#I really worked hard on the story so I added a little sketch so it flops less hahaha

[icewindandboringhorror]

I'm so heavily anti-advertising that all pitches sound goofy silly to me/I can never take them seriously, so I have no idea how I'll manage to to advertise my game even if I do finally finish it soon-ish lol...

[kiose]

They take Stellarons. That’s usually how it works for them. They are hunters, used to tracking, taking and running away, but for once, they are tasked with giving away a Stellaron. Easier said than done when they are also tasked with building and raising a vessel to hold it too. Or Slightly domestic Kafwolf with Stelle.

If you were suddenly craving Domestic KafWolf, look no further, today I gotcha covered!

[oobbbear]

This rant has 1 target audience and it’s me sorry I like to talk about my unfinished/abandoned stories like they’re successful tv shows and I’m the director getting interviewed about the little details of said show

I love afterland postal so so so much you don’t know how hard it was for me to cut it, but it got to the point that it’s effecting my mental health so I had to stop it. His story in the afterlife is a healing journey, so for that healing journey to be effective I have to make the downfall in his past life hurt, like, HURT hurt, and I went a bit too far that and focused on it a bit too much that I was not working on the healing part anymore. Everyday I regret the making of water angel cause it ended being my fav instead of the protagonists and it being the physical manifestation of death made me focus on the downfall of the story too much, until it literally just crumbled to the ground. If I pick back up Dolus’s story one day I will cut out water angel entirely and maybe most part of his past life, focusing mainly on the afterlife part and how he recovers/deal with his past traumas and rid of bad habits. I want to draw this gremlin again so so bad.

Afterland Postal is a story about learning to love life through death. I like to draw Dolus with CT moon and Callisto sitting together because all three of their stories are about “learning to love life again through the death”. In Dolus’s case is his literal death. For CT moon is him fantasizing death. And for Callisto is through the death of her old life.

After the “death” all three of learned to love themselves again by traveling. They see the world in different perspectives, goes out of their bubbles and get a taste of the wild possibilities of what life has to offer.

For Dolus, I specifically placed him in this post office that delivers mails to the living plane so he can run around experiencing the world but doesn’t have to deal with life? One of his big thing is that he enjoys simply existing, he likes observing the world, feel his surroundings, I had an entire chapter that’s describing how he sees the world through his 5 senses. The feelings are the only thing he enjoyed about life, now he’s a ghost life doesn’t have effect on him anymore, he can really slow down sit down and look at the world he didn’t have the time to look at before, see what he missed and what he may have never be able to see.

For CT moon is basically all described in that If my world goes Bang comic.

Callisto is a different case cause she doesn’t die, strongest fucking character in my stories she survived and very passionate about living. In the original plan after her finding Hester and having Hester’s soul freed, she’s gonna go and travel the world. She has been living in this little house in the middle of nowhere for good half of her life, having her burned down her past and moving on to a new one is good for her. I had a lot a lot of sketches that is just her traveling, I used this as a chance to expand on this weird magical world she lives in, so many cool places and concept. (Also she started dating people again wohoo) I really wish I didn’t burn myself out after that animatic this story would have been so fun to work on.

SPEAKING OF TRAVELING AS A HEALING MECHANISM☝️I m gonna go on a mad Orange Knife spoiler rant since I don’t think there’s a single soul still reading this thing. In Moondust & Natto plot, Moondust really really wanted to see the world with Natto, she loved the world she loved life, in her eyes the outside world is a struggle but one she would fight for because the sunset is beautiful and the grass is soft and for that the hardship is worth it, she loved the world so so much and she wanted to have Natto experience it too. Freedom was a large part of her soul and being add to OK’s collection permanently took that away. She never got to see it again not even the part of her that got added to worm made it out, her soul is killed long ago and body died with the fire that led to Worm and the remaining crew’s freedom, which honestly I think she would be happy knowing that her death freed Natto in the end. She would be mad knowing the person who killed her is freed too but she would understand if she knows Worm’s situation better. After Natto is free I’d like to think he carries a piece of Moondust with him so in his heart he completed their dream, and they can finally experience the world together.

It’s 2am and nothing is making sense sent post to tumblr.com go

[beffalumps]

hi there! recent art school grad here and i was wondering if u have any tips on learning color + approaching backgrounds? even though i learned a lot, i still find myself struggling with these focuses, especially colors as i never had a class that really taught me that. thanks so much 💗 your work is so lovely

First off, congrats on graduating!! Backgrounds and colors have always been the hardest for me lol tbh I still struggle a lot with colors especially, so please take everything I say with a grain of salt!

Using adjustment layers helps me a lot (especially color balance to make things more unified or complementary).

Another thing that I think has REALLY helped me with color overall is actually switching between color and grayscale.

In photoshop I set up a custom proof profile and then am able to switch back and forth by using the hotkey Ctrl + Y. This helps me check my values which, I've found if you have solid values, colors tend to work so much better even if you don't know much about what you're doing lol. Another way to do this is making a solid black layer on top of all your color layers and setting the blending mode to "Color". Then you can toggle that on and off to look at the values.

One last thing I've played with re: colors is finding a reference that has the colors I like and "crystalizing" it and color picking a palette from that.

This can be super helpful if you're having a hard time visualizing or coming up with a color palette!

As for backgrounds, they became a lot easier for me when I started looking at them like their own character. Thinking about the story I'm trying to tell, adding little details that I think would add to that or be fun and fun ways for the character to interact with it.

That and doing value sketches/just a bunch of really quick and sloppy experiments. 9 times out of 10, they don't work out, but sometimes they spark something that turns into something fun and workable!

This has gotten really long for someone that really just bs's their way through every piece, but I will say one thing that was a big game changer for me (in my personal opinion, who knows if other people think so lmao) and it's just incorporating aerial perspective. Making things a bit more blue tinted (or whatever the sky color is) and lighter as they recede into the background. Has made a huge difference for me when it comes to creating depth!

I really don't know if any of this is helpful because to be 100% honest, most of my illustrations are just product of trial and error lol. But practicing and making a lot of really bad scribbles have (I think) helped me the most, so yeah my biggest advice with anything is just look at lots of art, just draw and don't worry if it looks bad because tbh, it probably will at first. But you'll get better!

@tamberella Has a ton of amazing free resources and brushes, so if you haven't checked out their stuff, definitely do so!

@iniro also has some really nice tutorials on color (and other topics) available so I'd also recommend looking at those too!

But yeah, sorry for going on about my hair-brained process, I hope at least some of this was helpful!

[vcaart]

What's your favorite thing that you've drawn right now? :DDDD

This is actually a super hard one for me! There's a lot of my art that I look back on and think "Well that isn't right" or "That's confusing to look at"

I really do strive to do my best in my art! Seeing as it's something I take pride in, and use any past mistakes I made as a learning experience moving forward! Such as watching out for tangents, knowing when to stop adding to a drawing, how to make a drawing look balanced, how I can make sure the values are clear and concise; Stuff like that!

That being said, there are some drawings I *do* still take pride in! Flaws and all!

I have a few favorites! So I'll show them below and list why for funsies lol!

"One last lie, one last witness."

This one was an absolute DOOZY to make and I'm very fond of it because this was actually me drawing in black and white for the most part! I did I lot of the color blocking and basic shading in black and white with a mixed up color palette, and it was super fun! Not to mention, this drawing really helped me figure out how I like to render, and I often draw in black and white still to this day to check for values!

Im also in love with the style I drew this in and the perspective, even if that wasn't the main focus :3

"(I don't actually have a name for this one I drew it for my fanfictionnn shhhhh)"

(Guys you'd never guess my favorite colors-)

This one you may be thinking looks like a similar case to the top one! But you'd actually be wrong! This one was actually me practicing mood lighting! Kokichi is my muse, if you couldn't tell lol. BUT regarding the mood lighting, I realized before drawing this I never actually practiced shading and lighting to create a specific mood, and while the colors probably don't fit the mood at all i think the shading does a pretty good job of it! Not to mention, this drawing actually solidified my rendering style! I found I actually working best painting over a rough sketch, and thanks to my previously mentioned drawing it was a lot easier for me to block out shadows! My "In the arms of a fallen angel" Kokichi drawing was a similar idea to this one, and is definitely lore refined than this one and executes mood lighting MUCH better. But I learned from THIS drawing to make that one look so good, so I like this one a lot lol.

I also just like the way this one looks, hehe... I think I drew Kokichi really well.

"The Impetus"

This was one of my FIRST times designing a character with a story to tell with its design! And boy, it was r o u g h. I used to communicate a lot of character traits through colors, instead of through design, which actually caused A LOT of issues with me making interesting character designs. So being forced to not only work in black and white, but design a character whose appearance is a direct outcome of the story and choices of the player was a challenge for me! This drawing may be far from perfect, but I learned a lot from it and that's why I'm so fond of it!

"THE ENTIRE MY LITTLE HARMONY LINEUP"

You know how I said I learned a lot about character design from the last one? Yeah, well now TAKE THAT UP A NOTCH

You may be like "But you're creating characters based off already made designs! It can't be that hard-" WRONG! It has been such a challenge designing these guys and putting my brain muscles to work because it's one thing to design a single original character, but designing pony versions of characters I love? THATS A WHOLE OTHER CHALLENGE

Between learning how to draw ponies, which mind you I haven't really EVER drawn before now, but also trying to capture the character INTO A LITERAL P O N Y was a harder challenge than I ever expected. Even as I'm working on it now, I'm looking back on design I made not that long ago and thinking about what I could've done better! Wild Card, for instance, looks to purple and lacks that iconic white and black feeling that suits Kokichi to a T! Avocado Toast may be aesthetically pleasing, but he lacks the same charm Rantaro has! Hazy Light is a pain in my butt and I can't figure out what is wrong with his design, but it doesn't feel like *Shuichi* yet, and eventually I'll figure it out!

This series has not only expanded my character designing abilities, but also helped me get a better feel for the characters I've loved for so many years! Which in turn helps me with designing original characters, believe it or not!

Now I could go on and on with other pieces I've learned from, but I think these are some of the major pieces that helped me improve my art the most! Hence becoming my favorites, hehe. I understand this was probably a bit overkill for this ask, but I just think art is neat in the way that art doesn't have to be GOOD to be a FAVORITE. A piece that looks good is nothing compared to a piece you LEARNED something from, and a piece you put THOUGHT and EFFORT into even if it was tough! That's so much more admirable than a piece that just looks pleasing to the eye.

Thank you for sending the ask anon! I hope you have a lovely day <3

[oblivious-troll]

Heheheheheh if I may relentlessly beg for a director's cut of ⭐Twisted Love⭐ plsplspls

I'm not sure if I've hallucinated the bit where Jason stalks Salim in the library, but are there any parts you had to edit out? What are you looking forward to writing (spoil as much or as little as you want, no pressure). Also freebie to gush about anything else!

I actually did write a long ass chapter with Jason stalking Salim from morning to bed, which did include a section of Jason being a creep at Salim's job, following him around the library and watching/listening to him through shelves... but my computer crashed and deleted a majority of the work so I never ended up posting more than a little sketch

The reason I haven't been posting any updates recently is actually because I've been rewriting the earlier chapters and adding things that I'll eventually post probably as a second fic so things don't get confusing

There's a lot of creepy Jason things I edited out of pretty much every chapter because I didn't want him to be overwhelming 👀. A lot of scenes with Jason continuously entering Salim's home, more of what he did to him/his room unconscious. I also got rid of a lot of heavy Salim/Dar moments because I wasn't convinced people really cared to read the Dalim stuff lol

Bonus stuff and Spoilers below :)

In my original story idea Salim and Dar get abducted, but so did Zain alongside them. I wanted to have Salim be constantly tortured by the idea that Jason could do something to Zain and he'd be helpless to stop him and may have to watch like he had to with Dar. Zain would have been kept separated in the laundry room and held there, only let out as a reward for good behaviour from Salim and for only a short while.

Eventually Zain was saved from Jason for multiple reasons; I didn't want Jason hurting a kid/don't think Salim would develop feelings for Jason if he did, plus I think with Zain there, Salim would have something outside of Jason that would keep him sane; I wanted to isolate Salim; I wanted someone with a strong connection to Salim to fight for him being found, and I think police and media would develop a very soft spot for Zain more so than Clarice; and I didn't want to traumatize Zain too bad, got to leave that for his baba :]

As for what I'm looking forward to writing, I'm most excited to really work on Salim's mentality. I really want to have him go from a man who knows life is hard but loves to live it, someone who loves people and the world and knows he's a good dad... and I want to make him into a man who is afraid of the world, the only one who wants to protect him, the only one who loves him is Jason. Was he really a good dad? Maybe Zain is safer in another family's hands, can provide more for him. He's safe with Jason and no one else.

I'm excited to write Salim falling in love with Jason, starting from craving the comforting touches, to enjoying their talks, to liking the sex, and then realizing one day how much Jason really loves him and that it is so selfish of him to not have loved him back until now.

All the while his consciousness gradually forgets about Dar, rewriting him as the villain, believing all Jason's lies. He erases his murder entirely from his mind, it's both easier to forget and fits better into his carefully crafted reality.

I'm also excited to write the ending too, where Salim's saved but is he really? He's in therapy, Jason's in jail. Everyone is saying Jason's a bad guy and Salim's been rescued, but all Salim can see is that the love of his life has been taken from him, that everyone looks at him like he's fragile, that he's forced back out there into an unsafe and scary world.

The worst part is the people who 'saved' him won't even let him have his son back. He's too unwell they say, he needs more therapy, needs more time in the mental ward until he can really remember what's happened to him and move on. He's a danger to himself, unhealthy, scared of everything and everyone.

At least they let Zain visit, an hour a day, not on weekends. His foster home always takes him after school. Salim cries every time he lays eyes on his son and every time he has to say goodbye. He won't stop saying 'I love you's and hugging him tight like he's afraid to go another many years without seeing him again.

Because I'm not evil, I probably wouldn't end the story there, I would add an additional chapter or two where Salim does eventually get out of the psych ward... or maybe I will be evil and write that he relapses when Jason's released years later >:) who knows lol

[nerdierholler]

It's done! Attempt number two at book making is complete! It's still just Ethan's Wayhaven Book 1 run. I did a big overhaul of the typeset compared to the first one, which I was trying to make small to minimize the page count. This came out about 130 pages longer and the text seems to breathe much better now. I also added a couple of basic graphics, a moon in the chapter headings and little moons as section headings. I used variegated red embroidery thread for sewing the signatures for just a pop of ominous color between the pages. It is a game about vampires after all.

Working with paper instead of cloth for the cover was a mixed bag. It looks gorgeous in a way I couldn't do with cloth but it was harder to get just right and I'm not sure it will hold up the best long term. But as a second attempt, that's ok. I tried new things and learned new things this one which was the goal and overall I think it's a more attractive finished product, or at least more visually interesting.

The breakdown on mistakes is under the cut. It's mostly for my benefit so I can remember later but please learn from my learning if you would like!

First off here's a comparison of my first and second attempts.

The paper I used for the first wasn't exactly 8.5x11 as noted before and I think it was even narrower than I realized before I tried to trim the pages. It is a significantly shorter book! Also the typeset differences. I'm really happy with how the new one came out.

Mistakes and improvement for the future.

Paper, Paper, Paper - I didn't even attempt to use interesting paper for this, just regular printer paper. Not needing to worry about trimming was so nice. I bought 9x12 sketch paper thinking it would fit in my printer, it did not, and I wasn't going to trim every single page to size so I have that now in my crafting pile. Maybe I'll make some blank journals with it. I do like the slightly off white color and heavier weight of the paper I used the first time and if I put in a fancy paper order I'll take that into consideration.

Paper: Part 2 - I want the scrapbook paper I have to be heavier and the cardstock to be lighter. Once I put glue on the paper it was so hard to work with because it wanted to wrinkle but also felt like it might tear if I tried to smooth it too much or reposition it. I ended up backing the piece on the front cover with a piece of printer paper and that seemed to help.

Mull - I've been using cheesecloth. I didn't starch it last time so I tried that this time but also saw something about putting glue over the whole piece of mull first then attaching it instead of holding it over the spine and dabbing/brushing glue on top. Bad choice. The mull is a mess and it isn't flat on spine, it was weird and stiff and there's slight gaps in between signatures as a result. I couldn't rip it off though so it is what it is. Won't be doing that again in the future though. Minus the mull issue I was really happy with the textblock though.

Endpapers - Again fighting the thinner craft paper. I should have sewn these on but I didn't. However I couldn't add them later because of the mull issue once I realized that so they are fully glued to the first page for added strength instead of being tipped on. Making them then and sewing them on takes more time but might be the better route to go in the future.

Gluing - I feeling like have terrible gluing technique. Things feel too wet but then if I use less or add some water for easier brushing on it doesn't stick as well. I think this is just a practice thing but considering how much gluing there is, it is a little frustrating.

Labels - Tried that for the first time with paper. Not sure how I feel about it . I think it looks alright but mostly it was about the paper quality and durability. Story of this build.

The Casing In - It was not great.

The back is alright but I really messed up the front cover. I think I pushed it too far back into the hinge so the cover doesn't quite close all of the way and is why there's such a large fore edge wrap space. I also think I made my spine piece slightly too narrow so that didn't help either. Ah well. Warping could also be from needing to glue the extra backing paper to the cover paper first and it's just too much glue pull in one area with nothing to balance it.

She's done though and once again I'm carrying over lots good knowledge for the next one. If I saw it sitting on someone else's shelf and they told me they made it I would be super impressed so I should give myself that credit as well.

[kukichart]

🖤 INNER DEMON LILIM 🖤

the last couple of months I had a huuge burned out period when I started hating everything I draw, do or was planning to make both at work and within personal projects 🙈

(long story short neither trips abroad, nor couple of weeks vacation could't help to make it better 🙄)

it was really hard to make myself draw or sketch at least smth to stay consistent, so at some point I decided that I'll just sit there and draw whatever will come out of the stylus the way I was feeling it at the moment

soo, that's the moment where this creepy lady appeared lol 😅 first wasn't planning on even finishing her or posting, but later as things gor better, I decided to polish her a little and even have some cool ideas on adding her onto the dnd comics that I'm now making 🤭😻

(to sum it all up (as if anyone cares lol) - I'm feeling way better now and even back on track with the new arts and nice ideas 💪🏻🔥

don't be like me and don't forget to have some rest and time off if needed ❤️)

[annebaby]

small Coryo story! i’m rlly bored and im a new writer so pls be patient with me! 🎀

Snow Lands on Top

warnings: superrr soft, kissing, romantic!!!! that’s all i think,,, pls lmk!

Coriolanus Snow. The name that had become so feared all throughout Panem. The icy blonde hair and stabbing blue eyes were a symbol of hate, destruction, and pure evil. Rumor has it that he killed his one true love, Lucy Gray, to keep her from telling secrets about him. Surely it wasn’t true, besides it was only a rumor.

You chose to not believe in the rumors and to not fall into the trap of fear he uses to gain more and more power. He was your new partner after all. A new intern game maker, here to slowly climb his way up into succession. You, however, were not born into the capitol life. Hard work and our determination had got you were you are today.

As a child growing up in district 3, you should be terrified of Snow. Instead, something about him intrigued you. You found his sense of power and control quite attractive, honestly.

So now, you’re looking at the man feared so deeply, awaiting to hear his next suggestion on the terrain of next year’s arena. It’s so difficult not to focus on the way his fingers sketch, the way he bites his lip while focusing, oh you could go on and on. Was this man really that bad?

“Seeing something you like, Y/N?” He asks. His eyes move up to you, initiating goosebumps through your entire body.

“Uh, yeah,” you speak nervously. “I really like how you added the river there, but let’s extend it more South.” As you reach over to show where you want the river to end, you accidentally brush his hand and immediately pull back, mentally cursing yourself.

You pretend as though it didn’t happen, and look to him for his opinion on your suggestion. He draws the river down further South, before smiling down at the map.

“I like the way you think, Y/N.”

You blushed so intensely that you were sure he noticed. You whispered a small ‘thanks’ before analyzing the map even more, trying not to get distracted by the smallest of things to do with Coriolanus Snow.

An hour passes by as something outside catches your eye. It’s snowing outside. You quickly walk to the open window on the floor you’re on, and peer outside like a little kid. Snow was coming down hard, and it quickly started to cover the ground below.

“Coriolanus, it’s snowing! Come look!” You gesture for him to come over, which he reluctantly agrees to. You both watch the snow falling down before Coriolanus speaks up.

“I’ve always loved snow. Makes me think of my family,” he says, quietly. You look up at him before returning to the table and grabbing your coat. You grab his deep red jacket as well, and return to hand it to him.

Discarding all fear and hesitancy, you hand him the jacket as he stares at you, confused.

“Let’s go outside, you know you want to!” You smile up at him before donning your coat and slowly walking towards the elevators of the building.

“Come on! We deserve a break, and you said it yourself - you love snow!”

He shakes his head, smiling before joining you on the elevator ride down. Little do you know, these small moments of child-like activities make him dizzy over you.

He too had felt a connection with you, one that was comforting and non-demanding. He loved the way your auburn hair would fall in your eyes and he loved watching you follow his movements regarding the map. Every now and then he’d think about speaking with you about these feelings, but he would never get himself to do so. He’s a Snow, after all.

The elevator dinged as you both reached the base floor. Hurrying past the guard, you were in a rush to open the doors and feel the cold air hit your face.

The snow was plummeting down with more snowflakes you could’ve ever imagined. The ground was already fully covered in snow, and it was the sticky kind.

Coriolanus joined you outside, mainly just watching you play and catch the snow. He noticed all the beautiful parts about you. He admired the snowflakes in your hair, your rosy cheeks in the cold, and your pearly white smile. You looked like a child, drowning in pure bliss.

As Coriolanus was too busy in a trance, you bent down and started to make a small snowball to pitch at him. You threw it, successfully hitting him in the chest. You were surprised that he didn’t get angry with you, instead he laughed and started to make an even larger snowball, and cast it at you.

The most feared man having a snowball fight with his partner in game making. Who would’ve thought? You played in the snow for 20 minutes or so before returning to the warmth of the laboratory.

The elevator ride seemed off. It was an awkward quiet with the two of you inside alone, but the quiet was surprisingly comforting as well. You tried your best to ignore the rosy cheeks of the man next to you, but he looked so delightful. You took his hand in yours, gently.

Little had you known, Coriolanus was just about to grab your hand as well. When you matched his action on time, he briskly turned you to face him. He looked down at you quickly, before gently leaning down and pressing his lips to yours. It was a quick kiss, nothing too dramatic. He hadn’t done anything like that since Lucy Gray. He pulled away shortly, then hearing the elevator ding.

You stared up at him, surprised of what he had done. Smiling, you pressed the ‘close door’ button on the elevator, and continued to kiss him even sweeter.

[thoughtportal]

Not a whole lot is known about the backstory of this PSA, which was made in the early 1990s as part of the We Care About New York campaign started by Mayor Ed Koch a decade earlier. When we asked the Sanitation Department about it, a spokesperson said that the officials who would have been responsible for it have passed away. “We have never really been clear on the specifics there—who approached whom, who paid, etc,” DSNY’s Joshua Goodman told us.

Goodman suggested we speak to the PSA’s cinematographer, Frederick Elmes. Elmes regularly collaborated with Lynch—they made “Eraserhead” and “Blue Velvet” together, among other films, as well as a string of commercials.

We reached out to Elmes to learn more about how Lynch’s We Care About New York ad, and he was kind enough to speak with us.

This interview has been lightly edited and condensed for clarity.

Hell Gate: Tell me about how this PSA got made.

Frederick Elmes: David Lynch and I went to film school together. We went to the American Film Institute, and we made the film “Eraserhead” together, and I worked with him on several other features. In the midst of all this, I started shooting television commercials. And David kind of had an interest in making short films, like, you know, television commercials, but there really wasn’t anybody that was too tuned in to what he was doing. We did work together on one French perfume commercial in the early days. I would say that this job for the New York City Sanitation Department was just completely the opposite. 

So where the French commercial was this kind of romantic, very dreamy, beautiful woman in a beautiful house in Paris, with sort of gorgeous color, this spot with the rats is very gritty New York, black and white, with food spilling in the streets. But that’s what they wanted to see. It was supposed to be a rough-edged look at people throwing trash just anywhere and trying to help break that habit, because what it leads to is the rat population.

Did you interface at all with the Sanitation Department? Did they know what they were getting?

No, I’m sure they had no idea what they were getting. I’m certain they had no idea. I mean, there was no such thing as making a storyboard about it. David may have made a couple of little sketches about trash in the street and rats crawling around in the gutter and in the subway system and so on. But I don’t think they had any sense of the mood of it, or the music—the music kind of swells and gets kind of gruesome there at the end. 

In fact, it’s hard to know just what part the Sanitation Department had in it. I mean, it’s a PSA, so the job goes out to an advertising agency who comes up with a concept and tries to put together a package—”Yes, this director and here’s the story we’d like to tell,” and then they get some input from the director. I don’t know that I ever remember seeing a script. I just remember David listing off a bunch of shots that we had to do in various neighborhoods in the city. 

Did David come up with the specific images of people across the city—like the mom kneeling down and giving her daughter a popsicle and then carelessly tossing the wrapper?

Yeah. The agency liked seeing that sort of thing because, yes, it’s trash in the streets. I don’t believe they ever had a sense of the edge that David Lynch would put on it.

Filming the rats—how did you do that? You must have had to get really close to them.

Really, really close. Yes. We used special close-up lenses to let us get in there. And it couldn’t just be in a studio, it had to be in a gritty situation. We weren’t going to build that, we just went and found it. I don’t remember where we shot, but it could have been in part of the subway system where there’s decay, and there’s a sense of filth and a little bit of water. You know, a place you wouldn’t ever want to go.

Did you have to wait for a rat to emerge to start filming them?

No, we didn’t. We brought rats. We actually had some control over the rats. There was an official rat handler that helped us with controlling things, and it was all quite humane.

Did David tell you specifically, “Get in really close on those rat teeth?”

Yeah, oh, absolutely. I don’t know that that was ever in his description to anyone else. [Laughs]. But he and I had a plan to get super close and not miss any detail there.

What was y’all’s relationship to New York City? 

I grew up on the East Coast, I knew the city pretty well. David had been to the city and was certainly familiar with it, but was living in Los Angeles. Actually, we were both living in Los Angeles at that time, so we had to come out to the city to scout these locations to make it happen. It was a pretty low-budget affair. It’s a PSA, not a real commercial, as it were.

What was it like seeing it on TV?

It was pretty shocking. It really did stir things up. It was so contrary to any other campaign that we’d heard of. I remember getting calls from people, some of the local New York crew that I knew would say, “Oh yeah, I saw it. Wow. It’s making waves.” [Laughs] It was shocking that this would actually go on television, it was so edgy.

Did you get any notes from the Sanitation Department?

No, I just remember the shock from friends and people who worked on it saying, “Oh my God, it’s on the air!” 

It is funny to think of a cereal ad with cheery upbeat music, and then right afterwards, you get rat teeth and all these really dissonant horns and that kind of wailing sound effect. 

It’s all stuff that David built. They are effects that David built. He was particularly good at putting together a moving soundtrack, something that connects emotionally with the images. So he had a bunch of tricks up his sleeve to build those tracks. He loved that sense of industrial city sounds, and he had a library of things, so he just drew from that. And we had a sound recorder with us so we could actually collect things on the fly as we were shooting.

What else do you remember about shooting this ad, or working with David Lynch back in that time?

It was a wonderful exploration, because it was an opportunity for us to make a short film together. David and I just loved doing that sort of thing, working on little shorts. 

And this one had a real sense of purpose—that we could take this idea that they want a PSA that’s going to promote this notion of getting rid of waste, and actually make a film that promotes that. For us, it was like a playground, a fun project to do and see it through the laboratory and get the sound right and all those things. And then realize that, yeah, they actually liked it enough to use it, you know? [Laughs]

There’s a lot of discussion now about how good David Lynch was at highlighting the surreal that exists within the mundane, and when you think about it, it’s kind of surreal that we New Yorkers just walk around in mounds of trash with rats crawling around us. This PSA really gets at that.

David was pretty good at catching that feeling, at creating images that make you feel a certain way. I don’t know what effect this PSA had, but that was a pretty rotten time in New York City. I used to shoot in the city a lot on films, and it was a time when the city was not in great shape. 

The trash was bad, but everything was bad. There were problems with finances and all those things. The infrastructure was falling apart. Maybe this played a little role in making people realize what was happening.

I do wish it had been a little more effective on the rat front.

I’ll tell you, it used to be worse than what it is now. 

Well thank you so much for speaking with me—I’m really sorry for your loss.

Yeah, it’s been a really rough, rough time. I had been in touch with him, and I knew he was sick, and the emphysema was getting worse. And I think the fires and all that just just made it even, rougher on him, because he lived in the Hollywood Hills there. 

I knew him for many, many years. We worked on a lot of projects together, and he was a wonderful, wonderful collaborator. He always listened. He was always curious what others working with him had to say, what their thoughts were. And he was willing to try to integrate and use other opinions in his work. 

His work was pretty transformative on all levels, whether it was about rats, or about a piece of music, or a song in a dramatic film. It was pretty transformative and original work that he did, completely unique. He wasn’t someone who was interested in pleasing the crowd. He was not interested in joining Hollywood and making Hollywood sorts of movies. He really had his own ideas, his own visions, and he stayed with it.

[taxkha]

Is there a genre/story you want to do for your future webcomic?

I think your use of color is fantastic! Do you often rough in colors before finishing your lines? Was peeking at the wip you posted, and was curious about your process(👀👀👀)

my planned comic story, if I ever end up working on it, is gonna be fantasy, horror, tragedy! These three are my main characters:

And Maheloas is currently getting a redesign because I want him to be more asymmetrical but jfc its hard. I'm capital S Struggling. And thank you so much! Hm my progress really depends on how serious I take the drawing I work on and how easy it is for me to draw in that moment! For example for that one og trilogy AA fanart I did recently I only did this very rough sketch here:

and then I went into the lineart already without doing a clean sketch. Or I guess in this case my clean sketch is the lineart lol.

So for this drawing I didnt do any color blocking at all!

I then colored everything in. I usually just pick whatever color feels right so during this step I usually dont even fix much at all unless its super off. And then I start adding effect layers. For this one the amount of layers I put on top is very limited as I wasn't trying to do any crazy mood setting so this is what I did:

I usually put a light beige color on top of my drawing and then try out various layer settings and copy and paste it and then I play around a little with gradient maps, this purple to orange one being my favourite. Then at the very end I add a paper like texture on top and put it on 50% soft light to get that grainy look. Since you asked about me doing the color blocking in my wip, I usually do that when I draw something that is more out of my comfort zone to establish the shapes or when my sketch is becoming too incomprehensible for me so I need something to tell things apart. I hope this was helpful and thank you for the interest in my progress! :]

[gamebunny-advance]

Doodle Dump

Been a while since I've posted a collection of bad sketches. Notes under the cut~

1-2) AC:OS Seals. So, I didn't want to give up on making those seals for you guys even though my enthusiasm for it kinda went away~ The melon soda seal feels like it's missing something, and I think the sea captain seal is giving too much Admiral Bobbery for its own good, so I might redo that one entirely. I don't hate them, but somehow they're not reading as very "Animal Crossing" to me. I think I need to get more creative about the facial features.

3) Pudding. Another attempt of designing Yuru's main mask. I think it's cute, but I'm still not sold on it. I like the colors at least, but I think I want the mask to have a big gaping mouth so he doesn't need to take it off to eat. I'm just having a hard time keeping it cute when the mouth is open.

I dunno if Pudding is gonna be their final name, but I guess it suits them.

4) Kun3h0 ver. 4(?). I'm sorry. I'm really sorry, but I just can't stop trying to redesign Kun3h0. Lately, I've been thinking that I'd like to try and make her a little less symmetrical for more visual interest. Originally the change was as simple as just adding the gauntlet to one arm (similar to be VERY early iterations of my "vtuber sona" with their one-paw glove), but then I started changing her more, and ended up with this. It's cute, but somehow I think it makes her theming even less apparent XP (her tummy lines were doing A LOT to sell the fact that she's a robot and not someone just dressed in sci-fi-ish gear).

I changed her eye color to green to draw in focus to her face (which is important for a V-Tuber design). Originally I thought I was achieving that by making the hair so much darker than everything else, thus drawing attention to the head, but I think changing the eye color to something unique helps even more with directing your eyes straight to the face.

I dunno. I like it aesthetically, but I feel like I'm losing the story here. In the last design, even though it was kinda generic, just having the clear indicator that she was inhuman did a lot to inform her character, but when I lose that, I lose the one real point of interest she had.

Then again, I've never truly had a good grasp on Kun3h0 as a character, so maybe that's what's wrong. Maybe if I sit down and actually write even a basic backstory for her, then I'd have some more direction besides, "girly robot Y2K inspired game character with a heart/bunny motif".

5-6) P2 Kliff (Banana Split/Original). So, I wanted to make a version of Kliff that fits more into my aesthetics. (Read: I wanted to make him pink). It isn't meant to be a replacement for him, just an alternate palette. In fact, I kinda liked this outfit enough to try it in his original colors too, and I think it works~

However, I dunno if I completely like the Banana Split colors

The outfit is based on this sketch from Kliff's original concept drawings.

I have NO idea what's going on in his chest area. They can't be the buttons on the top because he's wearing a turtleneck (unless it's a vest, and he's seriously wearing 3 layers in this fit). I don't think it's a lanyard because he already has a name tag on his shirt.

So I interpreted it as a necklace. I dunno, I've always felt like one of Kliff's understated traits is that he's clearly fashion conscious given how much he accessorizes and that he has the confidence to even run around in a coat that yellow, so I don't think it's out of the question that he'd wear more jewelry.

[paintedkinzy-88]

Hey so can you help me with what to draw. Like animals and such.

it’s hard to grow on tumblr so I need help.

I manly do animals and creatures.

thank you.

I may not be the BEST person to ask, given that I haven’t been following my own advice lately— BUT

Take whatever animal/creature you like drawing the most, and design your favorite characters AS that animal/creature. Make it as fantastical or as realistic as you want! Just some good ol fashion character design. Full reference sketches and some added doodles usually work best for me and help me get used to drawing them as such. Make a story out of it if you really wanna. I think fanart in some form is a good way to grow your profile faster, before moving on to OCs or original stories, IF that’s what you want to do!

I also firmly believe that what you draw doesn’t matter so much as long as you have the patience and try to draw often (yeah see this is where I’m falling behind lmfao). Fanart, original, or both — the people that like your style will come along! You don’t have to burn yourself out by trying to post every little thing or draw every single day, but maybe try out a schedule? Or just a goal? I find that Tumblr likes posting often, especially starting out, since it relies so much on reblogs.

These would be my suggestions mainly cuz it’s what worked for me in the past. I drew what I wanted, what I was good at, in fandoms I liked, and didn’t really expect anyone else to enjoy it all so much, but they did! And that’s an awesome feeling (ﾉ´ヮ´)ﾉ*:･ﾟ✧

(And tag me! I’ll reblog ya!)

[silverware-is-interesting]

I literally NEVER do asks but I have to,

As predictable (being his number one fan ever) I really want anyyyy tidbits about Sonny,,, I need to know more about the beloved, i need to know,,,

anyways, is it okay that I made a band au version of my recently made oc? An idea just sprung into my mind and I can't get over it. Already drew it n everything but I wanted to double double check.

Band au my beloved <3

so, there's not all too much i can really say if i ever do anything, since most of the things i've thought about are pretty plot-relevant. i can try to put a couple things

so, he still dies but he's not quite as, well, helpful. he kinda fell into a slump sine he worked so hard on everything with the band and, in his lifetime they weren't really all too popular. so he's been in some piece of tech, a computer still, and thinks things over.

oh, he's been almost erased from company history, not in like a gaster way though, more like the company blacks out any images of his face

i'll make him a little bio once i have enough n decide if i'll actually make a story of this or kinda just release little tidbits little-by-little. what i could tell you is the songs in the playlist i had added because of sonny's involvement in the story though

i have a few little sketches of his (concept) design so here, have a concept (not great quality screenshots)

they'll probably change but y'know. it's somethin' though

as for ocs, yeah. that's perfectly alright. band-ify your little guys if you want! basically the only guideline is that they can't have an instrument that someone else in the band has (though, a guitar or different type of drum are both alright) and kinda have a rock-esc aesthetic to them OH! and tag me! i'd love to see them!

yeah,, my beloved too

[dapper-lil-arts]

Any tips for an amateur writer? I've been writing a pmd:eos fic series on ao3 that's been getting praise, but I still feel inexperienced

Yooo pokemon mistery dungeon explorers of sky? Hell yeah best pokemon game to make fanfic of, easily. its an absolute BANGER Ok i got a few pieces of advice for ya, i don't mind sharing! 1 - One of the most important ones for me personaly, is to know and understand yourself and your own style of writing. By what i mean its like; you get an idea for a story, or a concept. But knowing your writing style, your capability to write scenes, and even the characters in question, do you KNOW that you can write this story? Its actually pretty important; Because writing takes up a LOT of time and effort, and if you just start blanking halfway into it, you'll have wasted so much time with a story that you don't exactly know how to do. I personaly have so many ideas, but i only execute on the ones that i am aware i can work on, and would know where to take, even if the idea is small. (For example, i had an idea for writing a fic of rarijack but only when theyre older, after the events of FIM. I started writing immediately because i knew exactly that i could do it; and am already 25 pages in and might finish today, heh) 2 - Write horizontaly, not verticaly. by that i mean; don't start at the beginning and work from there, consider all of your story's structure before you even start, act 1, 2, and 3, and its most pivotal moments. Much like you would sketch a drawing before lining and coloring, its important as hell that you are planning all your setups and payofss in advance, all of the arcs and character progression in tandum and stuff. This applies well to the first advice too! Don't be afraid to make an ugly ass sketch of a story, as long as youre aware that this is indeed a story you can make. Make the skeleton before adding the meat, and only after do you add the makeup. And as you write, more ideas will come to you! 3 - This one is more for my own, personal taste, but never be afraid of writing multigenre! By that like. If you're writing romance, dont be afraid to put action, if you're writing drama, dont be afraid to put a moment of comedy here and there; stories are infinitely more interesting when they're not just one note, not just a single tone! And the readers would absolutely be delighted on having moments of respite or shock, it keeps them on their toes. 4 - This one is hard to execute, and i cant give examples that arent long, but like. None of your scenes and sequences should be just what they are in the surface. Like; A character knows something that the other doesnt, or the audience knows something that neither character knows, or the underlying conflict is constantly clashing silently. A short example i can give is a scene in on of my fics in which a character was being asked about her past, and she spoke ernestly, but every once in a while i'd add a "She lied" after the information she provided; And i didn't need to add anything else, that in itself is enough for the audience to understand and consider why this character is doing what shes doing, and just that simple little thing added an really interesting layer to the simple conversation. Essentialy, there's no reason why a conversation should *just* be a conversation in your stories, and there is no reason why you should have filler for the sake of it. Pacing is important, and you can make every single scene and chapter on your story interesting, nothing stops you but you! The "She lied" thing is specialy important, because you don't have to treat your audience like babies. I didn't explain why she lied, because if any reader was paying attention, they'd understand completely, everything would simply click. A character can sometimes say something, and all you need to do is write the tone of their voice, and the reader can already connect the dots, or even something as simple as describing a facial expression or body language without explaining why it is what it is; It makes your story more engaging! I have a million other advice, but i felt like these were the most important ones i specificaly could provide. Good luck!

[caramelarchive2]

self intro, interaction guidelines, asks rules, ASKS OPEN (i do not write x readers anymore), masterlist, copyright and related policies.

╾ SELF INTRO

hi, welcome to my bLog! I'm lei (lay), they/them. I'm aroace and autistic. I'm an artist and writer and I'm obsessed with Death Note!

I have an OC for the fandom and if people will listen I will not shut up about her/srs. If you ever ask me about her it will make my day. week. month. She stars in two multichapters, which I'm currently rewriting. Her tag is #desunorie (Rie of Death (Note)) and sometimes #desunorehn. Her AO3 tag is Rie Takamura | Reinette-Rose Descôteaux. Please don't take Rie as a self or reader insert.

I also really like L, as you can probably already tell. I mostly talk about him, Rie, my adventures in writing and drawing, and my various woes and thoughts. So if that sounds interesting, feel free to stick around, and if it makes you upset, feel free to block me — no hard feelings/gen, and better mental health on all sides!

╾ INTERACTION GUIDELINES

followers can tag me on anything SFW :)

Change your name and pfp from default before following or you'll be blocked as a bot!

╾ ASKS

I don't have a DNI, I don't find them helpful, but if you make me feel unsafe or unhappy I will block you.

Please note, though, this is not a safe space for people with harmful ideologies. I am queer and neurodivergent myself. I do not support nor tolerate discrimination of any sort and, again, will block freely.

Asks are OPEN for Rie/RieLiet only. I no longer do x readers. Chat or request at any time and feel free to give yourself an emoji/name :D

Named anons:

🌜 anon; 🍪 anon; 🍰 anon; 🎲 anon; 🗯️ anon; 🎤 anon.

are they in colour order? nooooo....

Asks and my rambles tag is #lei chats. anons are tagged #anons and #(emoji) anon. Requests don't have a specific tag.

╾ MASTERLIST

AUs:

Royal/Mediaeval AU

Introduction / L, Matsuda, Matt

Mello

Near

Cast:

tag: #lei's death note (heads up, I'll also use this tag for my AUs and how I interpret the series and characters in general)

Incorrect Quotes (Task Force)

Laugh a Little Louder

What's Your Goal? (Task Force)

Events:

Rebirth / closed

Death Note Ship x MCR / closed

L:

tag: #lei's lawliet

2am

Cold Pink Cheeks (author's pick)

Embarrassing Moments

Platypus Part I and Part II

That's My Voice!

Trickshots

Light:

2am

Misa:

2am

Matsuda:

Matsuda does interviews! find them under #matsuda interview special or in this list marked with a ⁀➷

What is My Worth? (author's pick - MATSUDA SONG FOR DN MUSICAL!!)

⁀➷What's Your Goal?

Naomi

Martial Arts

Near:

Embarrassing Moments

Mello:

Embarrassing Moments

Matt:

Embarrassing Moments

Headcanons

Beyond Birthday:

Embarrassing Moments

of α and β (author's pick) / also on ao3

A:

of α and β (author's pick) / also on ao3

Rie/Rehn (OC):

Rie/Rehn is my original character and though she has been inserted into Ohba Tsugumi's Death Note universe, her design, character, and non canon related storyline are all my own original work. Do not steal her design, claim her as your own, or use her for “inspiration” — it's flattering but it often ends up a copy. However, sfw fanart and story cameos of her are always appreciated! character ©lawlietscaramels , ©dailyreine , ©riexliet 2023—2025.

tag: #desunorie

Interview

Real Name

Terrible & Terrifying

Thoughts (Rie & Light)

Extra (mini) stuff on @dailyreine 🩷

my writing tag is #lei writes. Comment or DM to be added to a taglist (character/s, headcanon format, anything).

╾ ART

All of my art is my own original work. Do not repost (reblogs are fine, no posting on other sites without explicit permission), claim as your own work, edit or trace, copy, use for ai, “fix,” or use unethically. All the below works are ©lawlietscaramels , ©dailyreine , ©riexliet 2023—2024

surprise! bonus section! I also do art (mostly of Rie but sometimes canon characters). tag is #lei draws. only my faves are linked.

assorted sketches (L, B + Rie)

badges (Main Trio + Rie)

m&ms (Wammy's kids, edit, not my art)

‼️ mcr (L + Rie - BLOOD)

scarf in the snow (L + Rie)

　★━━─・‥…━━━☆