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#i do not own the illustrations used
kagaminelensbassclef · 4 months
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VFlower icons, requested by Anon!!
Thank you for your request!!
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(please like ♡ and reblog ↻ if you're going to use these! credit is not needed but will be very muchly appreciated ( •̀ ω •́ )✧)
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chalkrub · 7 months
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svanhildr my beloved returns
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tradingjack · 25 days
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There's no turning back.
... Is there anyone who'll be able to survive what lies ahead?
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spooksicl-e · 2 months
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various personal references for funzies!
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mockups refs for various war wound circumstances ^^
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abyssal-glory · 6 months
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vector portrait for digital imaging class of RGB!! hey go read The Property of Hate if you haven’t already btw it’s an amazing comic by @modmad that i’ve been hotglued to since my junior year of high school.
big thank you to mod for giving their permission/blessing to wrestle with this horrible tv bastard in adobe illustrator for the express purpose of shilling him and this comic to my unsuspecting class <3
(edit: god okay pls click for fullscreen. hogy shit)
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jitterbugbear · 11 months
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see you back home, spider-man
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wlf5bn · 1 year
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northern-passage · 1 year
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i want to make a cover for tnp eventually, here’s a first pass at it 🐺
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blujaydoodles · 6 months
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WIP-- I've been working on updating my huge ridiculous Too Many Gnomes height chart recently, and have spent a frankly absurd amount of time just on very minutely adjusting proportions, because that's my idea of a good time, for some reason. Also I added Indigo and it's really funny to me because for some reason between my designing them and now they've taken on a distinctly Tall Energy in my mind, so actually drawing them at their canon size is almost jarring jkghdfkg like OH YEAH SHORT KING, OKAY!!
These are just my guys, but there are currently twelve gnomes in this file! But I'm still fixing a lot of old bad anatomy and stuff, and also I might even fuck around and color it before sharing the full thing 🤔
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batrachois · 2 months
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Reference to the pirate's OC below the cut, please reblog for larger sample size
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sleep-deprived-corvid · 3 months
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Firebird
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aqrilene · 1 year
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Lavender
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sisterdivinium · 1 year
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(One thing I find peculiar and unfortunate in current fandom business is the seeming lack of pointed discussion, so here is a humble attempt to spark a conversation and I more than welcome commentary.)
I came across someone in the notes to a post somewhere talking of how Jillian had been better styled in season two than in season one and I agreed, already seeking the justification for it in my mind. My observations are as follows:
S1 Jillian is Arq-Tech's mastermind and public face. Even though we first meet her in Morocco, in her explorer, Indiana Jones-like garb, it's the image of her running her company that sticks with us, her statements to the press, her corporate persona opening metaphorical fire upon the Church. A "powerful woman" as mainstream media constructs for us everyday, in subtle but visible makeup so as to diminish the effects of age on her face, in heels so as to peek at the rest of humanity from above, with controlled gestures meant for the inherent theatricality that comes with introducing life-changing technology to society. It is a role she plays—well, but a role nonetheless.
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The scene she shares with father Vincent is worthy of mention, for while he sits without taking up much space, his body restrained to the side of a couch, his legs crossed in what is deemed a more "feminine" posture, Jillian takes up the traditional "masculine" attitude: she commands the room, her body expanding upon her seat, in the broad pose where an ankle rests upon a knee, complete with a generous glass of alcohol in hand and talon on foot. Yet this is also for show­—it's a little too calculated, a dance that was so perfected in exhaustive practice that it lost its dynamic.
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Our glimpses into the more authentic Jillian come in the scenes with Michael—not only because (coded in white and blue as the Virgin Mary of immaculate conception) she plays the part of mother, but because, in her intimacy, far from journalists and employees and the public's prying eyes, she can be more herself within the areas where she conducts her studies. Starting from when Ava asks Jillian to "science her", we never see the doctor in uncomfortable shoes again, as she retreats from entrepreneurial life and into the lab.
This is clearer in season two, for, as Kristian says, she is on sabbatical, thus isolated from general view; S2 Jillian has nobody around her, nobody to impress. Locked away in her Spanish villa, consumed by her son's disappearance, she need not wear a mask. There are no more tellingly feminine accessories, no staged stunts; her clothes and footwear are even more practical, her movements less grand but more human, more expressive (here, of course, we owe it to Thekla Reuten's underrated range). Even as the OCS invites itself into her house, making it a makeshift HQ, she doesn't fall back on the act we saw in the first season.
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Jillian's stepping back from the head of her company is not just in name and contract, but in body, too; she leaves the CEO role in her office and comes home to her science and her cause, to her limited inner circle of which only Michael was privy to and into which the OCS nuns end up finding their way.
Colours also indicate a shift—we begin the series seeing her associated with light hues such as white, beige and baby blues, but when season two comes in, Jillian's striking all-white attire is nowhere to be found. The Holy Mother parallel is in shambles after Michael has gone through the ark's portal, the intangibility of this "saintly", aseptic rich genius broken down, her person brought back to Earth after flights of fancy trying to open a gate to Heaven.
We see her in a darker palette, in greys with dashes of white, yes, but never again in full white. It is not just the authorisation to be herself rather than her company's face while in her private world, but also the reflection of her inner darkness and her loss upon her very appearance.
What a more definite loss could mean, now that her son is gone for good, remains a mystery.
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For instance, unlike the nun who served as her superior, our Suzanne rejects the characteristic blues of the Order of the Cruciform Sword to don a heavy all-black outfit, more reminiscent of Orthodox priests than it is Roman Catholic nuns; her resurrection through Ava does not lighten her habit, if it does lighten her burden, so we can only assume, going forward, should there be any relation between how each character expresses their inner workings through clothing, that Jillian Salvius would keep the mixture of white and grey that season two brought along... Or go darker still.
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s-elkye · 4 months
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If you thought I forgot about the V requests— 🔫
V for @imaginarycyberpunk2023! I don’t draw facial hair a ton so I wanted to try it. Also, I wanted to try using chromatic aberration for once hhhhhhhh I’m still learning how to use it. Posted both because I don’t know which one I like better!
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moppy-art · 3 months
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Still illustrating my own fic, which you can read by clicking right here. I'm low-key shooting for one solid illustration per chapter, which is...a lot, but it's going alright.
Tumblr probably compressed the textures out of this, because I work pretty large, but fear not, you can play Find All The Easter Eggs with the full-size version. And there are some Easter eggs! And a lot of faint graffiti too. I put a lot of effort into making a nice mess out of the wall and I think it went pretty well.
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baeshijima · 3 months
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i fucking hate this gane
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throws up tears
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