glass shards whith gold wire connecting them. It resembles a cocoon. The cocoon consists of four shards depicting different scenes. A central shard depicts a room whith a bed and a blue carpet. Blood is on and arround the bed. Below the central shard is one that depicts the same room but without blood. To its left is a bigger shard in which a bar is visible. The shard to the right depicts a room from the perspective of someone who crouches behind a kitchen counter looking towards a person standing in the shadows next to the entrance to a room whith a blue carpet. Between these shards are smaller ones whith black and golden patterns and some that are made of mirror glass. Blood drips from some of them. Beneath the glass cocoon is a pool of blood. In one of the photographs the room is more illuminated by yellow light that shines through the window causing the glass cocoon to be in shadows whith no detail visible. The other photographs have light shining from behind the viewer, illuminating the glass to be better visible. One of them shows yellow light coming from the window while the other one doesn't. /End ID]

#malevolent big bang 2023 #mbb2023 #malevolent #malevolent podcast #cw blood

[grantofalltrades]

Hoping someone with talent can do this but good

[ID: A sketched comic showing Chetney Pock o’Pee shouting “Get back!” while lighting a fuse on a stick of dynamite held before his handsomely drawn face. The next three panels show Chetney’s movement through a slow-motion windup, followed by an insert of Ashton who says, “Speed up we gotta go!” The next row has three hastily scribbled panels with a quick closeup of Chetney scowling over his shoulder, then a wide shot of him feebly yeeting the dynamite with a little “enh” before booking a hasty retreat onomatopoeiad with “Chookita chookita.” Artist’s note beneath reads “Hoping someone with talent can do this but good.” The follow up reblog panel shows Ashton saying “It didn’t wor” cut off by a massive (colorfully detailed) explosion. The tag notes the artist’s tumblr @grantofalltrades and the episode of Critical Role from which the scene was derived: Campaign 3 episode 37 - approximate 1-hour 23-minute mark. An additional reblog directs to a YouTube video snippet of the scene. End ID]

#critical role #cr chetney #chetney pock o'pea #c3e37

[mi4012minadigajaweera]

Breakdown of Narrative to 18 shots

Choosing any one of your narratives, write down numbers 1-18, and breakdown your narrative based on the shots you intend to draw for your 18 panels. Describe :

a. What's happening in each shot, The camera angle, The purpose of the camera angle, How the camera angle evokes the intended emotion from the audience

───────────────────────────────────────────

1.Closeup Shot of the blue sky, showing a slow camera pan so that it looks like we're gazing at a calm perfect blue sky (closeup at first to slowly reveal the sky bit by bit)

2. A bit wider angle shot of the sky, showing a hue of yellow from one side as well - the sun shining brightly (the artificial sun/the huge stage light thats one of the main symbolisms used- showing the sun rays to imply the sun without showing the whole sun)

3. Medium Shot, transitioning from the sky shots to the first slow appearance of the girl facing her back with the girl centered in frame (Medium shot at first so it doesn't show the girl fully and just her back so we get curious - who is she? what is she doing?)

4. Wide Shot, zooming a bit out from the medium shot so you can see a full view of the girl and see she's standing on a few stairs but the viewer still doesn't really know what's going on so it evokes curiosity

5. Medium close up shot, focusing more on the girl in frame and we slightly see that she's moving one arm and it looks like she's holding something (further suspense and curiosity without revealing what she's doing in the first second)

6. Over the shoulder side shot as it zooms closer, first showing the slight motions of her moving her hand with a paintbrush, dabbing blue paint strokes. (The initial shot that gives us the idea that she's actually painting the sky)

7. A more closeup shot, showing a clearer front view of her painting the sky and clouds very smoothly, in a calming manner

8. Lower angle shot of her on the stairs painting while the sun is shining on her from one side, casting a slight shadow. (the lower angle to show someone's recording her from below with the handheld camera - since this is a behind the scenes clip and once again the sun rays on her, indicating the presence of the sun/daylight without showing the sun since its also one of the important symbolism used in the movie)

9. Side shot, showing her holding the paint palette with her other hand (to focus on the palette from a distance with the background too)

10. POV shot of the paint palette closer, as if we're seeing it through the girl's eyes as she's holding it and mixes paint (a closer look at the palette)

11. Closeup shot of the paint palette showing the "Artist's Pal" branding (hint at the consumerism and branding shown throughout the movie )

12. Another closeup movement shot showing her painting the sky again (so that it's not stuck on one thing although she's repeatedly just painting, it goes back and forth to slowly show her surroundings, to her, to her painting, her palette and her painting again to show different angles and motions without making it boring and as one long slow shot)

13. Medium shot as she fixes her hair a bit and goes back to painting, the sun also casting a slight shadow behind her.

14. Closeup side shot as the paintbrush slips from her grasp

15. Medium Close up shot of the paintbrush falling mid air and we hear a water splash (not revealing what's beneath her/the sea, but still showing the paintbrush falling while the splash sound evokes curiosity)

16. The screen goes black (End of the first scene that was part of the irl behind the scenes of staff/crew and it transitions to Truman's actual dream) the black screen creating a moment of suspense after the paintbrush falls and we hear a water splash that doesn't technically make much sense right then but we get to know it after)

17. Medium Shot of the dark and windy storm (Truman is dreaming this) and the camera cuts

18. Front Medium Shot as Truman rubs his eyes as if he just woke up from the dream and stares at the mirror (transition to the actual opening scene of the movie of him talking to himself for a moment)

[nanceys]

#nanceys : a   private,   selective,   mutually   exclusive   nancy   wheeler   of   stranger   things.   sleuthed   by   pidge   ( she / her, 24 )

a study in :   girl   next   door,   a   nuclear   family,   female   rage,   survivors   guilt,   weapons   don’t   weep,   feminism,   small   towns   with   big   secrets,   the   eldest   daughter,   the   stages   of   grief,   revenge,   found family, the   soft   underbelly   &   more.

blogroll. robin buckley. multi.

                              mobile rules beneath the cut!

mobile rules.

i will tag every trigger as TRIGGER //. for example : trypophobia //. i will always read guidelines before interacting, and in doing so will take note of triggers so that i can tag things appropriately I want my blog to be a safe space for everyone.  please note that i do have issues with my short term memory, so should a situation ever arise where i don’t tag a needed trigger, please please please reach out to me immediately so that i can tag it. i ask that you tag in - depth child abuse, excessive gore, trypophobia and extreme closeups of moving eyes.

i will not follow nor write with muns under 19, this is  nothing against you or your writing! i am mutuals only , which means i only interact with those who follow me and i follow them. i also will not follow anyone who expresses any type of homophobic , transphobic , racist , writes themes pertaining to rape, incest, pedophilia, or just any other problematic & / harmful behavior. i also do not follow just to follow , if i follow you i’ve read guidelines and character profile(s) and want our characters ( and us if you’d like ) to interact! should you be on the fence about interaction, feel free to send a meme to test the waters, or just pop on by to plot!. 

please note : if you wanna break mutual / don’t see us interacting, i kindly ask if you would hard block. my little brain fog riddled noggin can barely remember where i set down my bag — much less who i have unfollowed / who’s unfollowed me. with my poor memory i will most likely forget & try and follow again. this is for both our comfort, so if you can do so it would be appreciated ( as odd as that sounds, my goodness )

replies may vary in time. please take note that my response time does not equal interest in thread or lack thereof. i love every thread , meme , and starter that’s sent my way the same way i love chocolate cake. memes and plotted threads are the best way to interact with me , and if you’re wondering about turning an ask into a thread , my answer will always be yes please!!  however, i deal with physical and mental health issues where some days all i can do is just draw or watch schitts creek. so my activity will be sporadic — i might go weeks without posting threads, other times i’ll post multiple in a day. will always be around to chat , though!

reply length — as a wannabe author & screenwriter , i am one who loves to delve into inner dialogue, who loves to challenge myself into finding new ways to string together descriptors & play with exposition and emotions. i just get very excited and invested - and that tends to show in the length of my replies. to memes , starters , plotting - they can get LONG. i just want you to know that you never have to feel any kind of pressure to match my length or anything like that. as long as there’s something for me to work with , do what makes you happy and comfortable!! this is a hobby and we’re here to have fun , do what you wanna do & it’ll be amazing i know it <3

regarding shipping and plotting – GIMME. GIMME IT ALL !!! i write nancy as bisexual, and would love to write her in romantic settings. i also LOVE discovering all kinds of platonic and familial relationships — best friends, siblings, parental - child, i’m a sucker for it all. also, im a total slut for plotting. like, can't get enough of it. i will plot with you til the cows come home. HOWEVER, i know that its not everyones cup of tea and thats totally okay!!!! just know that if you do enjoy plotting . . .  ya know where to find me . . just putting that out there.

hey howdy hey! call me pidge. she / her. 24. queer. autistic + adhd + dyslexic. i struggle with generalized anxiety disorder & so ooc back and forth convos aren’t exactly my strong suit. however, being an extrovert trapped in an introverts body, it’s something that i crave more than anything! i’d love to make new friends so please feel free to pop by and say hi. don’t be nervous, i’m like a spider, more scared of you than you are of me!

#✧⋆ 𝐛𝐮𝐥𝐥𝐬𝐡𝐢𝐭. ⁽ pinned ⁾

[freddieandfriends-art]

A portrait with colored pencils of the best birthday boy <3 I drew it a week early to make sure I’d finish it in time lol

-

art instagram

Closeup beneath the cut:

#freddie mercury #Freddie Mercury fanart #queen fanart #queen band #queen #my art #traditional art #it's not the 5th yet in my time zone but it is in the uk so whatever

[cactus-chowder]

If not Gurney, who put the money in the card? Thufir came to suspect the Lady Jessica.

Image description under the cut.

A 10 panel Dune comic featuring Piter de Vries and Baron Harkonnen. Each panel is a black and white sketch.

Panel 1: 

Piter is closing his eyes and concentrating. He’s holding out a finger like ‘wait’ at the baron, who is approaching him with a folded piece of paper.

Baron: Mentat! I need you to -

Piter: MMmmm! Nonono... math.

Baron: Oh, a-alright... right in your wheelhouse, eh? I take it you’ll be finished quickly? Because - 

Piter: Shut.

Baron: exCUSE ME?

Piter starts muttering to himself, with the words “carry the three” only just legible.

Baron: ...

Panel 2:

The baron looks displeased. He’s approaching Piter with the folded paper again. Piter is writing on a chalkboard with a vacant expression.

Baron: WHAT! You have got a chalk board involved now? What are you calculating? The third deepest level to the theory of everything? We intercepted a coded message from an Atreides courier. It's very time sensitive. Stop that at once and tell me what this says. ...You work for ME! Stop doing your job and do your job, god damn you!

Panel 3:

Piter (coming up behind the baron): Baron.

Baron (startling and dropping a book): De Vries! You scared me. I thought you were focused to the point of oblivion for the day! Is there an emergency? What happened?

Piter: I just got back from Accounts and Billing. This week's pay is 20.37 solaris short. The discrepancy is from a travel refund stamped with your signet ring, so they told me they couldn't take action until I talked to you.

Panel 4:

Baron (looking angry and confused and holding up Piter in front of him): S-surely this means you have finished your complex math problem?

Piter (tolerating being held up and looking mildly confused): 'Complicated,' m'lord. 'Complex' has specific meaning in math. And no m'lord, I expect to stay late.

Baron: And this discrepancy in your pay is... the cost of an appetizer at a nice restaurant?

Piter: An appetizer is 30 solaris, adjusting for my tastes, m'lord. But that is a passing approximation, I take your point.

Baron: And you are among the best paid in my House? Such that if I told a common soldier your earnings, they would kill you?

Piter: Let us not test the experiment, m'lord. But correct again.

Panel 5:

A closeup of the previous scene. Here, the baron looks angrier. Piter looks more worried.

Piter (slowly realizing): Oh. Wait. Is this about this morning?

Panel 6: 

A closeup of the baron’s face from the previous scene.

Baron (through controlled rage): Just decode the message now that you’re here.

Panel 7:

A closeup of Piter’s face from two scenes ago, compressed and distorted to show tension in the scene.

Piter (mustering up bravery): Excellent, m’lord, but first I will need...

Panel 8:

Piter: ...20.37 solaris.

The text is huge. Beneath it is another copy of the drawing of the baron holding up Piter. The baron looks surprised and angry, Piter is grinning and sweating.

Panel 9: 

Piter (pointing to a birthday card with a small wad of cash): ...No need to fear m’lord! (musical note).

Baron (putting his wallet away, looking haunted by anger and suspense): Out with it, mentat.

Piter: This is no cypher disguised as a birthday card! It is a sincere birthday card. See, it is signed 'Gurney Halleck.' My sources tell me that he often speaks in quotations, offering metaphors he can fit to the present situation. He is only wishing old Thufir Hawat a happy birthday in the way that is usual for him.

Panel 10: 

Piter (as he’s tucking the wad of cash into the card): Aww, THUFIR! I didn't know it was your *birthday.* How have we not killed each other yet? Well done, you sly old fox! Have this, from me, for many a game well played. I will see that this gets to you straightaway.

The baron is standing behind him, very sloppily drawn to show disbelief. Above him is written, ‘why.’

#long post #dune #piter de vries #baron harkonnen

[doodlelupin]

welcome to night vale song with jupeter.... i couldnt resist (Full id under the cut!)

[Brief ID: A lyric comic for the song Closer by The Tiny featuring Juno and Nureyev with scenes from Murderous Mask and Final Resting Place done in purple tones.]

[Image ID: A 16 panel lyric comic for the song Closer by The Tiny. It features Juno, a shorter person with and average build and short, curly hair; alongside Nureyev, a taller man with a slim build and short, coiffed hair. The background is a dark purple, the panels are a lighter, muted purple, and the lineart is done in a dark purple. The lyrics are written in white text, all lowercase. Juno wears a long sleeved sweater, and a jacket when he's outside. Nureyev wears a collared shirt, a corset in the first page, and a suit jacket in panel 2. He also has earrings.

Panel 1: Nureyev is silhouetted on the left side of the panel in the foreground. In the background, Juno is half out the window, looking at Nureyev in surprise with blush marks on his cheeks. Behind him, the moon is visible. At the top of the panel, the text reads: "i met him when the sun was down"

Panel 2: Juno is leaning back, presumably against a wall, with his collar upturned and his arms crossed, staring grumpily at the ground. Nureyev has one hand in his pocket, the other on his suit collar, and is looking away from Juno. The text, above and below the panel, reads: "the bar was closed" "we both have had no sleep"

Panel 3: A closeup of Nureyev's face, done in slightly more of a realistic style than the rest of the comic. He's smiling, looking, presumably, at Juno. He is strongly lit from above, with shadows on his face. Text above and below the panels read: "my face beneath the streetlamp" "it reveals what it is"

Panel 4: A closeup of Nureyev's eye. His eyebrow is slightly upturned, as if sad or hopeful. The text at the top reads: "lonely people seek"

Panel 5: Juno is silhouetted in the foreground to the right of the panel, sitting with his shoulders hunched. Nureyev is behind him in the background, looking at the back of his head and smiling with his mouth open as if in speech. Text at the top of the panel reads: "closer" and at the bottom between this panel and the next: "closer"

Panel 6: Same set-up as the previous panel, but Juno's head is tilted towards Nureyev and Nureyev is closer to Juno. Text at the top of the panel reads: "closer"

Panel 7: Same set-up as the previous panels, but Nureyev is also in silhoutte now, and they are kissing. Text at the bottom of the panel reads: "closer"

Panel 8: Juno is in silhouette in the foreground at the right side of the panel, Nureyev is being led away in handcuffs, looking back over his shoulder to grin at Juno. Text at the top of the panel reads: "and you're"

Panel 9: Juno is slumped over, unconscious, blood dripping from his right eye. Nureyev is kneeling beside him holding him up, looking anxiously over his shoulder. (From this panel until panel 11, Nureyev's hair is slightly mussed.) Text at the top of the panel reads: "close enough"

Panel 10: Juno is leaning back against a door, right eye closed and bleeding heavily, left eye looking down and away. His mouth is open in a tired smile, as if he is saying something. Nureyev is yelling at him through a window, both hands pressed against it. Text at the top of the panel reads: "to lose"

Panel 11: They are shown in profile; Nureyev is facing Juno, a hand on the base of his neck, grinning at him with relief. Juno has a tired smile, one hand on Nureyev's shoulder. Text to the left of the panel reads: "close to the point where" and text between this panel and the next reads: "you know that your mind"

Panel 12: The same pose as the previous panel, but Nureyev is smiling in a more relaxed manner, and Juno looks more alert. The background is also lighter, and Nureyev's hair is smoothed out. Nureyev is leaning forward towards Juno. Text to the right of the panel reads: "it cannot choose"

Panel 13: Juno and Nureyev are lying in bed, Nureyev on his side facing Juno on the right side of the panel and Juno staring blankly at the ceiling at the left side, a bandage over his right eye. Text at the top of the panel reads: "close enough to lose"

Panel 14: A closeup of Juno's eye, looking to the right of the panel. There are tears collecting on his lower lash line. Text at the bottom of the panel reads: "close enough"

Panel 15: A closeup of a hand on a door handle. Text at the top of the panel reads: "to lose"

Panel 16: Juno is silhouetted walking away from the viewer towards the right of the panel. He is flipping up his collar, rain pouring down. Text at the bottom of the panel reads: "your heart" End ID.]

#jupeter #juno steel #peter nureyev #rex glass #junoverse #juniverse #tpp #the penumbra podcast #lyric comic #comics #YALL this took SO long #please reblog dkjfsghdjkg

[orbitfalls]

bartylily my loves<3 closeups beneath the cut!!!!

#bartylily #atlas art tag #bcj #lily evans #trailer park trash bartylily my lovesss<33 #oh and what the hell is that watermark lmaooo fuckin mandala ass looking O

[apple-scrumper]

finally time to post my piece for the @intrepidadventureszine​ !!! you can pick up your copy here !! i really am not proud of this anymore uhjvfdsjk but !! i like it for how much time i spent on it and its contribution to me growing as an artist ! plus someone please notice all the references i put into the books in the bg jdmvns

Image ID under the cut

[Image ID: 4 images, the first image is a full page piece, while the following three are close-ups of image 1.

Image 1 is a page sized piece set in the Compass Points library from Dimension 20 Fantasy High. The shot is through a stone window into the Friendship Section of the library. Ayda Aguefort, a Black woman with red/orange flaming hair and wings is gesturing out the window at the sky, while excitedly speaking to Tracker O’Shaughnessy, who is sitting next to her. Ayda has black sclera and orange/yellow flaming eyes. She is wearing a brown vest over a white button up with rolled-up sleeves, with a red cloth tied around her waist over white billowy pants. She has a bracelet with the colours of the lesbian flag on her wrist. Tracker has a knee up on the windowsill, with her other leg hanging out the window and off the page, and is looking up to where Ayda is gesturing with a chill smile on her face. She is wearing a black singlet with a grey wolf on it over denim shorts and red converse. She has tan skin and short black curly hair swept to one side.

Behind them is Fig, Ragh, and Baby on the floor of the library, a book flapping open between them with shadowy hands and tendrils coming out of it. Fig is sitting with her legs crossed on the ground, looking down excitedly at the book with her hands outstretched as if she is summoning whatever is coming out of the book. An orange anarchy symbol glows on her forehead. She is a red tiefling with purple lipstick and long brown hair tied back in a braid. She is wearing a black jacked with the bi flag on the shoulder. Under it is a pale blue shirt with a skull on it and a red plaid skirt. She is wearing black boots and a black net sock on one foot. Behind her head floats Baby, a small red imp with horns, wings, and a scorpion tail. He rubs his hands together and looks down at the book with wicked glee. Ragh stands on the other side of the book, looking down at it expectantly with his arms crossed. He is a green-skinned orc with dark green hair shaved at the sides and short on top. He has tusks and black sclera/white irises. He is wearing a red and white letterman with a white A on the chest over a black singlet, brown pants, and red and black boots.

Behind them, the rest of the chracters play on the bookshelves on the other side of the room. On the right side, Kristen is jumping off a shelf while twirling her ribbon to slow her descent. Gorgug attempts to catch her while Fabian looks watches with shock, The Hangman asleep in his lap. Kristen is midair, with her legs kicked back behind her, her arms and orange hair thrown back behind her. She has white freckled skin and is smiling with her eyes closed. She is wearing a purple tye dye shirt that reads ‘IDK’, denim shorts, and purple sneakers, bracelets, and hair tye. Gorgug is running beneath her with a worried expression on his face as he looks up at her and holds his arms out. He is a green orc with tusks and black sclera/white iris. His hair is black and shoulder-length, with a white streak at the front. He is wearing a grey hoodie overpurple jeans and grey sneakers. Fabian is sitting atop the shelf Kristen is jumping off of, resting on a pile of pillows with one hand resting on The Hangman’s back, the other holding a book. He is looking shocked towards Kristen. He is Black with his white hair tied back into a small ponytail. He is wearing a red and white letterman over a black shirt and grey pants, red sneakers, and a black eyepatch. The Hangman rests his head and paw on Fabian’s lap, his eyes are closed and he smiles contently, with a white sheet draped over most of his body. He is a large black dog with yellow/orange snout and paw, orange cracks cover him and tiny flames emit from his mouth, eyes, and ears.

To the left of them, Riz, Aelwyn, Boggy, and Adaine surround a conspiracy board taped to the bookshelf behind them. Adaine is faced away from view, standing at the top of a ladder and holding a book over her head triumphantly. Riz looks at the book excitedly with his hands clasped together, and Aelwyn smiles towards Adaine, holding up a sheet of paper covered in writing. Boggy sits in her lap, smiling. Adaine is a dark-skinned elf with cloud-like pale yellow hair. She is wearin a blue denim jacket with fluffy sleeves over black pants and heeled boots. Riz is seated on a big purple beanbag surrounded by books and papers. He is a green goblin with fluffy dark green hair and a long tail hanging over the shelf. He is wearing  a brown vest, over a white collared shirt with rolled-up sleeves, beige pants, and dark brown suit shoes and cap. Aelwyn is sitting on her knees, with one hand on the ground to support her and the other holding up a piece of paper to show Adaine. She is smiling with her eyes closed. She is a brown elf with pale yellow curly hair tied back in a bun. She is wearing a large red flannel over a maroon sports bra, blue jeans, and brown boots. Boggy, a big, green, round frog sits in her lap smiling, wearing a tiny blue, red, and yellow backpack.

The library they sit in is filled with orange light, the ground is a desaturated red, and the shelves are filled with books and knick-knacks that are purple, red, blue, and yellow. The knick-knacks are: A worm on string, a globe, a telescope, a photo frame, a planet model, and a ship in a bottle.

Image 2 is a closeup of Kristen jumping with Fabian looking on.

Image 3 is a closeup of Fig and the book with the shadow hands.

Image 4 is a closeup of Aelwyn with boggy on her lap.]

#axel draws #fantasy high #dimension 20 #ayda aguefort #fig faeth #ragh barkrock #gorgug thistlespring #kristen applebees #fabian seacaster #adaine abernant #riz gukgak #aelwyn abernant #tracker o'shaughnessy

[i-can-even-burn-salad]

Caldyn

“I’m not the hero they say I am. But I’m still standing. And she is not.”

Masterlist

[ID: A mood board with 9 images, which are:

1) A closeup of a thorny bush with thin black and red branches crisscrossing. They have no leaves and a few red berries.

2) A picture of 3 drops of golden resin, running down a wooden board. The middle one is dripping off, the right one just reached the edge.

3) A picture of a man from the waist up, wearing no shirt, facing away from the camera. with his left hand, raised above his head, he's touching a rock wall that fills the whole background.

4) A picture of a dark misty forest at night. There are lots of rather thin conifers, barren up until a few meters above the ground, and some fallen branches on the forest floor.

5) A picture of two people's hands, holding each other in front of a white background. The picture cuts off before their elbows.

6) A dark picture with a bright white light in the middle, blinding the lens. It's illuminating the silhouette of a person, standing to the right.

7) A picture of a brown dog with floppy ears, shaking a hand that reaches into the picture from the right side with its left paw. It's looking up to the person outside the picture with brown puppy eyes.

8) A picture of brown, flaky tree bark. Where it has fallen off, the wood beneath is orange red.

9) A picture of a dark green fern leaf, with more blurry leaves in the background. End ID.]

#Thorns and Jasmine #Gonna clean up my masterlist soon I think #it's too long so better give this its own post #Caldyn insists he's fine

[sunflowermp4]

made one of those collage compositions from the lyrics in my kendall roy playlist which you should check out actually

further explanations and image descriptions under the cut. tw for drugs, blood, suicide, and abuse

ID: A collage post with 9 images. Each image has written lyrics above a related screenshot from the HBO TV show Succession.

Image 1: Lyrics from the song “UGH!” by the 1975 that read “I know your lungs need filling / Since your gums have lost their feeling / But don’t say that you’re giving it up again.” Below is closeup from Season 1 Episode 9 of Rava Roy during a tense conversation with Kendall, with a forced smile.

Image 2: Lyrics from the song “Amach Anocht” by KNEECAP with the original lyrics in Irish on the left and an English translation on the right. The original lyrics read “ Faigh bump ó mo chara / Goid 20 ó d’athair / Sure cá bhfuil an dochar?”. The English translation reads “Get a bump from my friend / Steal a 20 from your father / Sure what’s the harm?”. Below is a medium shot of Stewy Hosseini from Season 1 Episode 3 doing a line of cocaine in a bathroom while Kendall is turned the other way.

Image 3: Lyrics from the song “Luv N’ Haight” by Sly and the Family Stone that read “Feel so good don’t want to move / Feel so good inside myself / Don’t need to move”. Below is a wide shot of Kendall from Season 1 Episode 7 laying down on a rock, facing a canyon in New Mexico, having just done a line of cocaine.

Image 4: Lyrics from the song “Cane Shuga” by Glass Animals that read “I’ll stop breathing coke / No more bloody nose”. Below is a closeup of Kendall from Season 2 Episode 1 with a bloody nose.

Image 5: Lyrics from the song “Frontier Psychiatrist” by The Avalanches that read “That boy needs therapy, psychosomatic / That boy needs therapy, purely psychosomatic / That boy needs therapy”. Below is a closeup of Kendall from Season 1 Episode 1 screaming into a bundled-up jacket, in a bathroom.

Image 6: Lyrics from the song “Attunement” by clipping. and Pedestrian Deposit that read “Nice, the ropes are tight enough to hold but never burn / That would defeat the purpose, nothing beneath the surface”. Below is a medium shot of Kendall from Season 2 Episode 1 preparing for a televised interview, sitting in a chair in front of a camera.

Image 7: More lyrics from “Attunement” that read “You are not a body, bodies aren’t often heartless creatures / Looking over the edge, ain’t that the wind, why the jumpscare? / You’ve been saying you hated this skin, why you stuck there?”. Below is a wide shot of Kendall from Season 2 Episode 4, standing on the roof of a sky scraper, with his forehead leaning against a protective glass wall that runs along the edge.

Image 8: Lyrics from the song “Boys Don’t Cry” by The Cure that read “I would break down at your feet / And beg forgiveness, plead with you / But I know that it’s too late / And now there’s nothing I can do.” Below is a closeup shot from Season 2 Episode 7 of a frame filled with photos of the waiter that died at the end of Season 1.

Image 9: More lyrics from “Boys Don’t Cry” that read “‘Cause boys don’t cry”. Below is a closeup shot of Logan Roy from Season 1 Episode 7 from the back as he gets out of a pool, showing the scars on his back from physical abuse.

End ID

#the earliest version of this had like 10 screenshots per song so i'm so glad i was able to condense things #succession #kendall roy #succession hbo #hbo succession #drug mention #cocaine mention #blood tw #suicide tw #abuse tw #please send me an ask if there's anything else you'd like me to tag #i know that 2am is a horrible time to post this but i am tooooo impatient #i put a frankly ridiculous amount of thought into the symbolism of this little playlist hmu if you want to chat about #1. generational cycles of abuse (rip the iverson screenshots i was not able to include) or #or 2. how addiction is webbed so deeply in these songs if not explicitly through the lyrics then through the lives of the musiciand #musicians* #anyways #originals #if you’ve made it this far in the tags thank you ily here’s a present 🎁 have a good day

[kuuhaiyu]

“I’m with you. I’ll be with you until the end. You’re never alone.” “You’re gone. You’ve been gone for ten years.” “You don’t believe that.” “I don’t know what I believe.”

-- until i see you again by @blasphemings

click for high quality, transcript under the cut

[image description:

the comic is monochrome in shades of purple. the majority of it is panels set against a dark background, as is often the convention for flashbacks and dreams in manga.

page 1:

panel 1: a hand cupping jotaro’s face, lifting his gaze up. “did you believe in me?” 

panel 2, next to panel 1: kakyoin, with jotaro standing in front of him. kakyoin is holding jotaro’s face gently. “even just once, the things I told you, did you believe them at all?”

panel 3, beneath the previous two panels: jotaro meeting kakyoins gaze. “yes,” he says quietly. “i did.”

panel 4: a closeup shot of kakyoin, his head tilted slightly down as he looks at jotaro. “I won’t leave that world until you do. I’m always with you. Do you believe me?”

jotaro looks up at kakyoin, then lowers his head, closing his eyes. “i don’t know.”

page 2:

panel 1: jotaro from the torso up, back facing the camera, with the background dark. “I wish I could say that I did.”

panel 2: kakyoin, sad but with a slight smile. “Can you try?”

panel 3, next to the previous panel: jotaro tilting his head down to look at kakyoin. “i can try.” 

panel 4, next to the previous panel: kakyoin tilts his head, eyes closed, smiling slightly. “Then that will have to be enough.”

a close up shot of jotaro in profile, eye looking forward. 

the last panel, occupying a large block: a distant shot of jotaro holding kakyoin by the waist. lonely. “I loved you, you know?”

page 3: 

kakyoin smiles at jotaro. “i know.” 

then, on the dark background, in white text: “i loved you, too.” 

the dark background trails down to become a thought bubble-like shape as jotaro wakes up alone in his hotel room in morioh. 

end image description.]

#jojo's bizarre adventure #jjba #jotaro kujo #kakyoin noriaki #jotakak #khy draws #comic #this story made me homophobic. i hate gay people so much its unreal

[ducktracy]

171. plenty of money and you (1937)

release date: july 31st, 1937

series: merrie melodies

director: friz freleng

starring: mel blanc (weasel, ostrich)

another “first” to come from this cartoon: this is the first cartoon to debut the ever popular “eat at joe’s” gag, a gag that would bubble up in cartoons for years to come--even being referenced in space jam. this is a score that frequents many a cartoon, used only a few months before in friz’s the fella with the fiddle. a short that’s more on par with friz’s cutesy cartoons, the life and times of a baby ostrich are chronicled, including an absolutely explosive encounter with a weasel.

open to some shots of chickens strutting around on a farm. inside of the chicken coop, a restless hen sits on her eggs. her situation is demonstrated quite clearly, the mother-to-be heaving a sigh before crossing off another day on a nearby calendar. thankfully, her wait is cut short: a plethora of chicks pop right out from beneath the other.

just as the mother believes her business is done, we hear a thunk beneath her. mother hen is propelled into the air as a baby ostrich pokes its rather large head out from the nest and stares right at the camera. treg brown’s differentiation between the little pops of the chicks hatching and the thud of the ostrich hatching is to be commended, as is freleng’s musical timing and carl stalling’s music score.

tashlin-esque is the word to describe the camera angle as the startled mother hen dives off of the ostrich’s head and “swallows” the camera with her feathers (much like the “swallow takes” so prevalent in the harman and ising days, where a character would run towards the camera with their mouth open and essentially swallow the camera and the audience.) mother hen is equally as befuddled as the audience as to why she hatched a baby ostrich. she clucks frantically to her fellow chickens and points back to her nest, summoning the entire barnyard to get a gander at her creation. even the chicks themselves, who initially dispersed in fear, crowd around the ostrich to get a good look again.

though it is partly intentional, the timing of the next sequence of the ostrich attempting (and failing) to stand up feels a little bloated. “cute” and “ostrich” are two words that you don’t find next to each other when describing the ostriches in looney tunes (such as porky’s pet ostrich lulu in porky’s pet a year prior, or even as far as 1962 with the baby ostrich in bob mckimson’s mother was a rooster), and here isn’t much of an exception, but i do applaud the crew for giving the baby some dimension. the animation of the ostrich is very floaty and rubbery, not at all flat. the fascination by the other hens quickly turns to contempt after the baby ostrich sticks its tongue out at the crowd analyzing it with such scrutiny. 

next, more contrasts are established between the hens and the ostrich, alienating the latter even more. not only is the mother hen and her chicks more confident in their walking than the poor little ostrich, the music stylings also juxtapose with each other. the click of the woodblock as each character takes a step in synchronization calls back to the days of the norman spencer scores--there was never a cartoon lacking a woodblock! 

as the curious little ostrich marches forward, she spots a hole in a nearby fence, sticking her spindly neck through it. there lies a pond on the opposite side, with a fish swimming in it, ripe for the picking. the ostrich swallows the fish, the pesky fish thrashing around in the ostrich’s mouth. mother hen must come to the rescue and pull her seemingly stuck child out from the hole in the fence. she succeeds, the ostrich finally spitting out the fish before her head gets sucked out from the hole. fade out to a very angry mother scolding her clueless ostrich child.

mother and children, ostrich and all, continue their walk. the baby ostrich comes across an open basement door hatch, accidentally walking right into it. judging by the smears as realization strikes, i’d wage this as ken harris animation. we then segue into a closeup of the ostrich falling down the basement stairs, once again “swallowing” the camera as it tumbles right towards the audience. while this is seldom the most exciting cartoon, these tashlin-esque (or, rather harman and ising-esque) camera angles do break up the monotony.

now in the basement, the ostrich wastes no time in finding another food source--this time, a mechanical lever. it swallows the lever whole, stalking away proudly with its chin out. all seems well, until the ostrich bursts into a hiccuping fit (sfx provided by, of course, mel blanc), the lever rapidly extending the ostrich’s next with each burst. a few more hiccups and the ostrich is knocked back down a few notches, giving the audience a nonplussed stare. while not the funniest gag on the planet, the sound effects and animation synchronization do add some factors to be appreciative of.

elsewhere, mother hen places a scoop of dirt in a meat grinder, clucking for her children to come hither. mother hen squeezes the grinder, prompting a plethora of worms to come out of the holes, chased by a swarm of hungry chicks. one of the worms moves right past the open basement hatch, where the inquisitive little ostrich has its head poking out of. as to be expected, predator stalks its prey--the lumbering motif of the ostrich mixes quite well with the string chord progressions of the worm inching its way forward. i believe this may be another ken harris scene on account of the smears--the ostrich turns its back on the worm, whistling and rocking back and forth on its feet as nonchalantly as possible, avoiding the worm’s scrutinizing gaze. 

the spirit of the harman and ising days are strong in the following chase sequence as the ostrich runs after its worm prey--reused animation of an animal chasing a worm from countless HI cartoons comes to mind. this scene, of course, has a higher level of sophistication to it: good music score, sound effects, and rubbery, tactile animation, but the spirit remains the same. 

finally, the worm dives into a hole, conveniently paced near a hose. inquisitive as always, the ostrich eyeballs the hose, and gets a spurt of water in the eye in return. thus sparks a brawl between the two as the hose becomes anthropomorphic: the hose squirts water into the ostrich’s eyes (with some wonderful musical timing in the process)--a nice little detail is adding the extra lines to the rings of the hose, creating the illusion of angry eyebrows. recognizing the power imbalance, the ostrich buries its head in the ground, prompting the hose to snake in through an adjacent hole and squirt the ostrich once more. enraged, the ostrich attacks, repeatedly smashing the hose against the ground. i love the detail of the feathers turning into big hands, and the smears as the hose is banged against the ground is another wonderful touch--one that leads me to say this is ken harris animation once more.

for a final act of defiance, the ostrich swallows the hose whole. of course, the hose retaliates, gushing a geyser of water that propels the ostrich backwards, its body swinging in and out of the foreground (in a very similar manner to egghead on his horse in egghead rides again.) for a final time, the ostrich buries its head in the ground, where it is greeted with trouble.

a hungry weasel (helpfully labeled “the rat!” a la tex avery style) burrowed in the ground has its sights set on the baby ostrich. ostrich takes notice, and we shoot back to the above ground where we see its body being sucked into the hole. mother hen makes a rather random appearance, darting over to the hole and clucking around anxiously, mourning her loss. 

thus sparks the highlight of the cartoon: the musical number. the weasel, preparing to cook up a nice, hearty batch of ostrich, wonderfully butchers the title song as “with plenty of gravy on you”. funnily enough, daffy would reuse the same song and same re-branding of “with plenty of gravy on you” in porky’s last stand not even 3 years later. mel’s pinched, raspy, scratchy vocals as the weasel absolutely make for a delightfully awkward performance. another fun gag is a closeup of the weasel’s cookbook, which reads:

OSTRICH A LA KING

BY DIZZIE FISH

Take one or two or maybe three or four or five egg--

...or let’s just call the whole thing off and

amble out to a 

suey joint.

in the midst of the weasel’s song, the ostrich displays its interest by ingesting a nearby lightbulb, prompting a frustrated weasel to march over to its makeshift coop and pluck the lightbulb out from the ostrich’s throat, all accompanied by a quick, furtive little motif of “mysterious mose”. the weasel heads back to his work, where the ostrich now feasts on a conveniently placed box of fireworks. ever oblivious to this, the weasel stuffs his dinner-to-be into his garnished pan and stuffs it into the oven.

synchronization between sound and animation is a strong suit for freleng, and here is no exception, whether it’s the ostrich panting inside the oven to the brassy beat of the music, or the ostrich projectile vomiting fireworks and causing explosions abound in synchronization to a rampant rendition of the title song. the effects of the fireworks are definitely artsy on their own: lots of glows, little circles, streaks, and so forth.

after a burst of energy, the oblivious ostrich pants, now safe on the ground, where a befuddled weasel cautiously approaches his dinner. he peers into the ostrich’s mouth, prompting another flurry of projectile vomited fireworks, climaxing into the ostrich spitting out bullets, accompanied by a machine gun sound effect. great, snappy timing in all respects: the animation, the music, the sound effects. chaotic would be an understatement--it’s a much needed burst of energy in comparison to the sluggish pacing of the beginning portion.

the weasel attempts to dodge the fire, but does so rather unsuccessfully. the impact of it all causes sparks to erupt from the holes in the ground and even starts a tremor in the ground, mother hen and her chicks clinging to corn stalks for safety as the ground rumbles beneath them. finally, the spectacle ends with a singed and sour weasel dragging the baby ostrich out from a tree and tossing it in front of its mother. 

mother hen reunites with her baby, all previous prejudices thrown out the window. however, mother hen hugs her baby a little too tightly, prompting yet another flurry of fireworks. one firework in particular launches into the sky, exploding to reveal warner bros’ first “eat at [sloppy] joe’s” gag. we therefore iris out on a rather befuddled ostrich.

though the gags are much faster now than they would be then, this is a freleng merrie melody that feels more like something out of 1935 rather than 1937. that’s not entirely a bad thing--the music score is great, there are some wonderful bits of animation, whether those are ken harris’ smears or the dynamic closeups, the sound effects are great, the backgrounds look lovely, and the entire second half with the weasel is the show stealer for certain. yet the sluggish pace in the first half certainly hinders bits of amusement. it’s a cute cartoon, but feels like a step back from the nature of the current cartoons in the studio. a certain level of suspended disbelief is required before watching this: how did an ostrich egg get mixed up with the hen’s egg? why does the weasel randomly store fireworks in his hole? why is the weasel going after an ostrich and not a chicken? the world may never know. i’m typically pretty good at suspending my disbelief--this is a cartoon, after all--but this certainly has its fair share of head-scratchers.

as i said before, mel’s performance of the title number is the highlight of the cartoon, as is the whole fireworks spectacle. if anything, i recommend you see the short for those aspects alone. at the very least, give mel’s song a listen. other than that, this isn’t a particularly life-changing piece of animation, and i wouldn’t be offended if you didn’t decide to check it out after all. nevertheless,

link!

#lt #looney tunes #plenty of money and you #reviews #freleng #long post #flashing tw