The art style of Cloud Castle is absolute ass bro why are their eyes so big
Idk man it just looks.... off
I wish they brought back the og art style like Blue Scarab Hunt because that was gorgeous
Well if you’re referring to the book's artstyle as a whole, then calm down buddy the illustrations as a whole are pretty good all things considered (believe me some of the illustrations in the later books are waaaaayyyyy iffier)
But if you are referring to Danilo Barozzi’s illustrations in the book then uhhhhh… yeah I don’t blame you, I didn’t like the big anime irises either, she didn’t cook with this one,,,
The interesting thing is Barozzi also did pieces for Secret of the Snow and those looked fine (she did well enough that I have to squint to determine which ones were done by her). My guess is either she did a lot of the illustrations for the latter half of SotS and we just got used to it, or it’s because the artstyle of special editions 2 and 3 were more… experimental? Books 4 onwards developed a very specific… look for the artstyle that adhered very closely to the main book illustrations of Spanish Dance Mission onwards, thus the illustrators had to follow suit, resulting in whatever looks off to look especially off.
(Even with this set of pictures, I’m only about 70% sure these are Barozzi’s because of how alike yet different the styles are from each other in the book. The first one could be Barozzi’s, but it could also be Giuseppe Facciotto’s, since he also did illustrations for SotS and his stylization means he sometimes puts the eyes really close to each other in a way that’s weird but still makes sense somehow.)
On the contrary, books 2 and 3 (and I would probably even include book 1 there) had a more experimental look to the illustrations, which seems to be based more on (and this is just a theory of mine) Giuseppe Facciotto’s iconic work for the covers of Mouseford Academy books 2-12, 14, 15 and 17 in the English books (he did waaayyy more covers for the Italian Mouseford books— he was basically the cover guy for the Mouseford books for a WHILE) as well as the books from Spanish Dance Mission to Lost Letters. If you’re wondering why those covers go as hard as they do, then now you know why.
(These aren’t all of Facciotto’s works for the covers we know in English but you can see that he popped off <3)
But yeah as you can see with special editions 2 and 3, the art direction seems to be heavily inspired by Facciotto’s artstyle.
However, when Barbara Pellizzari’s works became the aesthetic poster child of the books’ brand, that was reflected in the illustrations and how their aesthetic changed, as seen in the main books and how they look currently, special editions 4-9, and the Treasure Seekers trilogy.
This new profile thing of the girls? This was done by Pellizzari (coloring was done by Flavio Ferron), and thus it became the main reference for how the girls look in the book’s illustrations.
And it’s not just in the general direction to the artists for how to draw the Thea Sisters, but also in the direction given to the colorists. Alessandro Muscillo was the colorist for the special edition books since book 1 and the Treasure Seekers trilogy, and you can see that the direction for the style varied through books 1-3, like maybe direction was experimenting with the mood the illustrations were to convey, beginning with the cartoony and bright colors of book 1, easing into the more grounded and layered palettes of books 2 and 3
Then book 4 was when they transitioned to using digital art /j
I jest, but seriously book 4 was the debut of the coloring style we end up keeping for the rest of the special editions and for all of Treasure Seekers, which is very… bright :D
(I would show more picture examples but I manually took pictures of my physical copies for the Cloud Castle and SotS illustrations and gwuh I’m too lazy to grab my entire collection just to take pictures,,)
Bright as in like… the colors are very defined and saturated. I dunno how to describe it, but when you see it, you get what I mean. It’s very bright and pretty and colorful and it stands out. There are still variations that happen on occasion (Star Fairies in particular uses a good dose of airbrush for the lighting and shadow effects, and Crystal Fairies looks like someone had a bit of fun using sparkle brushes), but other than that, it’s very bright. I don’t hate it, but I do acknowledge that yeah, if I was introduced to the series when it had fully transitioned to the new style, I never would’ve gotten into the series in the first place, because the older books had something that didn’t make it feel specifically catered to girls. The colors were bright, but not too bright. Colorful, but unified. They weren’t that complicated, and they didn’t have to be because the colorists (plural, there were at least 3 per book once upon a time) were popping the hell off with the colors they were given. But y’know, the newer books’ consistent style did give me a good spot to practice drawing mouse furries so I’m not complaining too much about the newer style, haha.
(Tiny baby E’s (it’s literally from 2020 what’re you on about mate) her first mouse Violet drawing using Barbara Pellizzari’s artstyle in Treasure Seekers 1 as an anatomy guide!!)
With that said tho, yeah I miss the old books -m- dunno if it’d fit the aesthetic of the special editions but m a n we could’ve had it and it probably would’ve looked cool
Also the illustrations go way harder in the older books, like Prince's Emerald? I've talked about Prince's Emerald and how it goes hard before, and I still stand by it and say that it does in fact still go hard
Maybe it won't fit the uh splash of color they gave the hardcovers, but imagine they grabbed Giulia Basile's coloring work for the graphic novels and used that as sort've a basis for the coloring style of the hardcovers. Not exactly the same-- would probably still add a touch of whimsical watercolor and/or paint to the very cel-shaded style, but we could've had something pretty dope -m-
Anyway that's my ramble simultaneously defending the hardcovers' artstyle and reminiscing on what could've been haha
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what's your favourite fic that you've written? (Or, I suppose a scene from a fic that you're particularly proud of?) (although saying that so much of your fic is top tier 🩵🩵🩵)
hello anon!! this ask made me 🥺🥺, thank you so much for dropping it in my inbox <3
my favourite fic that i've written... this is actually more difficult than i thought, as there are some that were hell to write but i'm really pleased with how it turned out, and some that are not absolute masterpieces but i had so much fun writing them. and the one that's a mix of all of the above (as contradictory as it may seem) hasn't even been finished and posted yet lmao. i think, overall, my favourite that i've posted is we left the book of love signed in blood on every page, which looks at the breakdown of gwaine and merlin following lancelot's death. i enjoy writing angst like that and i also had fun with the sustained imagery
but in terms of a scene that i'm particularly proud of, the moment in bitter is the antidote where gwaine begins to relax around lancelot and both of them are pressed close to each other and reaching out to merlin is one that i'm quite proud of. the full scene is below the cut and i enjoyed trying to depict the hesitancy on both gwaine's and lancelot's parts. also i really like the line 'so he let his tea go cold and his shoulder grow numb' but i couldn't tell you exactly why
thanks for the ask anon, hope you have a wonderful day! 💜
Lancelot had one hand buried in Merlin’s hair again, twisting the short strands between his fingers, knees pressed against the bed. Hesitantly, Gwaine hovered on Lancelot’s left side before sinking down to the floor, one leg strewn out beneath the bed. His hand reached for the one Merlin had draped over the edge of the bed, taking it between his fingers and, upon receiving murmured permission, gingerly leaned against Lancelot’s leg. He was aware of the bone pressing into his shoulder, just as he was aware of Merlin’s grip tightening around him, but it didn’t scare him half as much as it should have done.
Never, never had Gwaine thought that he would be so close to two others when all three of them were conscious. Never had he thought he would be confronted with the knowledge of his best friend having magic, either, and Gwaine couldn’t help but wonder what other unexpected things fate had in store for him. He didn’t dare move, in case it all proved to be an illusion and the slightest twitch dispelled it. So he let his tea go cold and his shoulder grow numb, let his abdominal muscles ache with the effort of not allowing all of his weight to fall on Lancelot’s leg and his hand be manipulated by Merlin’s touch.
Merlin, assured by their physical presence, had closed his eyes and Gwaine took the opportunity to use his gaze to sketch out the angles of Merlin’s body in his mind, safe in the knowledge that Lancelot couldn’t see his face. Before, he’d been convinced that he’d successfully memorised each dip in Merlin’s form in the same way that he’d memorised the placement of his own gaping traps in woods over the years. He’d thought that he’d be able to sculpt Merlin flawlessly from ribbons of clouds and wind. But, as Merlin shifted and the tip of what looked like an old scar peered over the neck of his shirt, Gwaine realised just how wrong he’d been. It was a blessing that the hand not holding Merlin’s was engaged with a cold cup of tea because Gwaine could feel temptation running its fingers along his arm, leaving a trail that ended at Merlin’s chest.
The skin looked leathery, much like Merlin’s burned leg, and, if it had been fire… Just how many times had Merlin narrowly escaped the flames? How much of himself had he kept protected from Gwaine with a clumsy cut of material tied around his throat? Dropping his gaze to his right hand, Gwaine pushed one side of it into the bed, careful not to squash Merlin’s hand. He was one to talk.
Faintly aware of a subtle movement behind him, Gwaine rotated his head by several degrees, glancing over his shoulder and through his hair. Lancelot was no longer holding the cup in one hand – if Gwaine shifted his hip, he’d knock against it on the ground – and the hand was now hovering above Gwaine’s shoulder. Gwaine began to phrase a silent question but cut himself off as he reached an answer; it seemed that Lancelot was reluctant to place his hand in his own lap for fear of elbowing Gwaine in the head.
Returning to look straight ahead, Gwaine raised his left hand and took his little finger away from the cup, hooking it around the tip of Lancelot’s middle finger. Careful not to spill his drink, Gwaine slowly lowered his hand, taking Lancelot’s with him, until Lancelot’s palm met his shoulder. As Gwaine rested his own hand on his thigh, Lancelot made port with his thumb at the muscle between Gwaine’s shoulder and neck. It was then that Gwaine registered that, in leaning against Lancelot, his jacket had slipped a little off his shoulders and had dragged the neck of his shirt down with it.
Most of Lancelot’s hand was planted firmly over Gwaine’s shirt, his wrist grazing the collar of the jacket, but his thumb was on that muscle – a muscle bearing layers of tension that Gwaine hadn’t even been aware of – and his index finger was dangling over Gwaine’s collarbone. And then Lancelot began to sweep his thumb back and forth along that single muscle, collecting the tension in Gwaine’s shoulder like a bee picking up pollen, and Gwaine couldn’t hold himself up any longer.
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