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interactive-watchers · 3 years

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A Silver Apology

Notes: Me and Mod Salem wrote this drabble together! Amaris POV is mine and Salem POV is theirs, this is in the DSMP by the way

The young nymph entered the small forge just by the back side of her cottage slipping on her apron, and tying up her chestnut colored hair with a white ribbon. She threw the ores into the furnace, feeling the hot air of the furnace be released into the air, letting the iron smelt into ingots. A comfortable familiar feeling seeped into her as the heat sent sweat gliding down her face. She allowed the ingots to cool down,eventually becoming more solid, the newly cooled metal showing the reflection of the girl’s slightly soot covered face. A pang of guilt hits her when she remembers why she's doing this, but she shuts the thought down, she doesn’t have the right to pity herself when she made them both feel so much worse. She puts her focus back onto the task at hand and places the iron into the melting pot, letting the iron become liquid. She quietly pours the searingly hot liquid into the sheet mold to let it cool, leaving her a moment to herself. She silently stares at the iron as it solidifies, dozens of thoughts racing behind those hazel eyes. She lets out a deep sigh as she returns back to her work putting the sheet metal onto her anvil to begin hammering it into shape. The metal gleamed a bright orange from the heat as she banged her hammer onto it with strong yet calculated swings. Regret still lingered in the back of her consciousness while her hands worked. Having forged so many times before her body continued reflectively as she got lost in her thoughts.

She should have stayed, or at the very least waited a little longer. Now she was reunited with them both, but their relationships still felt strained. She still remembers that conversation with Salem when they saw each other here for the first time. Though he tried not to show it, Amaris knew Salem too well to not notice they were hurt. Amaris knew he had issues with being abandoned, yet she left anyway. She really was stupid enough to think that a small goodbye would be enough to erase a millena of anxieties and fears. And Aurora, one of the few people patient and kind enough to help her through her issues, all for her to leave her behind. She’s one of her few constants in her life and she couldn’t even return the favor. Gods, she is such a piece of shit. She felt her vision blur and a familiar wetness on her cheeks yet she continued to pound the metal as it began to resemble the head of a throwing axe and a dagger. Her arms begin to tremble, tears streaming down her cheeks now. Yet she continues pounding, putting all of her sadness, guilt, and regret into her work. The loud clanging of the hammer against the iron being the only thing keeping her grounded. As she pounds the metal slowly starts to take form, her breathing begins to even out and the tears begin to subside. Until finally the hammering is done. She silently lowers her hammer and stares at the weapons, her heart beating so loud in her ears as she shakily takes in deep breaths. She stands there in silence for what feels like hours, other than the crackling fire and noises of the forge she’s left alone with her own thoughts, though this silence feels more empty than usual.

Wiping her tears quickly she grabs her tongs and plucks the weapons off the anvil, both orange with heat, and dips them into the nearby water bucket leaving them cool to the touch. Picking up her rag she wipes away any soot or imperfections on the weapons, leaving them with a brighter metallic sheen. She gripped her bench grinder and began to run it down the sides of the dagger, repeating this until it was sharp enough for her standards. She then moved on to the axe head, scraping the bench grinder against the metal’s length. She thought she was making the right choice coming here. Everyone told her their disappearance was “normal” and “just Nare being Nare'' yet her instincts screamed at her something was wrong. That this time was different. Sure, turns out she was right, but the consequences of coming here were far worse than she expected. Now she’s stuck here as well until the gospel court manages to bring that sadistic bastard of a god to justice. She might as well not even be here with how much use she has. She continued to sharpen the axe head, with each stroke becoming stronger and stronger as she worked the metal. She finally held it up blowing off the dust, the cool metal contrasting her flushed skin. Her eyes puffy and her nose red, she rips her eyes away from her reflection. She began to carve details into the axe head, thoughts now pushed aside by her silent concentration. The minutes passed by like seconds as she gently yet firmly marked the axe with engravings, only stopping to wipe the sweat now running down her face. The axe head was almost completely covered in long, curbing lines that joined together near the face, the edges being the only spot untouched by her hand. With a metallic thunk she places the axe head onto the table, plucking a piece of wood from the table and getting to work on making the handle for the axe.

~*~

A traveler with a strange, moth like cloak strode through the woods on the way to the nymph’s cottage. “First My Claimed disappeared to this ‘ell ‘ole than my friends' damn.” They muttered under their breath. They had stopped in a place called ‘Snowchester’ during their travels, and their immortal heart almost stopped at the sight of their favorite claimed, a blonde avian hybrid named Theseus (affectionately called Tommy) with no memory of them and no wings. “Ayy Salem, gotta pull through” They muttered to themselves through gritted teeth. They checked their compass again. They were close to the coords that Amaris’ letter had told them to come too. Then in the distance, there it is, a simple cottage with a small forge on the side, surrounded by beautiful, vibrant wildflowers and a garden. (Salem would never admit it, but they always admired Amaris’ way to keep plants alive. They could only keep their associated plants alive) They pulled their hood down. Better see what they needed. (There couldn’t be any other reason Amaris would want them at her short-term home, they were proving themselves to be a horrid friend and patron. Really Salem, they obviously didn’t want you around. That’s why they left) They quickly pulled themselves out of their thoughts. They had a reputation as one of the two death gods that were actually happy, and they were just standing there, staring at their best friend's property. They briskly walked up the path to the home, and knocked three times (a habit they picked up from Kristen) on the rough-hewn door. Amaris opened the door. “Salem!! My friend!!!,” (She looked like she had been crying) “I didn’t think you’d come!!”

“Of ‘ourse I’d come! ya are my best friend!” Salem said back. (They wondered if she was crying because of them)

Amaris opened the door wider, ushering in her godly friend and leading them to the kitchen table. "Tea?"

“Of ‘ourse.” With that Amaris put a kettle to the stove and then turned to look at Salem. “So.. uh, The server is fucked right? It’s not just me?”

“No It ain’t just ya, I noticed it too. I saw ‘ommy on the way ‘ere, an’ ‘e dinae know who I was!”

Amaris hummed and turned to make the tea. “Uh. I did want to say I’m sorry Salem. You didn’t deserve to get left alone again, but I still left. And that was me being a horrible friend. I really am sorry, and I hope you can forgive me.” Salem sat in silence (what does she mean that she’s the bad friend?) “See, I dinae know why yer ‘poloizing to me lass. I’m the bad friend for ‘ver reactin” Salem answered, rubbing at the back of their neck, fidgeting with the claps on their necklaces. “No Salem. I shouldn’t have left. A simple goodbye will not erase thousands of years of your anxiety.” Amaris sighed, handing the god their cup of tea. “‘anks” they muttered. Amaris sighed again. “OH! I have something for you!! Stay right here!” She ran into another room, letting Salem drink in silence again. She came back into the room, with a parcel, wrapped in simple black fabric. “Ay, wots ‘at now?” Salem laughed. The awkward tension seemed to be gone from the room. “A present!” Amaris answered happily, pushing the package into Salem’s lap. “Open it!” Salem laughed again, Quickly unwrapping the parcel, revealing a beautiful throwing axe, with intricate carvings on the handle, and wrought designs on the head of the axe itself. All in all, hand-made, probably from the forge right outside. “‘OLY SHITE AMA ‘IS IS AWESOME” Salem cackled happily. Amaris giggled. “I’m glad you like it, consider it an apology gift.”

“Well ‘en consider yaself forgiven.” Salem said, pulling Amaris into a hug, like they used too. (I wonder if they forgive me back?) “Soo.. now ‘at the sappy ‘art is over, wot are we gonna do ‘bout the total weirdness of ‘is server? I mean, ‘ommy’s been messed with, an’ Tech won’t talk to me; so Aurora is tryen’ to talk ‘ome sense inta ‘im.”

“I have a theory my friend, and it’s not great. But we will figure it out. I think some people know what is going on, and we are going to get to the bottom of it. Someone is behind this.”

#drabble #hurt to comfort #interactive watchers #comfort trio #Salem Breathnach #Aurora (Boreal)#Amaris Finwe

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juhanati · 4 years

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It’s bold of Nolan to make such a thoroughly dense blockbuster. He assumes people will actually want to see L’origine du monde more than once so they can understand it properly, which some may not. This movie makes the chronology of Inception look as simplistic as tic-tac-toe. Ergo, it’s hard for me to give an accurate rating, without having seen it twice, as I’m still trying to figure out whether everything does indeed make sense. If it does, this movie is easily a 9 or 10. If it doesn’t, it’s a 6. It’s further not helped by the fact that the dialogue in the first 15 minutes of the movie is painfully hard to understand / hear. Either they were behind masks; they were practically mumbling; the sound effects were too loud; or all of the above. The exposition scenes are also waayyy too brief for something this complex — a problem also shared with Interstellar actually. (Interstellar had this minimalist exposition problem explaining Blight, where if you weren’t careful, you’d miss this one sentence / scene in the entire movie explaining that Blight was a viral bacteria: “Earth’s atmosphere is 80% nitrogen, we don’t even breathe nitrogen. Blight does, and as it thrives, our air gets less and less oxygen”). I guess it’s a Nolan quirk. Hopefully, a revision of the film audio sorts the sound mixing out. I do like the soundtrack, but it’s too loud initially. I liked all the actors. You think John Washington can’t act at first, but he can, and he grows on you as the film progresses. And Pattinson is his usual charming self. Elizabeth is a surprise treat. And so on. Its worth a watch either way. See it with subtitles if you can. And definitely don’t expect to fully understand whats going on the first time around. Its one hell of a complicated film. It will be very hard for an average viewer to gather all the information provided by this movie at the first watch. But the more you watch it, more hidden elements will come to light. And when you are able to put these hidden elements together. You will realize that this movie is just a “masterpiece” which takes the legacy of Christopher Nolan Forward If I talk about acting, Then I have to say that Robert Pattinson has really proved himself as a very good actor in these recent years. And I am sure his acting skills will increase with time. His performance is charming and very smooth. Whenever he is on the camera, he steals the focus John David Washington is also fantastic in this movie. His performance is electrifying, I hope to see more from him in the future. Other characters such as Kenneth Branagh, Elizabeth, Himesh Patel, Dimple Kapadia, Clémence Poésy have also done quite well. And I dont think there is a need to talk about Michael Caine Talking about Music, its awesome. I dont think you will miss Hans Zimmer’s score. Ludwig has done a sufficient job. There is no lack of good score in the movie Gotta love the editing and post production which has been put into this movie. I think its fair to say this Nolan film has focused more in its post production. The main problem in the movie is the sound mixing. Plot is already complex and some dialogues are very soft due to the high music score. It makes it harder to realize what is going on in the movie. Other Nolan movies had loud BGM too. But Audio and dialogues weren’t a problem My humble request to everyone is to please let the movie sink in your thoughts. Let your mind grasp all the elements of this movie. I am sure more people will find it better. Even those who think they got the plot. I can bet they are wrong. L’origine du monde is the long awaited new movie from Christopher Nolan. The movie that’s set to reboot the multiplexes post-Covid. It’s a manic, extremely loud, extremely baffling sci-fi cum spy rollercoaster that will please a lot of Nolan fan-boys but which left me with very mixed views. John David Washington (Denzel’s lad) plays “The Protagonist” — a crack-CIA field operative who is an unstoppable one-man army in the style of Hobbs or Shaw. Recruited into an even more shadowy organisation, he’s on the trail of an international arms dealer, Andrei Sator (Kenneth Branagh in full villain mode). Sator is bullying his estranged wife Kat (Elizabeth Debicki) over custody of their son (and the film unusually has a BBFC warning about “Domestic Abuse”). Our hero jets the world to try to prevent a very particular kind of Armageddon while also keeping the vulnerable and attractive Kat alive. This is cinema at its biggest and boldest. Nolan has taken a cinema ‘splurge’ gun, filled it with money, set it on rapid fire, removed the safety and let rip at the screen. Given that Nolan is famous for doing all of his ‘effects’ for real and ‘in camera’, some of what you see performed is almost unbelievable. You thought crashing a train through rush-hour traffic in “Inception” was crazy? You ain’t seen nothing yet with the airport scene! And for lovers of Chinooks (I must admit I am one and rush out of the house to see one if I hear it coming!) there is positively Chinook-p*rn on offer in the film’s ridiculously huge finale. The ‘inversion’ aspects of the story also lends itself to some fight scenes — one in particular in an airport ‘freeport’ — which are both bizarre to watch and, I imagine, technically extremely challenging to pull off. In this regard John David Washington is an acrobatic and talented stunt performer in his own right, and must have trained for months for this role. Nolan’s crew also certainly racked up their air miles pre-lockdown, since the locations range far and wide across the world. The locations encompassed Denmark, Estonia, India, Italy, Norway, the United Kingdom, and United States. Hoyte Van Hoytema’s cinematography is lush in introducing these, especially the beautiful Italian coast scenes. Although I did miss the David Arnold strings that would typically introduce these in a Bond movie: it felt like that was missing. The ‘timey-wimey’ aspects of the plot are also intriguing and very cleverly done. There are numerous points at which you think “Oh, that’s a sloppy continuity error” or “Shame the production design team missed that cracked wing mirror”. Then later in the movie, you get at least a dozen “Aha!” moments. Some of them (no spoilers) are jaw-droppingly spectacular. Perhaps the best twist is hidden in the final line of the movie. I only processed it on the way home. And so to the first of my significant gripes with L’origine du monde. The sound mix in the movie is all over the place. I’d go stronger than that… it’s truly awful (expletive deleted)! Nolan often implements Shakespeare’s trick of having characters in the play provide exposition of the plot to aid comprehension. But unfortunately, all of this exposition dialogue was largely incomprehensible. This was due to: the ear-splitting volume of the sound: 2020 movie audiences are going to be suffering from ‘L’origine du mondeis’! (LOL); the dialogue is poorly mixed with the thumping music by Ludwig Göransson (Wot? No Hans Zimmer?); a large proportion of the dialogue was through masks of varying description (#covid-appropriate). Aaron Taylor-Johnson was particularly unintelligible to my ears. Overall, watching this with subtitles at a special showing might be advisable! OK, so I only have a PhD in Physics… but at times I was completely lost as to the intricacies of the plot. It made “Inception” look like “The Tiger Who Came to Tea”. There was an obvious ‘McGuffin’ in “Inception” — — (“These ‘dream levels’… how exactly are they architected??”…. “Don’t worry… they’ll never notice”. And we didn’t!) In “L’origine du monde” there are McGuffins nested in McGuffins. So much of this is casually waved L’origine du monde as “future stuff… you’re not qualified” that it feels vaguely condescending to the audience. At one point Sator says to Kat “You don’t know what’s going on, do you?” and she shakes her head blankly. We’re right with you there luv! There are also gaps in the storyline that jar. The word “L’origine du monde”? What does it mean. Is it just a password? I’m none the wiser. The manic pace of L’origine du monde and the constant din means that the movie gallops along like a series of disconnected (albeit brilliant) action set pieces. For me, it has none of the emotional heart of the Cobb’s marriage problems from “Inception” or the father/daughter separation of “Interstellar”. In fact, you barely care for anyone in the movie, perhaps with the exception of Kat. It’s a talented cast. As mentioned above, John David Washington is muscular and athletic in the role. It’s a big load for the actor to carry in such a tent-pole movie, given his only significant starring role before was in the excellent BlacKkKlansman. But he carries it off well. A worthy successor to Gerard Butler and Jason Statham for action roles in the next 10 years. This is also a great performance by Robert Pattinson, in his most high-profile film in a long time, playing the vaguely alcoholic and Carré-esque support guy. Pattinson’s Potter co-star Clemence Poésy also pops up — rather more un-glam that usual — as the scientist plot-expositor early in the movie. Nolan’s regular Michael Caine also pops up. although the 87-year old legend is starting to show his age: His speech was obviously affected at the time of filming (though nice try Mr Nolan in trying to disguise that with a mouth full of food!). But in my book, any amount of Caine in a movie is a plus. He also gets to deliver the best killer line in the film about snobbery! However, it’s Kenneth Branagh and Elizabeth Debicki that really stand out. They were both fabulous, especially when they were bouncing off each other in their marital battle royale. So, given this was my most anticipated movie of the year, it’s a bit of a curate’s egg for me. A mixture of being awe-struck at times and slightly disappointed at others. It’s a movie which needs a second watch, so I’m heading back today to give my ear drums another bashing! And this is one where I reserve the right to revisit my rating after that second watch… it’s not likely to go down… but it might go up. (For the full graphical review, check out One Mann’s Movies on t’interweb and Facebook. Thanks.) As this will be non-spoiler, I can’t say too much about the story. However, what I can is this: L’origine du monde’s story is quite dynamic in the sense that you won’t understand it till it wants you to. So, for the first half, your brain is fighting for hints and pieces to puzzle together the story. It isn’t until halfway through the movie that L’origine du monde invites you to the fantastic storytelling by Christopher Nolan. Acting is beyond phenomenal, and I’d be genuinely surprised if neither Robert Pattinson nor John David Washington doesn’t receive an Oscar nomination for best actor. It’s also hard not to mention how good Elizabeth Debicki and Aaron Johnson both are. All around, great acting, and the dialogue amps up the quality of the movie. The idea of this movie is damn fascinating, and while there are films that explore time-travelling, there’s never been anything quite like this. It has such a beautiful charm and for the most part, explains everything thoroughly. It feels so much more complex than any form of time-travelling we’ve seen, and no less could’ve been expected from Nolan. Oh my lord, the score for this film fits so perfectly. Every scene that’s meant to feel intense was amped by a hundred because of how good the score was. Let me just say though, none of them will be found iconic, but they fit the story and scenes so well. In the end, I walked out, feeling very satisfied. Nevertheless, I do have issues with the film that I cannot really express without spoiling bits of the story. There are definitely little inconsistencies that I found myself uncovering as the story progressed. However, I only had one issue that I found impacted my enjoyment. That issue was understanding some of the dialogue. No, not in the sense that the movie is too complicated, but more that it was hard to make out was being said at times. It felt like the movie required subtitles, but that probably was because, at a time in the film, there was far too much exposition. Nevertheless, I loved this film, I’ll be watching it at least two more times, and I think most of you in this group will enjoy it. I definitely suggest watching it in theatres if possible, just so you can get that excitement. (4/5) & (8.5/10) for those that care about number scores. At first, I want to ask Christopher Nolan one question, HOW THE HELL YOU DID THIS? Seriously I want to have an answer, How did he write such as this masterpiece! How did he get this complicated, fabulous and creative idea? What is going on in his mind? The story is written and directed perfectly, the narration style was absolutely unique. I have no idea how can anyone direct such as this story, that was a huge challenge, and as usual Nolan gave us a masterpiece that we’ll put beside (Memento), (Inception) and (Interstellar) The movie is so fast-paced in a good way, there was no boring moment. The chemistry between John David Washington and Robert Pattinson was great and funny and both of their performance was really good. Elizabeth Debicki performance was the best in the movie because she had the chance to show her acting abilities and she cached up that chance and showed us an A level acting. The music wasn’t unique and distinct as the music of Interstellar for example and I think this movie needed the touch of Hans Zimmer, I’m not saying that Ludwig Göransson failed but Hans Zimmer in another level. If there was something I’d say that I didn’t like it in the movie would it be that Nolan discarded any set up or characters backgrounds except Elizabeth Debicki dramatic story but it wasn’t that bad for me, I didn’t care about that, the exciting story didn’t give me the chance to focus on it. But the actual problem was the third act, it was really complicated and I got lost and I convinced myself to discard the questions that were in my head and enjoy the well-made action sequences and Elizabeth Debicki performance. I think this kind of movie that gets better with a second and third watch. I honestly don’t quite know where to begin with L’origine du monde. I love Christopher Nolan’s work but I have never seen a more complicated film (and I understood Memento). After nearly three hours, I came L’origine du monde from L’origine du monde not knowing myself, my mind reduced to nothing more than piles of ash. Was there time travel involved? Hmm, there was definitely something about time inversion. I mean, does Nolan even understand what he wrote? Look, I give credit to the director because he’s one of the few directors left who knows how to create a compelling and intelligent blockbuster. L’origine du monde is full of Nolan trademarks — the gratuitous Michael Caine cameo, a loud, really loud score, complete with stunning cinematography and slickly inventive action set-pieces. This time around however, Nolan has finally managed to ‘out-Nolan’ himself: the palindromic plot, whilst creatively ambitious, is simply far too complicated for its own good. L’origine du monde is overlong, overstuffed, pretentious and too exhausting to comprehend in its entirety — it makes Inception and Interstellar look like Peppa Pig by comparison. I’m aware of the technical wizardry and creative mastery in this film and lord knows I’ll have to watch this again. For those who want a puzzle, L’origine du monde at least provides a unique cinematic experience. But to actually enjoy solving it Nolan wants you to work

#l’origine du monde

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masaoonii-chan · 5 years

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WAIT ACABO DE VER QUE ESTÁS VIVO

Wot, hola zero(?

Hdkdhkfjg, es bueno ver que también sigues vivo(??? ówò""

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mcnostril · 6 years

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I have Patreonified

Hello! It is me, the thing wot makes pictures that you sometimes click on!

I have decided to get into the whole Patreon thing ahead of Patreon eating its own foot then hobbling around blaming other people for its missing foot before slipping on its own puddle of blood and breaking its neck in macabre slapstick fashion. However, there are also other reasons for me to--

Q - WHY ARE YOU DOING THIS, YOU MONSTER

...yes, I was getting to that.

So I've been doing this sort of content in my spare time forever, but unfortunately freelance animation work tends to be kind of an energy vampire with a significant amount of time spent putting out fires (Fire everywhere, all the time). I do not have the sexy fireman physique for that, which makes it very difficult for me to do other work on the side.

Lately I've had a bit of a hole in my schedule and enough leeway to just not work for a while, so I went back to old projects. Then this magical thing happened where I was having fun? And somehow things were Getting Done? So hey, I'm going to ride this wave of energy and finish this one silly book I've lugged around for a zillion years (yes, I am a zillion years old. It makes it very difficult to fill in the "age" box on websites) and hopefully continue making moar comics after that.

Q - WHAT IS IT YOU'RE ACTUALLY DOING THEN, YOU JOBLESS BUM

Currently I am in production of D and the Eternal Race.

It looks like this at the moment (still some fiddling to do for the final look, but it’s ver close):

It is a tale of accepting the inevitable by questioning it at every turn, going off on tangents and not actually accepting anything. Expect swearing, skulls, nautical knowledge and patented FooLogic®.

I am going full-time on this until it is complete (or I starve to death, but I have stockpiled so many lentils I can probably live forever, becoming a fusion of man and lentil: The fearsome Mantil) so expect regular updates, first of layout pages with no text then the final (digitally) inked pages. You could think of it as a short run webcomic, but ideally it would eventually make its way to print.

Q - WELL I DON'T CARE ABOUT THAT THING, YOU HORRIBLE GOBLIN. I LIKE THINGS WITH SPEEDLINES AND DOTS AND POSSIBLY STABBINGS

I got you covered, rude little critter. Some might have noticed on my social media accounts character sheets for this stabby elf person:

This is the other story I'm working on. It contains possible speedlines, an indeterminate amount of dots and definitely some stabbings. The big hurdle at the moment is finishing up the writing, which is fairly advanced (There are arcs! There's chapter outlines! And scenes all mapped out with dialogue and other things that scripts have!) but still needs work.

However, there's already a lot of design and worldbuilding art sketched out that I'll be cleaning up while I sort out all them word bits, which you can expect to see there (and some will still be making its way to tumblr and twitters of course). Depending on your Tier, you may even see said word bits with assorted thoughts and all the inevitable problems I run into.

Then there's other comics which are less advanced in general but for which I am constantly developing stuff, like these weirdos which I'll also post about there.

Q - YOU'RE NOT A WRITER THOUGH, YOU SHAMELESS HACK. WHAT IF IT TAKES FOREVER AND SUCKS

All the writing for D and the Eternal Race is done save the title and like, one line (it's really silly, but I think I can make it silly², possibly silly³)

I also have a bunch of short comics laid out which don't require extensive writing beyond my trademark FooLogic™ that I'll be working on from time to time when other bits prove difficult, sort of like this:

And finally there's all the random art (drawings! paintings! animation!) I do for whatever reason which will show up on there with process bits. That stuff will still show up on social media as it always has, but you can see it there first! Maybe see my convoluted process! Possibly art streams where you can witness the eldritch nightmare that is my picture-making!

Q - WHAT IF I JUST WANT A THING FOR MYSELF, YOU USELESS SLUG.

I get a fair amount of people asking about this stuff, so I'll be sorting out a commissions schedule and guidelines. I'll be adding tiers for commissions at some point, mostly because I already made the badges for them and once you have made a badge, you must abadge.

Q - I JUST LIKE TO SHOUT

It's cool, I also like to shout.

Q - AAAAAAAAAAAAAAAAAAAAAAAAAAH

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAH

#mcnostril #art #patreon

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coe-lilium · 6 years

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Hey Lilium! I love your Servant redesigns! I'm starting to learn to draw digitally so that I can design Servants myself, like Kriemhild. Would you have any advice you could give me on this?

Hi! Thank you so much for your words!

I’m a bit unsure if you’re asking for tips on digital art itself or on chara design?

In doubt, I’m going to go with “digital art” in this post, if you meant chara des hit me up with an ask and I’ll happily provide for that :)

*necessary intro*: please consider that my art education ended 10 years ago and never prepared me for more stylized/cartoon styles, so I’m self taught for almost all intents (100% regarding digital art).

Long wall of text under the cut:

First suggestion is to get a good, reliable art program.

Plenty of artists use Paint Tool SAI and Clip Studio Paint (currently using CSP myself and don’t plan to ever abandon it). Neither of them is free but both are less pricey than Adobe bundles and both were created more for illustrating than “photoshopping” purposes. There’s plenty more but those are two I used and can recommend. Many art programs usually offer a 30 days trial so my suggestion would be to try them out and see which is more to your liking and offers the best quality/price wise.

By personal experience, it’s much better to pay and have support than to find a free unofficial version and then get fucked and lose all your works when you update your operating system and discover the bootleg program doesn’t work anymore. Learn from me, don’t risk it.

Next suggestion, get a drawing tablet or a tablet. Nothing too pricey as a beginner, when paired with a good program any decent tablet will do its job. What you really need is pen pressure, everything else is optional. People draw on their iPads with great results but never having tried I can’t give suggestions here, if not to look for artist who do and see how they work (YT surely has tutorials ‘bout it).

With hardware and software out of the way, let’s get down to proper drawing business:

First of all, forget that “but you’re not a real artist if you use references/copy poses” noise: use references, use all the references you want.

If you want to paint a starry sky and don’t know how to rend the effect, maybe the glowing of a nebula? Look up Youtube and Deviantart tutorials, tumblr tutorials, look up on how all the artist you like paint and their tips, all the IRL photos in google.

Something I personally find very helpful are tutorials comparing realistic and stylized styles and showing how to go from one to another, how to simplify shapes etc.

Renaissance artist invented the darkroom/camera oscura to help them drawing perspective and then traced over that shit. If Caravaggio traced to save time, then so can we.

And there’s so many different ways to reach a similar result that maybe your first attempts will look like copycats of that tutorial you saw or that really inspiring artist. It’s fine. But the more attempts and the more you play with your program of choice, brushes you like/find more comfortable, the more you look up different sources and integrate bits of them all in a singular piece, the more your work will be distinct.

Now, onto one of the big elephants in the room: do you know how to correctly sketch a human body from scratch? If yes, amazing! (all my respect).

If not, there’s plenty of solutions without having to learn how to (which is the way I currently work bc drawing is a 100% hobby and I’d rather spend my time elsewhere than in re-learning human anatomy) and working digitally makes these solutions way easier.

After you find a “how to draw anatomy” book or blog or tutorials and safely store it somewhere safe to go back and reference, then you can

1. find stock photos, either from google (be careful not to use copyrighted stuff) or in bundles specifically created for artists to use as bases or references. On Deviantart for example there’s SenshiStock, incredible project with hundreds of photos free to use. The anatomy book/blog here will be useful if you want a certain body shape and your reference doesn’t match with your idea.

2. chose a program like CSP or similar that comes with 3D stock poses which you can then alter as much as you like in size, weight, rotation, light direction, position of every body part down to each finger (in CSP’s case, you can also download plenty more free to use poses, brushes, 3d objects, patterns etc created by the userbase and shared in the library bundled with the program).

3. if your main art program doesn’t come with human poses? no problem at all, get one just for this specific purpose, like Design Doll (both free/pay ver, imo free ver is more than enough), Posemaniacs (free, online, uses flash), MagicPoser (free with option of in-app purchases, it’s an app, good reviews, just tried it a little and seems quite good).

4. less conventional but imo still useful, especially if you want to draw in “anime” style and proportions for Servants designs: go to My figure collections and use figmas.

They’re highly posable plastic figures from the most different jp (and not) characters, each one with a photo gallery and as long as you modify the final piece and -important!- don’t sell it if you base it on a specific user photo? I’d say go for it. Or mix body parts of different figmas, or use the “archetype” products, naked bodies made precisely for drawing bases, there’s options with both more “anime” and more realistic proportion.

I collect them for both owning Fate/other characters without spending a fortune and for drawing references and I find them quite well suited for this purpose. Why on earth despair if I’d ever want to draw Arturia in armor when I can just grab my figma of her, pose it, take a photo and then draw on it? :P

Now, hardware and software check, way to find poses check, what else?

Layers are your best friends. For example, Bradamante? A good 50+ layers, some of them stored in folders so I could just select and deselect them to remove or put on mantle, lance, shield, sword etc. Just... remember to name them to save yourself a lot of time.

And changing a layer’s opacity too, especially to draw the definitive lineart over the first rough sketch or for shading or highlights.

The more I write the more I find things to write about so I’ll call it for now, this post is already a WoT as it is. Hopefully I was of use, but if you need more, ask right away and I’ll do my best! :)

#answer #umh...#drawing tips #?#digital art #paragon-arthur

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