#Also the shading looks different than in my fox drawing. They both cost the same just tell me which one you prefer please.

[ronanre]

can you please post your commission sheet please ~!!! and thank you for responding !!!

[frankhightower]

Commission Prices 2023 (and FAQ)

I'm open for commissions! I'm only taking full body sketches at this time. I intend to revise my prices annually.

FAQ:

So now I can make you draw anything I want? Not exactly. There's several things I won't draw under any circumstances (mainly: genitals, nipples, death or gore; I'll go into more detail later. If you're unsure, please ask!) What does “price per character prop, or background element” mean? It means each character in the piece costs that amount. Two characters costs twice as much, but a character with an object also costs that much (thus Microfan with his flag costs the same as two people hugging or indeed a guy sitting under a tree). Whether a prop counts or not depends on if it’s an indispensable part of the outfit (for instance, Copper’s pocket watch is part of his conductor uniform, but his clipboard is not). This also means you can request one character in color and the other in black and white or indeed the prop in color and the character in black and white. What counts as a background element? It’ll be judged on a case-by-case basis. For instance, the locomotive and its tender count as a single element, with the boxcar counting as a second element; however a multiple-unit train such as the Acela Express would count as a single element. Why do some things cost the same as others? Price is based on effort – that is, how hard and time consuming it is for me – and I consider the two equally-priced things to require about the same effort. This may change in the future, but I promise to always have something available for $5. Then why does lineless cost more if you literally do less? Because, when coloring, the thickness of the line allows me a certain margin of error that disappears when we go lineless. Why do you only offer lineless with color and shading? I don’t think lineless looks good in black and white or with flat colors, so I don’t do ’em. Why do you call them sketches if you color and shade them? Because I’m doing these entirely freehanded: minimal use of guidelines, references and revisions. Wait, there’s no revisions?! What if I don’t like something?! There’s revisions, they’re just limited in scope. For instance, I originally drew Ty as gray fox, not a silver fox (i.e. no white tailtip), despite having references telling me otherwise; I assumed responsibility for the error and corrected the drawing. However, corrections of the type “Ian’s shovel looks crooked, do it again” I will not do because those kind of “errors” are intrinsic to the freehanded nature of the sketch (I may attempt to digitally scale the shovel to make it look less crooked, but I won’t redraw it). What if I want you to do those things? Then it wouldn’t be a sketch; you’ll have to wait until I can do commissions that aren’t sketch quality, which will happen when I feel I have the time available from my dayjob and family life. What if I don’t want a full body? What if I only want a headshot? I don’t do just headshots because I always end up putting effort into the parts that don’t get drawn (i.e. I inevitably think about and plan out what the shoulders and arms should be doing and don’t like that time going to waste). You are free to crop the picture after the fact if you want to focus on just the head, though. And besides, my prices are pretty low already. Why the complexity charge? Why is texture harder than extra limbs? I’ve discovered that the mental effort of swapping to a different texture adds a lot of time to the artistic process. If you have, say, a bird and a lion, you only need to swap once when you finish one character and start the next, but if you’re doing a griffin, you need to be doing that constantly. Extra limbs don’t create this problem for me; I instinctively understand they’re as much part of the character as the tail is. I have a character with both fur and feathers but I can’t afford the complexity charge I’ll be more than happy to draw them with just fur or just feathers all over. Do bat wings on a [insert mammal here] count as a different texture? No, bat wings have fur. Do bat wings on a scaley dragon count as a different texture? No, because I draw them covered in scales like the rest of the dragon unless otherwise specified. How does the “no reference” option work? I’ll ask you for a detailed description of your character and probably some clarification questions. Can I give you an AI-generated image as a reference? Oh God, please no! I'd much rather you give me the "prompt" text and work from there! I’ve never heard of an artist working without references before I do it because I’ve been there. All-too often, I need art of a character, but don’t have the time or money to make reference (and indeed, half the reason I buy art from other artists is because I’m too busy to do it myself). Can I just get a refsheet? Not as a sketch, no. A refsheet cannot contain freehanding errors. Please wait until I open commissions for refsheets (which I will do eventually). Can I use the resulting sketch to get a refsheet from another artist? Yes, that’s part of the reason I do it. Can I get a black-and-white sketch from you and then color it myself like a coloring book page? Yes! That’s also part of the reason I do it. In fact, it’s what inspired the “black and white shaded” options. Can I put it on a background to make it look like my ’sona was there? Yes, that is why I always deliver with transparent background when possible. Can I print it and hang it on my wall? Yes, once delivered, you can do whatever you want with it. Whatever I want? So I can post it online? Of course. I do ask that you link back to me for that, though. This sounds too good to be true Well, I’m still learning. I charge cheaply not only to remain accessible, but because I never went to art school nor paid for art classes (my only formal art training was the mandatory art class in middle school). I feel like the difference between what I charge and what I “should” charge is what I should pay for the art class that teaches me what I’ll learn by drawing the piece (i.e. I don’t expect it to be perfect so I don’t charge it as such) and besides, since this is something I do in my “free” time, I know I probably won’t deliver it as quickly as I should. Do you have a sample? Please refer to the full version for each of the "strips", and try to imagine that "but better"

Black-and-white version ($5/char)

Flat color version ($20/char)

Gradient-shaded version ($25/char)

Lineless Gradient-shaded version ($30/char)

Cell-shaded version ($40/char)

Lineless Cell-shaded version ($45/char)

Who are the characters in this picture? This picture features, from left to right (as identified by their FA username)

Microfan the tiger as the black-and-white Flagman waiting for his cue from the stationmaster

Morticia981 the pig as the flat-colored Station Hand loading water into the boiler

CopperM the black-and-white-shaded ferret as the Stationmaster checking his pocket watch

IantheGecko (gecko) as the gradient-shaded Fireman shoveling coal

Angel the wolf as the lineless Porter guiding the special passenger

HollieHyena (hyena) as the cell-shaded Yard Worker watching from the roof of macro car #17 waiting for her cue to close the door

TyVulpine, the silver fox taur in all the other styles, as the Special Passenger requiring macro-sized accommodation

Can I share this on other socials? Yes, please. I'll have the links to this pricesheet elsewhere, here Yes, please. here are the links to this pricesheet:

Twitter

Deviant Art

Fur Affinity

Ko-fi

Mastodon

Posted using PostyBirb

[milknette]

day 21 - circus

all i want is to fly with you, all i want is to fall with you.

tumblr month: @auyeahaugust

links: ao3 | ff.net

WHEN Nino suggests that Adrien invest in the circus, he is, understandably, hesitant.

"I'm just not sure it's a good idea long-term, Nino," he starts, a hesitant expression on his face. "Does anyone even go to circuses anymore? Father's really counting on me to expand our business venture, and I can't take any risks that would disappoint him."

Nino only shakes his head, putting a carefree arm around his best friend's shoulders, and pulling him closer. "Dude, you weren't there. I thought I'd hate it, but I was so wrong. Their performances were almost… magical."

Adrien only laughs. "Magical? I've never heard you use such… romantic words."

A playful bump on the shoulder. "Shut up, man," he only responds, an unimpressed expression on his face. "Look," Nino starts, retrieving a ticket from his pocket. "They have a show tonight. Alya couldn't go, so I have an extra ticket. I really think you should check it out."

"And if I don't?"

Nino shrugs. "It's your loss. Besides, it's just onenight. What do you have to lose?"

.

.

It's called the Miraculous Circus.

Adrien thinks it's a corny name, but ultimately decides to continue on anyway. After all, he's driven almost an hour to get there, and it is, frankly, a waste of a ticket.

(Though the ticket itself doesn't cost a lot— which doesn't do much to heighten his expectations for what he's about to see.

Why is he doing this again?)

The ticket line is unsurprisingly small. Outside of a few kids and their families, Adrien starkly feels like an outsider in his absurdly overly-formal business suit and lack of company. He's only too glad that the line moves quickly, allowing him to take a seat at the very back of the tent.

An old man, almost struggling to walk with his cane, enters.

Adrien's first instinct is to run down and help him out.

Is he the ringmaster of this whole affair?

The stranger coughs, then speaks with surprising strength, his clear voice echoing throughout the stands. "Welcome to the Miraculous Circus, everyone! We are extremely happy to have you here." He scans the audience, then smiles. (Adrien almost thinks they make eye contact, as he winks. Maybe he imagined it?) "My name is Master Fu, and I've been lucky enough to work and become a family with this amazingly talented group of performers. But that's enough with introductions."

Master Fu's eyes shine, then to Adrien's complete surprise, throws up his cane.

The curtains open as he does so, and he watches with surprise as the ringmaster moves with surprising agility and grace, to introduce the show.

"Now for something truly magical."

.

.

Magical isn't enough to describe what took place before him.

From the horse tamer who seems to transport from place-to-place in mere seconds, to the monkey-like acrobat who can contort and move his body in ways one could never imagine, to the fox-like magician who creates illusions from smoke, Adrien found himself completely enamored with the performance.

He was confident that Nino was making a big deal out of nothing.

As it turns out, Nino wasn't making enough of a big deal at all.

It's almost two hours of pure magic, when Master Fu announces their final act.

Adrien thinks he's seen it all, and that nothing could quite top what he's watched already.

As the day has proven, however, Adrien, in fact, gets many things wrong.

Which is all-too-clear when the final performer walks upon the stage, dressed in a vibrant red outfit that seems to draw everyone's attention. She also wears a mask upon her head— the same color as her clothes, with a fanciful black feather decorating the top.

It's no different from the rest of the performers, who also wear masks, but Adrien finds himself deeply wishing that she would take it off; to see her more clearly.

The woman— Ladybug, Master Fu calls her— is a trapeze artist. She carefully stands upon the edge, almost nervous, before she takes a deep breath in. Then, her expression makes a complete switch.

A confident smile upon her face, Ladybug simply takes a step forward, holds on to the ring, then let's go.

And she's flying.

With ease, Ladybug jumps and moves her body in a way that Adrien can only describe as mesmerizing. She looks almost at home in the air, as if she were born with wings— navigating through the sky with evident ease and comfort.

Adrien doesn't blink for a moment.

Scared that he'll miss something, carving every moment he sees of her in his head.

For a moment, she swings his way, and he swears that they make eye contact.

Swears that he sees the playful look in her eye, and her lips curved upward with the tiniest sliver of a smile.

She swings back just as quickly, but it's in that moment of split-second electricity Adrien becomes settled on his decision:

He's going to invest into a circus.

.

.

It's a challenge, at the very least, to convince his father that working with the circus is a good idea.

But after hours of negotiations (mostly on Adrien's part) and the promise that this is a good investment— where he'll take all responsibility should it fail or even be worth even the smallest fraction less than what he told him it'd become, Gabriel Agreste finally relents.

And it's been a long time since Adrien's been so happy about anything at all.

After speaking with Master Fu, the arrangement is set.

He's to start working with them the following day.

.

.

Adrien meets the performers the week after.

They all use their stage names in introducing themselves to him, something Master Fu had warned him of in advance— a lot of the performers had identities they'd prefer to keep secret, and this sense of anonymity was much respected within their community. Unlike in common society, asking for someone's name there is to ask for them to share their deepest parts of themselves to the other person.

Rena Rouge, Viperion, Carapace, Queen Bee…

"So, what's your name?"

After a moment of thought, he smiles. "Chat Noir."

Adrien fits right in with them.

He asks for Ladybug, and Master Fu tells him she's the most mysterious one of them all; only showing up when she's due to performance, and never any longer.

The hours seem to take forever while he's waiting for her to show up.

.

.

She arrives at the act before hers, already fully-dressed in her costume and makeup.

They only have a few minutes to talk, maybe even less so, but Adrien's determined and makes it a point to introduce himself.

"Ladybug, right?"

"Ah, you must be Master Fu's new business partner?" She says the words a little too dryly, maybe even almost unimpressed, but he decides to shake it off and push forward.

"Yes. We're working together, and I'll make sure to bring this circus to new heights—"

(He hopes Ladybug gets the pun. It's either that she does not, or that she chose to ignore it completely. With the unimpressed expression on her face, Adrien assumes it's the latter.)

She turns to him. "Look, I'm not sure why you're here, but leave us alone, okay? Miraculous is a family, and my home." Her glare turns sharp. "And I'll destroy anyone who tries to take that away from me."

Her tone indicates that she's done talking, but he, understandably, isn't.

"I think we have a misunderstanding," he tries speaking up. "I'm not trying to take the circus or anything, I just want to help it grow— to have more people experience the magic that I experienced while watching everyone here," he pauses. "You, especially."

A smile teases the edge of her lips.

"So I take it you enjoyed my performance?"

"Enjoyed wouldn't be a strong enough word to describe how it made me feel."

Ladybug leans closer to him, and he can feel himself explode into a shade of red he never thought possible.

When their lips are only centimeters apart, she smirks.

"Sorry, I'm only interested in performers." She looks down at his tuxedo and business-casual suit. "Someone more… fun."

Vaguely, Adrien registers the voice of Master Fu calling Marinette to the stage.

She smiles.

"See you around, kitty."

.

.

The next day, Adrien goes around asking different performers if they could teach him some of their tricks.

Ladybug watches from the sidelines, evidently entertained.

He's a bit cute, actually.

.

.

After a few weeks of almost choking on knives, getting bitten by a lion, and burning himself, Adrien tries out his last and final circus activity.

To both his and Ladybug's surprise (though it's more to her absolute horror), Chat Noir has an innate talent with doing trapeze work.

Master Fu announces that she start teaching him the ropes. (Chat Noir looks hopefully at his now-partner, because the ropes, haha get it because that's what we mostly work with, but is only met with a flat look.)

"Alright then. If we're doing this, then we're doing this properly, got it?"

"Yes, milady. The two of us together will make a meowvelous purrformance."

She rolls her eyes, but can't quite hide the smile on her face, either.

.

.

Chat Noir adjusts his earpiece.

"Can you hear me, bugaboo?"

"That depends, what are you going to tell me?"

"Hmm… well I guess, don't worry."

"What do you mean?"

"I won't let you fall."

"You bet you won't let me fall, we've practiced this routine enough times that…"

"Because the only time you'll fall is when you fall for me."

"..."

"Ladybug?"

"..."

"Aw, didn't your heart jump for joy when I said that?"

"You really are corny, aren't you?"

"But you love it anyway."

"Maybe I do."

"Wait, Ladybug… what did you—"

"Now let's introduce our final act! The one you've all, and even I have been anxiously waiting for…"

"I couldn't hear it properly through the headset. Ladybug, tell me what you said…"

"Get the routine down perfectly tonight, and I'll say it again. So, are you sure you're ready for this, alleycat?"

Adrien smiles.

"Pawsitive."

"... the debut performance of Ladybug and Chat Noir!"

[imaginetonyandbucky]

Imagine Tony having language kink - namely he gets turned on when Bucky speaks different languages and think he doesn't know. But Bucky is very aware and so he purposely speaks different languages (he knows many of them) and adds weird accents to english to woo Tony. May get smutty

Je Ne Sais Quoi

Bucky couldn’t draw his eyes away from thefrenetic genius. Tony was dancing around the workshop, running three differentscenarios in the 3D light projections, the music cranked up so loud that Buckycould feel the bass in his metal arm, throbbing like a second heartbeat. Tonyalso had a grape popsicle in his mouth that he was doing unintentionallyobscene things with as he talked nonsense with Friday and occasionally directedcommentary at his bots.

Bucky had come down to the ‘shop to have Tony dosome scans of the arm, but they’d been waiting almost an hour for Tony tonotice them. Friday had cautioned the Winter Soldier a few times not tointerrupt sir when he was working… At least Tash had come with him. Bucky had ahard time with coherency whenever Tony Stark was around and Tash helpedtranslate his gibberish into actual English.

It wasn’t, as most of the team thought, that theWinter Soldier was coming out whenever Tony was around, but that Bucky had areal problem with a massive -- and annoying -- crush. He was pretty sure Tashknew that.

“” Somehow, Bucky managed to talk just as the music died down and Tonystared at him for a long moment. Bucky squirmed, but Natasha’s dossier on thegenius had been very clear about what languages Tony spoke, and Russian wasn’ton the list.

“”Tash said. “”

“

“

Bucky said. “”

[mobile users, ‘ware the read more]

Tony rolled his eyes. “Keep talking about melike I’m not here, I’ll just wait.”

“No, that’s okay,” Tash said, hopping down fromthe counter where she’d been sitting. “You asked to see Yasha about his arm,so, let’s get to it.” She dragged Bucky over to Tony’s workstation. “Oh, andTony?”

“Hmmm?” Tony was already setting up thehard-light spectral analyser.

“You have something, on your mouth, just, there.”And Tash poked her finger in the direction of Tony’s lower lip. Tony’s tongueflicked out to taste the smut of grape popsicle and something in Bucky’sstomach turned over and clenched. Great. Now he was going to spend the wholetime Tony was poking at his arm watching the genius’s mouth.

“” Tash said, patting Bucky’sshoulder.

“”

“What are you to talking about?” Tony asked,prodding the wire-frame into place, making a schematic copy.

“Cheeseburgers,” Bucky said.

“My favorite,” Tony said, easily, exploding theschematic to look at all the little pieces and servos and wires.

“Boss, you should stop there,” Friday said, justbefore Tony walked into the common room.

“What?” Tony stared at the room. “What the hellhappened? Did I suddenly invest in a bicycle company?”

The entire common area was covered in… cardhouses. The furniture had been pushed to the far sides of the room and anenormous castle dominated the room. Diamonds and squares, layer upon layer ofthem, nearly eight feet high.

“” Clintsaid in perfectly fluent French. The archer was perched on Barnes’s shoulder,like the Winter Soldier was a goddamn shooting perch. Barnes handed Clint twocards from the pack in his hand and spread his feet just a little, to giveClint a better angle.

“” Barnes’s deep,rumbling voice was even worse, when he was speaking French, all dark seductivetones and soft, provocative sounds. Tony leaned in the doorframe, casuallytucking his hands in his pockets to conceal the fact that his knees had gone alittle weak.

“ Clint said. He set the next layer of the house up, taking cards asfast as Barnes could hand them to him. Barnes stepped, moving as if Clintweighed nothing at all, so they could keep building.

“” Tony asked. HisFrench was a little rusty, but perfectly understandable, even if his accent wasa little tainted from Peggy Carter having been his tutor, so he spoke French asif he was from England.

“” Barnes answered andthe sound, God. Tony slumped harder against the door. He wasn’t sure what itwas, Barnes spoke English, and when he did, it was with a sweet, Brooklyn drawlthat could get a man hard with a few well-chosen words, but he didn’t seem towant to.

“” Clint added, like this meant anything to Tony.

Tony shook his head. He could watch this allday; the soft, easy way Barnes moved without stirring the air around him,Clint’s graceful, sure fingers, listening to the lilt of French on both sets oflips. They looked so damn good together. After a while, Tony felt he waswatching something private, like he was an intruder. He faded back into thehall and hit the button for the elevator.

“Penthouse, Friday.”

Playing chess with Steve was hilarious underideal conditions. The walking American Flag treated each game like a battle(and also like the pawns were actual people who’d be hurt and leave widowsbehind, which Bucky was not above taking advantage of) and concentrated with adeep furrow in his brow.

It was even better when Bucky was taunting himin German.

“” Bucky rumbled as Steve picked up his knight and promptly forkedBucky’s bishop and rook in the same move. It was a fucking good move, but Buckywasn’t about to admit it.

“Nice try, Fritz,” Steve said, not botheringwith German, even though he spoke it fluently. “You gonna move or what?”

Tony, who was watching the game, brightenedsuddenly. He gave Bucky a very deliberate look, then said in fucking Romanian-- that certainly wasn’t on the dossier! -- “”

Bucky blinked. God damn, he was fucking blind.  

“Hey, no hinting, Tony,” Steve said, throwing apillow off the couch at the chair where Tony was sitting. The pillow took Tonyin head with a dull whump and knocked his blue sunglasses right off his face.

“That’s not what I said,” Tony said, reachingfor his glasses at the same time Bucky recovered them. Their fingertips brushedlightly as Bucky dropped the shades in his palm. It was like getting anelectric jolt as their skin touched.

Bucky drew his hand back, almost reluctantly.

“So what did you say?”

Bucky made the move that Tony suggested, thenglanced at Tony over Steve’s shoulder. “” Bucky answered in German.

Steve swore, colored a deep, brilliant pink, andchoked on air. Tony only looked puzzled, which was good.

“Stark!”

“What? I admit everything, I regret nothing,”Tony responded, spreading his hands.

It wasn’t hard to get Steve into checkmate afterthat. Three moves, just as Tony predicted.

The Winter Soldier was… not good for delicateoperations. Tony knew that. Captain America knew it (although Steve made verysure that everyone knew exactly how disappointed Cap was with people for theirjudging-books-by-their-covers attitudes.) But that was okay, because Tonydidn’t really want Barnes along for this one.

After the huge travel ban, too many foreignnationals had ended up stuck in airports, families separated. And then therewas the bombing; too many people afraid and no one thinking straight. Theentire customs area of the airport had been hit, the injuries were horrific.Tony brought the Avengers out in force, for the face-time. To visit the injuredkids in the hospital, to start the repairs, to generally scowl disapprovinglyat presidential politics.

The usual. Barnes was good at scowling. Tony puthim on talk-to-Fox-news duty, while Tony went to the hospital to visit, chat,make people happy, pay their hospital bills.

And it was good that Barnes wasn’t there,because there were four families there who didn’t speak English, and findingout that Tony spoke Russian and German (and Italian and Chinese, too, butBarnes hadn’t used those yet) was probably going to cost him a lot of fun. Alittle heartbreak, but mostly fun. He still hadn’t figured out if Barnes wasserious, or just being an asshole. Could be both. Steve was often an asshole,and they were best friends, so, anything was possible.

No sense showing his hand, though, if Tony andBarnes were still bluffing each other in lingo-poker.

So Tony went, hobnobbed, signed photos, did theschtick. He was good at it, and a lot of times, even enjoyed it. Talking toreal people was a lot better than talking to socialites at high end parties. Itwas one of the better parts about being an Avenger, and he’d come to expect it.

What he didn’t expect -- although in hindsight,he probably should have -- was that someone was filming him. Cell phone cameraswere popular, everyone was doing it for the Vine (or whatever had replacedVine, because that was so 2016) and posting to their liveblogs.

Which meant when Tony got back to the Tower,Barnes was scowling. At him.

“What? Do I have something on my face?”

“You speak Russian,” Barnes said, glaring. Hischeeks were flushed red, but Tony couldn’t tell if he was embarrassed or angry.

“Aaaand, you speak English,” Tony pointed out,backing up a little and finding himself suddenly up against a wall, which…well, okay, so it was hot, and he might have liked the way Barnes’s body wasnudging up against his, but at the same time, he wasn’t entirely certain thathe wasn’t about to get strangled. So, little bit nerve-wracking.

“You knew what I was saying.”

“” Tony said, in German,because he might as well be hanged for a chicken as an egg.

“You didn’t say anything,” Barnes said. “Whynot?”

“Kinda waiting for you to say it to me.”

Bucky licked his lips, leaned in, and verysoftly whispered, “Wo xiang zho ai.”

Oh. Well, in that case.

Tony tilted his head just before Barnes’s mouthcame down on his. Nice what a polyglot could do with their lips.

Note: wo xiang zho ai - chinese for “wanna havesex?”

as always, @tisfan and check me out on A03

[carlotahollins0-blog]

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[aniprigreenwich]

Scherenschnitte is the art of paper cutting with precise scissor cuts. Paper cutting is a craft traditionally practiced in various cultures around the globe, beginning in China with the invention of paper. It became a popular folk art in Switzerland and Germany. Reiniger was skilled at paper cutting and especially at making silhouettes (which had fallen in and out of vogue in Europe).

- Grace, Whitney. Lotte Reiniger: Pioneer of Film Animation (Kindle Locations 157-159). McFarland & Company, Inc., Publishers. Kindle Edition. 

---As folk art it was not considered high art, and it was connected to fairy stories, hence Reiniger using them in her early work. It’s domestic and like a fable; my chicken story could sort of be a fable in the vein of the Brothers Grimm

Reiniger described the humorous attempts Wegener and his crew made to use live rats on set in her book Shadow Theaters and Shadow Films: It was Wegener’s idea to have the movement of the rats done with wooden rats, using “stop-motion.” ... The producing company thought quite rightly that this would take up an enormous amount of time and labour and so it was decided to do the scene with real rats. A quaint little medieval street was chosen and all of the members of the unit (including me) were given a basketful of rats and were hidden in the cellars of the street. Early in the morning the street was cleared of traffic and Wegener in his Pied Piper costume passed along it, piping enticingly. Then a revolver shot was fired … whereupon we all opened our baskets and let the rats escape through the cellar windows. And escape they did! None of them thought of following the Pied Piper. They whisked across the road and vanished in an instant…. In spite of the fact that the Pied Piper, so far from freeing the town of Hamelin from a plague of rats, had infected the town … with another…. Now we took guinea pigs instead. These poor guinea pigs were painted grey and were adorned with long tails, and again each of us took a basketful into his cellar. The same scene was repeated…. But unlike the rats, the guinea pigs did not escape. They, unaware of the script, sat cheerfully down in the middle of the street, played with each other, lost their tails, and amused themselves as best they could. But none followed the Pied Piped. So it had to be wooden rats and stop-motion [1970a, 82–83]."

-Grace, Whitney. Lotte Reiniger: Pioneer of Film Animation (Kindle Location 258). McFarland & Company, Inc., Publishers. Kindle Edition. 

---Hence animals being much more popular for animation than for live action (well, one of the reasons). Though funnily enough in Labyrinth Jim Henson mixes a real chicken in with his puppets (which is not animation either, but connected thematically).

Scherenschnitte had been in practice in Europe for centuries, but the history of paper cutting is rooted in China and the invention of paper in the second century. While paper served an obvious practical use, it soon transformed into art mastered by royalty and peasants. The paper cutouts were made for adornment and were also used to depict stories, a practice continued by other cultures as the craft traveled across the world.

- Grace, Whitney. Lotte Reiniger: Pioneer of Film Animation (Kindle Locations 312-313). McFarland & Company, Inc., Publishers. Kindle Edition. 

---Like in Kubo and the Two Strings. An international art that’s usually used to tell stories that can work in any country

The silhouette is named after the French Minister of Finance Étienne de Silhouette, who served during Louis XV’s reign. [...] His name was pulled into the French vernacular to be associated with any items or services done cheaply. It became associated with portraiture due to the fact that a solid black form on white paper cost much less to produce than a painted miniature portrait.

- Grace, Whitney. Lotte Reiniger: Pioneer of Film Animation (Kindle Location 326). McFarland & Company, Inc., Publishers. Kindle Edition. 

----So it was always considered cheap and low class and it’s true that the materials aren’t that expensive even today

“...The benefit [of silhouette animation] is that you can work all by yourself, you don’t have to divide this work to so many people who do the drawings. And so you can really work like an artist paints his pictures. That’s what I like about this style. That makes it easier.”—Lotte Reiniger, 1981

- Grace, Whitney. Lotte Reiniger: Pioneer of Film Animation (Kindle Locations 370-372). McFarland & Company, Inc., Publishers. Kindle Edition. 

---That makes it a much more auteur-driven art form than most animation. It’s more like a work of art where you can traditionally say “this was painted by so-and-so” (although with some modern art an some Renaissance art multiple people are actually involved)

When critics pegged Snow White and the Seven Dwarfs as too intense for children, Walt Disney said, “But I didn’t make the picture for children. I made it for adults—for the child that exists in all adults�� (Barrier, 2007, 131).

-Grace, Whitney. Lotte Reiniger: Pioneer of Film Animation (Kindle Locations 575-577). McFarland & Company, Inc., Publishers. Kindle Edition. 

---My story is intended more for adults too. Even though it’s about domestic animals it’s not intended for CBeebies

While modern technology has simplified stop-motion (or made it more complicated based on the amount of visual effects and high details of the puppets used), the same steps are still used by stop-motion animators.

-Grace, Whitney. Lotte Reiniger: Pioneer of Film Animation (Kindle Locations 744-745). McFarland & Company, Inc., Publishers. Kindle Edition.

--- This is why Reiniger’s own descriptions of how she made her work are still relevant today - the changes are minimal and her innovations are still in use

Reiniger made more than one size for different camera shots. “Close-ups are faked, i.e., the distance between the camera and the trick table remains the constant, but a larger figure is substituted and the setting modified accordingly” (White, 1931, 17).

Grace, Whitney. Lotte Reiniger: Pioneer of Film Animation (Kindle Locations 771-773). McFarland & Company, Inc., Publishers. Kindle Edition.

---Maybe use a close-up like this in my animation? To show a thought process, the attack, or just for a cut-away?

Reiniger stressed the importance of researching animal bodies and movement in order to replicate them with silhouette puppets.

Grace, Whitney. Lotte Reiniger: Pioneer of Film Animation (Kindle Locations 784-785). McFarland & Company, Inc., Publishers. Kindle Edition.

---Agreed. One of the reasons I’m working with chickens is that I have pet chickens and volunteer at a farm so can view them a lot in real life. I’m also going to look up chicken documentaries etc to see the full range of ways they can move

They [the puppets] are masters of this surface, and there is no limit to their delicate mobility”

Grace, Whitney. Lotte Reiniger: Pioneer of Film Animation (Kindle Locations 791-792). McFarland & Company, Inc., Publishers. Kindle Edition.

---Like with my chickens digging the hole and actually controlling their own environment - then the fox disappears out of it

The lighting of silhouette films comes exclusively from beneath the table which the sets or figures are manipulated beneath the camera; the silhouette film registers its pictures in terms of various shades from black to white. The lighting of coloured cut-out films comes both from behind and in front;

Grace, Whitney. Lotte Reiniger: Pioneer of Film Animation (Kindle Locations 892-894). McFarland & Company, Inc., Publishers. Kindle Edition.

---I don’t have a lightbox, but I think my work still counts as silhouette film

Lotte didn’t move things on the Z axis, toward or away from the viewer

Grace, Whitney. Lotte Reiniger: Pioneer of Film Animation (Kindle Locations 926-927). McFarland & Company, Inc., Publishers. Kindle Edition.

---I don’t think I will either, at least not for this film