#I’m gonna start sketching more often cause…I tend to like my sketches better | Explore Tumblr posts and blogs

revengerevisited · 3 years ago

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So I’ve been kinda dancing around my original story idea for a little while, and I got this idea in my head of ‘what if I release chapter 1 and then get feedback without telling anyone what the story is about first so it’s more of a surprise?’ But honestly? I’m realizing since I already released a preview-of-a-preview for chapter 1, and it might be a little while until I finish chapter 1, plus I honestly kinda feel like I’d rather work on sketches of my character designs than write at the moment, I might as well go ahead and tell you guys. X’3

So! I watched a couple anime recently both centered around the premise of... monster girls! These being Monster Musume and Monster Girl Doctor, but then I noticed there’s also Interviews with Monster Girls, A Centaur’s Life, and the infamous Interspecies Reviewers, and I asked myself... Monster girls are pretty popular right now, yeah? But where’s all the monster boys?! And that’s how I got the idea! I re-watched some of my favorite anime based on Otome Games, Kamigami no Asobi and Uta no Prince Sama for inspiration as well, and a few ones I hadn’t seen before like Dance with Devils and Magic-kyun Renaissance for inspiration as well.

So now I’ve got my premise that I shared earlier: This is the story of Millie, a young woman down on her luck who happens to live in a world where monsters aren’t just real, but commonplace. She started working as a maid in a mansion-turned-art-school whose students are a group of very attractive monster boys. The twist is that these aren’t just any monster boys; they belong to various rare and exotic species with deadly reputations...

Note that character and place names are technically place-holders for now and may change if I come up with better ones. Now, I don’t wanna spoil anything story-wise, but I think I can introduce my setting and some of the characters that you’re gonna meet. The story is set in a modern setting, though it’s vague if it’s actually Earth or just some generic world similar to it, as I try to avoid referencing real-world places or events. This is a world where humans and monsters live together after a Great Interspecies War happened in the past, but tensions have mostly relaxed by the time the story takes place. The war could be thought of as the equivalent of our own World War One, one in which there was a truce decided after many years of stalemate fighting.

The city everything takes place in is tentatively named Dullahan, and was built directly after the war to commemorate peace between human and monster kind. It’s considered an artistic cultural center, and it’s got a lot of interesting entertainment places to go to, arcades, theaters, aquariums, etc, that the characters can have a lot of different shenanigans in. The other main setting is the Beaufort Academy of the Arts, which was actually a mansion that was converted into a small private school. This is where all the characters live, and our main character Millie works as a maid there.

Before I go into the characters, I should start with the various monster species. There are 12 species, divided into 2 groups: common monsters and exotic monsters. The common monsters are centaurs, harpies, lamias (snake people), kobolds (dog people), ogres, and merrows (mermaids). These species are all pretty standard, and will be mostly background characters and npcs. The main characters, and love interests for Millie, will be of the exotic variety: arachnes (spider people), sirens (deep-sea mermaids), mandrakes (plant people), dragons, manticores (with a liontaur body-type), and scyllas (octopus people).

So what differentiates a common monster from an exotic one? Well, while the Interspecies War was between humans and monsters in general, some monsters were already at least partially integrated into human society, and the rest followed soon after the war ended. These monsters were almost as common as humans, and either herbivorous or omnivorous, with the exception of the carnivorous lamias who prefer to eat eggs over anything else. On the other hand, the so-called ‘exotic’ species were not only much more rare, but they had a very different food preference... one which earned them the now derogatory nickname... man-eaters.

Naturally, most ‘man-eaters’ weren’t exactly welcomed into human --nor common monster-- society with open arms, not that most of them wanted to. For the most part, species as powerful and dangerous as them didn’t want to play nice with those they had once --and in some cases still do-- regard as prey, and so hid away into the furthest reaches of the world. Which of course makes them perfect material for all our leading men and Millie’s various love-interests!! Oh yes, while all of these monster boys are perfectly civilized --well, for the most part-- they still belong to species that many both human and monster alike continue to fear to this day. While they aren’t exactly fish out of water (well, except for the siren) there’s still plenty of awkward misunderstandings and interesting scenarios that can be played out.

So! Let’s have a quick run-down of the characters, keep in mind that none of these names are final and could change later on. First there’s Millie, a hardworking young woman who’s had a recent streak of bad luck. Through a misunderstanding she gets hired as a maid in a mansion-turned-art-school. She’s very sweet and tries her best to help others, but she’s not as innocent as she appears; she’ll understand your innuendos just fine, even if she doesn’t really say any herself! Next is Richard and Lara Beaufort, a husband and wife who run the school. Richard is rather laid-back, yet he’s also a master of all kinds of art, painting, sculpture, photography, dancing, singing, you name it! Lara is his arachne wife, a rather boisterous woman who owns a high-class fashion company. The secret to her clothing’s success?? Arachne silk, of course! The school was her idea, a way to help better integrate exotic species into society. Will her mission succeed? Only time can tell.

Richard and Lara have a son named Simon, our first love interest and a human-arachne hybrid who takes almost entirely after his mother in the looks-department (hybrids tend to look like one species or the other, rather than a mix of both). He’s a bit withdrawn due to dealing with bullying as a kid; most people --human and monster alike-- are afraid of his spider-like appearance, so he doesn’t get out much-- to the point his parents worry about him being a shut-in for life! He’s also a gamer boy, and has a secret soft side for gothic poetry, although he doesn’t want to join his parents’ art classes. He actually disapproves of his mother’s exotic species integration plan, as from what he’s experienced he feels it’s a waste of time.

Simon’s best friend and Millie’s second love interest is Louis, a mandrake who lives in the woods behind the manor. Louis is extremely shy and more than a bit lonely, even more so than Simon, and he doesn’t speak very often out of fear that the sound of his voice will hurt others around him. Mandrake screams can induce insanity or even kill those that hear them, hence his fear. Being part plant, Louis has mild shape-shifting abilities and is able to transform between child and young adult forms at will, although he’s actually the oldest of the group. He also isn’t a student at the art school, although he has an interest in floristry.

Now for our actual students! Forrest is a manticore, which in this world means he has a body similar to that of a centaur, but with the lower half of a lion instead of a horse, and a scorpion-like tail tipped with a deadly venomous stinger. Despite his species’s name literally meaning ‘man-eater’, Forrest is extremely friendly and cheerful, and is very sporty too. His passion is photography, and he also loves eating food-- any sort of meat dish is fine by him! He’s also a fan of fantasy tabletop roleplaying games, and will often make references comparing them to everyday life; he always plays the knight who saves the princess!

Anthony is a childhood ‘friend’ of Forrest’s, though he’s loathe to admit it. Highly intelligent and highly snobbish, Anthony fancies himself an intellectual-- and he’s not exactly wrong. Being a dragon, he likes to hoard things-- in his case, knowledge. Anthony loves to read, and is most often found in the library. His skill is in drawing and painting, and all his paintings’ invariably morose subject matter worry Millie. Still, this haughty dragon could definitely learn to loosen up a little, and be a little more kind; perhaps his stay at the academy --and his interactions with Millie-- will open his mind to appreciating the feelings of others. He does, at the very least, greatly respect Master Beaufort as a master of the arts.

The other two students are denizens of the sea, and have been friends for a very long time. Emil is a scylla, and like all scyllas he’s a little eccentric, and just can’t seem to keep his tentacles to himself! While Forrest is obsessed with eating, Emil’s true calling is cooking, and he loves making all kinds of dishes, especially anything seafood and/or foreign. Emil also is highly appreciative of women’s fashion, and absolutely adores everything to come from Madam Beaufort’s clothing brand-- so much so that he actually wears them himself! His pretty-boy looks and penchant for wearing women’s clothing actually has Millie mistake him for a girl at first, though he’s very much unafraid to show her his romantic side, or at least what he interprets as romantic...

Keeping Emil’s pervy antics in check is our sixth and final monster boy, Oswald! As a siren, Oswald spent most of his life in the sea, and still has a lot to learn about humanity. He’s a pretty cool guy but gets a bit embarrassed about his species’s troublesome past as the cause of many shipwrecks at sea, and would prefer to not discuss it. His passion is rock music, and his main instrument is the guitar. He also loves to sing, but refrains from doing so due to the hypnotic effect it has on other species. His lack of legs, tentacles, or a snake-like tail means that like other merrows and sirens he requires a wheelchair to move around on land, and often feels frustrated that he can’t show off how adept he is at traversing water. He’s also easy to embarrass and obsessed with not allowing anything to ‘ruin’ his manly image, including allowing Millie (a girl!) to help carry him around.

So there you have it, all my monster boys! I left out a few things, as those would be major spoilers, but those are my ideas for the characters for now! I’ll try to draw and post some sketches of their designs later. Hopefully I haven’t forgotten anything, but this won’t be the last time I talk about monster boys. Any questions or comments would be very much appreciated! Nsfw questions are allowed (all the boys wear pants for a reason, after all), though I’m currently not sure if this series will be 16+ or 18+, if you catch my meaning. Lemme know how interested you are in this story, or if you’re not interested please let me know that too!

#writing #monster boys #maddie's monster boys #if you ever wanted to see a merman wear pants... here's your chance XD

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cubeswhump · 4 years ago

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Sunglasses at Night

A weird interpretation of Tooth Knocked Out for my character, Noelle.

So you all know Noelle, maybe not by name, from my profile picture. She was actually one of the first characters on this blog but I’ve neglected to write her until coming up with an actual plotline like two nights ago.

Warnings for mentions of murder (specifically serial killing), blood, some gore, mentions of alcoholic intoxication, violence, kidnapping, discussed sexual abuse, implied sexual abuse, broken bones, minor mouth gore, briefly mentioned racial bias and police brutality, politically incorrect joke that the character is immediately guilted for.

There was regular stupid, and then there was Noelle Alan.

All of five feet and two inches, the girl thoight herself a badass, the Batman of middle of nowhere Florida. But instead of the Joker she fought petty criminals and that one neighbor who hit his kid, and she was dirt-poor with no grappling hook and Noellemobile, just a hockey stick and homemade pepper spray that was starting to smell fermented.

She came home bruised and bloody most nights. People looked at her father with scorn when she stood next to him with black eyes and swollen lips.

"Elle, you're gonna die one of these days," Marshall grumbled when he saw how intently she was looking at her phone, "and I'm gonna piss on your rotting corpse."

"Kinky," she giggled.

"Scratch that. If you were on fire, I wouldn't piss on you."

He had an idea of what she was looking at and a pit formed in his stomach. When the bodies of young women, necks torn and blood drained, had started to be found around town on a weekly basis, not even hidden, Noelle wasn't scared; Marshall recognized the glint in her eye.

"No," he growled, looking over her shpulder at the news article on her phone screen. "Don't you fucking dare."

"I'm hunting a vampire," Noelle murmured, lips stretching into the dumbest smile.

"Vampires aren't fucking real. You're gonna chase after a serial killer and end up raped and dead in a gutter."

Noelle didn't look up from her phone. "Way to sould callous about rape."

Marshall grit his teeth, fists clenched tight. "No, I'm the one actually taking that shit seriously and bringing up an actual risk."

"I'll sharpen my stakes."

Marshall unclenched his fists and granbed her by her shoulders. He shook his overgrown hair out of his face to look her in the eye.

"Your jawline's looking really defined," Noelle tried, but the flattery was ignored. "Is that stubble I see?"

He huffed out a sigh. "Noelle, I will kill you myself."

"Do it, pussy."

"I don't think you're taking this seriously."

"I'm serious all right." Her shit-eating grin was back. "Seriously about to kick some undead ass."

Marshall drew back his hands, face contorting. "I can't fucking stand you sometimes," he said softly, and turned his back to her. "See you in Hell."

He slammed the bedroom door on his way out. Front door opened and slammed as well. He peeled out of the driveway in his beat-up secondhand car.

Okay. That hurt a bit.

Noelle tried to keep her spirits up. She'd apologize to Marshall after she caught a vamp- serial killer. Caught a serial killer.

People often called Noelle stupid but when she wanted answers, she knew how to get them. When she bothered to actually do her work in school she could always find the cause and effect, the author's purpose, subtext, textual evidence. She got scolded for being mouthy. Teachers said she was far too opinionated when she badmouthed authors and mocked bias in her essays. She was in internal suspension more than the mainstream classroom for arguments with teachers and fights with peers.

Her father joked, with a hint of seriousness, that she was the cause of his receding hairline. Some black people rose to the top and lead social change, but where does having a big mouth usually get a black girl from a poor family? All these police shootings terrified the man and Noelle knew it, but she couldn't stay out of trouble.

He thought she was finally behaving when he caught her pouring over notebooks, scribbling with pencils, using up all their printer ink. His frown lines softened. She was doing her homework, and she was working hard.

In actuality, she was printing up police reports and jotting down the hints, connecting all the detaild. This killer stayed within a small radius and his victims, young women of various races (so racial motivation was crossed out) but tending to be on the smaller side, were all last seen at bars (three specific local ones). And all were seen leaving on their own.

This killer made no attempts to hide their bodies. Two were found in a canal less than a mile away from Marshall's house. One was stuffed into a trashcan missing its lid. One was found behind poor Mrs. Johnson's teashop, and she'd told her young, female employees to stay away for their own safety. One, the most brazen display, was tied to a lamppost on the town's busiest intersection.

All victims were found within a five mile radius.

And the manner of the killing stumped Noelle and detectives alike. Police reports and news articles were vague, almost glossing over it in saying that "throats were torn and copious amounts of blood was lost", but Noelle had managed to find and save some leaked photos before they were taken down.

These women didn't just have their throats slit. Despite Noelle's earlier jokes about vampires, there weren't two neat little punctures; throats were ripped open, skin flapping, jugulars severed and windpipes exposed with multiple points of entry. She reasoned that the weapon must be one designed to grasp at the skin and tear.

She sketched designs for metal claws that attach to the hands, designed to bite into the skin and tear it away when the killer drew his (or her, Noelle Alan was no misogynist) arm back. They would have to attach to the fingers for better flexibility and range of motion and they would need to be relatively short, perhaps protruding only an inch past the finger tips, to have a good grasp. Such a cautious design would be needed to attach well and firmly to the fingers without causing harm to the wearer. Would the blades continue down along the fingers? They must. The intricate joints needed to bend with the fingers.

"This is fucking cool," Noelle breathed, imagining such a weapon on her own hands. Mirror-like silver against brown fingers. She would be a viscous tiger-lady clawing at her enemies and protecting the innocent.

Right. Back to the toxicology reports. While finding blood alcohol levels above 0.05% in what little blood remained in each victim, there was something else. A small amount of some foreign substance but there was more of it than blood after the killer got done with these poor women.

Surely the medical examiner would be able to identify any known toxin or poison, so it was nothing like cyanide or chloroform. Perhaps it was something homemade the killer was lacing his (or her!) weapon with? Or, Noelle thought, perhaps he just didn't clean the weapon in between uses and let it build up enough grime to show in blood?

No, that would not only dull a blade, but a medical examiner would recognize simple dirt and bacteria.

Once a week, usually Monday or Tuesday. Girls always seen leaving after two in the morning, dead before three. Bars the girls came from following no pattern, like the killer was picking which of the three at random. So which one would Noelle go to if she couldn't predict the target?

The killer liked small girls, short of stature and narrow shoulders. Noelle's height fit the bill, but she needed clothes that hid her muscles while allowing enough skin exposure (no turtlenecks).

Her wardrobe: tank tops, tank tops, short-shorts, athletic shorts, more tank tops, pajamas, sports bras, running shoes. Why was her middle school uniform still in there? A momentary distraction while she tried it on and found that while she'd gotten wider, she hadn't grown much vertically since seventh grade.

She had to blow her birthday money from that one rich aunt at Goodwill. A green dress that had a good balance of making her butt look fantastic while still allowing movement. A good dress couldn't help her chest though and she stuffed some tissues in her bra. A-cups, while great for athletics, scarcely got noticed.

A cardigan covered the bulk of her arms (and bra straps) and the dress hid her thighs but showed of her calves. She practiced some kicks and defensive stances in the black kitten heels until the clerk threatened to kick her out. They slipped off easily enough, and were only nine dollars, so she'd just kick them off to fight.

She arived at Uncle Tim's Beer Belly (always pick the one with a funny name) at 1AM. She was only eighteen so she wasn't supposed to be in bars but she discovered that she could get away with it by staying away from the bar, hiding in crowds, and acting casual and confident if the bartender looked her way. She couldn't actually get drunk before a fight but she rubbed whiskey in her armpits, behind her ears, and on her wrists and neck and practiced a drunken shamble to look and smell the part.

Each victim seen leaving around two in the morning. Check, Noelle was out the door by 2:10, feeling so stupid shambling down the road that she couldn't help giggling and sticking her arms out in a zombie impression.

She circled the block for a good hour, and only attracted the attention of some catcallers. At least it was fun to yell back at them.

"I'll suck your dick if you suck mine!" she shouted at one in a red car, and immediately felt guilty. Marshall would punch her in her padded boob if he heard her making jokes at the expense of transwomen.

God, she missed Marshall. He hadn't responded to any of memes she sent him the past few days. She knew he'd disapprove of her activities.

She tried the next night and had no luck again. The only difference was that her dad caught her coming in through the window smelling like a bar and freaked out. That was not fun.

That morning, someone found the body of a young woman who had last been seen leaving The Wench's Tavern. Caitlin Weiss, a girl who graduated when Ne was a junior, and an old friend of Marshall. She was so nice to everyone and gushed about how she was going to be a veterinarian, and instead she was found with her skirt hiked up as her lower half dangled out of a dumpster. Neck torn.

Ander boiled inside Noee. Caitlin didn't deserve that. None of them did!

If only Noelle had guessed the right bar, Caitlin might have made it home.

"Fuck fuck fuck!" Noelle yelled. She had to put duct tape over the hole she accidentally kicked in the wall. Hopefully her dad didn't notice that. She was on thin ice already.

She was back next week, and the week after that. She stuck to the Beer Belly. After all, when you're guessing on a multiple-choice test, you're meant to pick all the same letter. Surely a percentage of those A's will be corrext and you'll fail the test if you alternate answers.

For the first time in her life, she was beginning to lose hope. Would she ever catch this scumbag? But she kept going even as that hope dwindled. She kept going even when Marshall responded after countless texts and only said, "I know what you're doing and I want no part in it."

She owed it to Caitlin, Therese Jenkins, Natalie Hernandez, Jessye Zhao, Katy Smith... She ignored the voice in her head telling her she was doing it out if pride, not the innocent lives lost.

She was having a mental debate when she heard footsteps on week four. Heavy footsteps, like a man. Confident footsteps like he wanted to be heard. She wasn't a girl who feared sharing the sidewalk with men. Maybe it was just a courteous young guy walking loudly to let a woman know he was there and avoid her thinking he was following her.

But she didn't believe that.

She waited until she'd taken four right turns and the footsteps continued. Yep, she was heing followed. She snaked a hand in her bag and whipped out the hairspray bottle, spraying the spicy concoction as she spun around. But the man's face was higher up than she expecyed, and he was wearing sunglasses. At night.

I wear my sunglasses at night

So I can, so I can

Watch you weave-

She pushed the stupid song away and reminded herself this wasn't the time.

In the dim light of the streetlight across the street, she could see...wow, he was tall, and not quite fat but plump and round. He raised his hand and swung it at hers, and there was a crack! even before the cannister hit the ground. She shouted and clutched her hand.

Hands that definitely didn't have metal claws pulled her close, pressing her against his body. She struggled but the hold on her back grew painful.

"You've been looking for me, haven't you?" he asked, voice deep and husky. She could hear the smile in his voice, and grit her teeth.

"You're a sick fuck," she spat. If she could just get her throbbung hand in her bag, if she could move just enough to retrieve her knife...

"I like you, girl," he chuckled.

His hands moved to her shoulders, and with the increased space between them, her hand was able to dart into the bag. Bone fragments ground against each other as her bad hand tightened around the handle, and tears stung her eyes.

The man was suddenly coming down toward her, and he was coming down fast. With a shout, she plunged the knife right in between his ribs just as pain blossomed in her neck.

"Help, I'm being fucking murdered!" she screamed, warmth dripping down her neck and chest. "Fire! Fire!"

A muffled laugh. The creep was amused.

Surely the blood was flowing out, but there was an odd pressure like something going in. It felt like getting an injection at the doctor's office, but the needle at the end of the syringe was actually a bear trap.

Noelle was screaming even after the pain faded to tingly numbness that spread to her limbs, until her vocal cords seized. Her hands fell limply from the handle of the knife still sticking out of his ribcage. The only thing holding her up was his mouth on her neck. She fought to keep her eyes open but everything faded to black.

***

There were lucid moments here and there but it was like watching an old, grainy home video. Long fingers that she couldn't see in the darkness wrenching her jaw open. Something thick and bitter pouring down her throat. The taste remained, sticking to her teeth and mouth and throat. She gagged. Darkness.

Alone on a mattress, sitting back on her ankles, never questioning why she could see with the lights off. A chunk of something was on her tongue. She plucked it out wuth her fingers, one hand still throbbing, and her eyes widened at the little white canine tooth. And then there was another, and then a premolar. Fade to black.

She dreamed of tall, pink men with long fingers and metal claws. She dreamed of her skin ripping open and a skeleton bursting out and flying into the night. She dreamed of teeth: white teeth, yellow teeth, rotted teeth with cavities, square teeth, molars, sharp teeth. Very sharp teeth.

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chainsawb0y · 5 years ago

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HEY!!! What, if u dont mind my asking is your creative process like????? like in terms of comics/storyboards, do you plan and draft a lot beforehand usually or just make it up as you go???? and then with finished illustrations, what's ur ordeal for coloring and linework and sketches and stuff????? sorry if this is kind of vague or weird but I'd love to know how you produce your art!!!!!

in terms of like. storyboards and comics it’s normally an idea i play out over and over and over in my head until i can basically imagine it animated, but then draw it down in storyboard form. For Greg stuff specfically, I have a few plotlines/episodes already making themselves in my head.

In Terms Of Finished Art. theres kind of a lot to explain because at this point, all the main Greg cast has been committed to my ever loyal muscle memory, which does not fail to produce At Least One Greg every time I sit down and draw which, while fun, is also super distracting. But I was meaning to sit n draw something for this for ages but I only ever really got up to the linework but H O P E F U L L Y there will be some kind of video of me actually fully finishing something at some point so yall can see my e n t i r e process. but for now here is a short demo involving a doodle of Gideon i made Just For This

So most of the time i start off with a regular old circle. sometimes i draw the eyes and junk straight in there and work the jawline afterwards, sometimes i have a singular line guide for where to put the eyes. I do this moreso with my horror nights art.

this is the whole “working the cheek/jaw out” thing i was talking about, now with added ears and eyes. the eyes are basically small bumps i draw on the line i drew as a guide. this is the only line i really ever draw as a guide.

then, I add the nose and the mouth and the hair line!

i literally felt my hand cramping at this point because i had to draw the hair. many times. even references didnt help.

if i were doing more, obviously there would be more in terms of guidelines, but in my vast experience of drawing busts facing left i have come to grip with the concept of shoulder distance

I generally tend to use a kinda thick brush with some senstivity in order to get that “thick at the peak of the line” effect that can often give some level of flow to the art but also i think it looks... really nice anyways because it often gives the art more of a realistic soft looking curve to it as the brush tapers at the end of the stroke. it’s really good.... obviously it doesnt look much inked compared to the sketch, but the colour is gonna help w that i guess??? normally my sketches look way better than my inks but its only cause of that “trick of the eye” thing that happens w sketchy work

i’ll do a follow up to this with stuff about colour/lighting because i actually have something i’m working on right now and also something kinda old i might post and talk about a little! i hope this helped in some vague, strange way! im not super classically trained art-wise, all i got is an art gcse and an animation degree and oddly enough the latter never taught me to draw much. i got told to go to life drawing but i was super uncomfy the w h o l e time but y ee e a!!! please let me know if this enlightened you in some way haha

#ash's art #if you guys want i wouldnt mind doing more process-y things like this!!!#its actually really nice to do little things like this!!!#hhn #gideon grim #Anonymous

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bokureii · 6 years ago

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Questions for me

Here's some questions that people tend to note me about for some reason. (Notes are more for important stuff, you could just comment instead).

Also I know lots of people on here don't like reading and just wanna see art, you gotta actually read stuff for once :v, the poor writers who write on here needs love.

Feel free to take these questions and answer your own, I'd be interested to see! (You can edit some out like the 2 final questions) When did you start drawing, and why? I started drawing back in 2011 when I was 13, around September I think? You'll have to check my old account, DreamyNormy. I had no experience of drawing/art whatsoever before then, so I didn't know how to draw, nor was I interested. I started drawing because I wanted a new hobby, I was bored of getting angry at video games and I had anger issues, so this pretty much helped. Also I was encouraged by an old friend of mine. c:

Do you prefer traditional art or digital art? Answer is pretty obvious but I prefer digital art. I did do traditional art around 2013/2014 but I never posted them online. I can't post them online anymore because they been scrapped, rip. I really liked them, they were background drawings in oil pastel. I didn't know how to do background drawings digitally back then.

What’s your preferred canvas size? Normally I start with 3000x3000, but I reduce the canvas size to the sketch since I draw small.

Do you do sketches first before you start drawing the actual thing? The only thing I sketch is what I'm gonna draw before I line. I don't do any warm-up sketches, though I probably should!

What motivates/inspires you to draw? Music is definitely the most motivating factor for drawing. I'm passionate about music, in fact, I would've been doing digital music making instead of digital art if I wasn't encouraged to do art in 2011. Though, I dunno how far that would've got me to be honest. Other artists inspire me to draw!

How many layers do you typically use? Normally for a basic picture, like the Boku Phantump one I did a few days ago, it'd be around 9 layers, background, colour, colour shade, colour light, contrast, background reflection, eye flare, lineart and lineart colour. However if there's a detailed background involved, then it's like way more, 20 to 100 layers

What do you prefer to draw for comfort? Do you vent art? Simple things! Though, I don't really draw for comfort, I mostly just draw whenever I want to draw (As in whenever I'm bored). I don't like doing vent art, because if I'm depressed or angry, I don't want to draw because I'll just be repeating situations in my head and it distracts from the drawing. I rather just actual vent, I'm a very verbal person when I'm angry. There are emotions put into my art sometimes, but they're not negative :V

Do you prefer drawing your characters or random fandom things? I rarely draw my characters, don't I? So I guess I prefer random fandom things.

Do you use more warm or cold colours? I like a combination of both. Like warm colours for lighting and cold colours for shadowss, I rarely do the other way around

What’s your favourite music when drawing? I have an entire playlist of my favourite music, I don't really have one specific!

https://www.youtube.com/playlist?list=PLcGvp3RjKXjr5_0e0n8ic4HGRgnEmOno4

What inspires you to draw backgrounds? Other artists, they're all brilliant artists. Oh and music.

How often do you draw? Mostly once a week.

Does your drawing suit your style? I guess?

Do you sometimes want to have a different style? Yes, I do. Whenever I'm drawing other people's characters, I lead towards their style than my own and it's fun to do, a new learning experience :v

Do your drawings resemble you? Well, I'm the only person who can draw my own style anyway, haven't see any copycats!

What time of day is suitable for drawing for you? The middle of the day, like afternoon to evening time. The latest I draw is like 10pm to midnight :v

Where is your main source for submitting art? Unfortunately, it's DeviantArt, but I try to post on other websites like twitter and tumblr.

What do you wish your art had more of? I wish my art had more backgrounds. It's difficult to draw backgrounds.

What’s the hardest thing for you to draw? Perspective drawing. Trust me, it's the most hardest thing to do, 'cause you gotta think about the character, what part you should see, what part you shouldn't, and then the background perspective, got to get the size right, can you see this object from here, this object should be covering this up, etc. So many factors to take into consideration, I do it all in my sketching phase.

What is your favourite Pokémon? The one and only treestump ghost, Phantump! However it may change based on what pokemon I get attached to for Pokemon Sword and Shield.

What Pokémon do you like to draw the most? Eeveelutions, I used to be really bad at drawing quadrupeds, that's why I started drawing them so much, wanted to get better at drawing quadrupeds. Unfortunately I drew them too much that I neglected bipeds, sorry marshadows. :c

Could you draw my Pokémon character? This I get asked a lot, especially through notes, even though I'm pretty sure that on my main page, it says in big heading, "Stuff you don't need to note me about" and it says 'requests are closed'. So, please have some decency and actually read before you post stuff? Asking me requests just means you don't actually care about what's on my page and just want a free drawing. Do I have to make the heading even bigger? :I

What’s your favourite Pokémon region? What's your least favourite? Unova! Love everything about it from the Pokémon designs, music, story, characters and the dynamic (Dynamic was so lacking in gen 4, everything moved at the speed of Sinnoh). I hate Sinnoh/Kalos the most.

I want to see more of your drawings! Why don’t you draw more? I have a thing called life, I can't be on deviantArt 24/7 posting art, people have the misconception that we artists just magically make art with a button (I wish though). It takes time. Also it's exam season and also why don't you try draw more. >:v

Where are those visual novels that you were gonna do more of, Boku? For PokemonSaviors? Just be patient, the owner of the group is working really hard on making the next chapter, and I'll be able to do more on that in the future. I might do some visual novels on an old group in the future though. I have ideas. What does ":v" mean? I don't know. It was this habit of mine to type it like every sentence, someone I knew said it a lot, so it sort of rubbed off onto me. Here's my question to you guys though: Do I inspire/motivate you to draw? If not, what does?

#questions #for #me #myart #bokurei

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genie-of-the-4th-wall · 6 years ago

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Found

@hatofulshipweek Day Seven: Home

AO3 Link

This one’s a little late, but I’m usually terrible when it comes to consistently writing and posting, so I feel I’ve done a pretty good job this week. Speaking of which, participating in this Ship Week was a blast! It was really fun, and I feel like I’ve improved just over the course of the week. So thank you to @hatofulshipweek for hosting this event, thank you to all of the other participants for your amazing works, and thank you to the people who read and enjoyed my stuff! Enough rambling, here’s the story.

Nageki was used to Hiyoko frequenting the library, especially since she found out he physically couldn’t leave the area. She wasn’t very good at staying quiet (much to the dove’s chagrin), but he appreciated her company nonetheless. She had even taken to checking out the books he recommended so they could discuss them. Nageki had to admit it: Hiyoko was his best friend. So it didn’t surprise him too much when the hunter-gatherer girl snuck into the library after school hours, toting a sleeping bag and a full backpack.

“What is all that?” Nageki asked.

“We’re having a sleepover! The staff is all gone for the weekend, I already checked,” Hiyoko answered with a grin.

“A... sleepover?”

“Yeah, a sleepover! I figured it must get lonely spending your nights in the library, so I thought I’d stay over tonight. Have you ever had a sleepover before, Nageki?”

“Maybe. If I have, I don’t remember.”

“Well, I’ll make sure you have a blast tonight!”

Nageki learned that you didn’t really do much sleeping at sleepovers. You played boardgames, and watched movies, and just talked a lot. It was different from his quiet norm, but it was an enjoyable experience. As Hiyoko finally settled down to sleep, she gave Nageki her signature sunny smile.

“I’m gonna help you experience all of the great things in life, Nageki. It’s a promise,” she said.

A couple days later, she told him that the detention she got from stealing the janitor’s keys was completely worth it.

Ryouta didn’t often come into the library on his own. Sometimes Hiyoko would drag him in there to hang out, but Nageki could always sense a strange awkwardness Ryouta had around him. Nageki wasn’t the most socially adept bird in the world, so he couldn’t really do much about it. Thus, he wasn’t quite sure what to do when Ryouta approached him in the library, alone.

“H-hello, Nageki,” Ryouta stammered.

“Hello,” Nageki responded, pretending to be engrossed in his book. Okay, maybe it wasn’t the most polite of responses, but Nageki didn’t know how else to proceed.

“Um, what are you reading?”

“‘Destined to Find You’. It’s a romance novel about a world with predetermined soulmates. Romance novels aren’t usually my favorite, and I’ve already read it. However, it has some very interesting themes of destiny and the importance of both platonic and romantic relationships. I find that I can appreciate it more upon rereading it.” That was probably the most words Nageki had ever said to Ryouta directly, but he couldn’t help but ramble when it came to discussing literature.

“Oh. Sounds really interesting, actually. Does the library have another copy?”

“I don’t think so. Here.” Nageki gave the book to Ryouta.

“Uh, weren’t you reading this? I wouldn’t want to take it away from you while you’re busy with it...”

“It’s okay. Like I said, I’ve read it before.”

“Well then, thank you! I’ll let you know what I think of it when I’m done!” Ryouta accepted the book, giving Nageki a warm smile. As he left the library, Nageki smiled too. The tension was broken, and Ryouta definitely seemed like the kind of bird anybody could be friends with.

Nageki usually didn’t mind being confined to the library. A place full of books was probably one of the better places to be trapped, especially if you enjoyed reading as much as he did. And with the recent discovery that he could move vertically, he could go to the roof for a breathe of the outdoors. However, he found himself wanting to leave the library more and more lately. Maybe it was his brief freedom of movement on the Holiday Star, or maybe it was Hiyoko’s determination to help him experience as much as he could. Regardless of the reason, there were days when Nageki desperately wished to escape the confines of the library.

Today was one of those days. Most of the students had shuffled out for the day, but Nageki could hear the faint noise of somebody playing the piano. It was a beautiful sound, and it sparked Nageki’s curiosity. Who was playing? What song was it? If only he could find out... Nageki found himself drawn to the door of the library, straining to hear the music better. He leaned closer and closer to the boundary that kept him trapped within the room... and stumbled into the hallway. Nageki blinked, unable to believe his eyes.

“What...?”

Nageki wasn’t sure how he had managed to leave the library, but he knew what the first thing he wanted to do was. He followed the sound of the piano, leading him to what he could only assume was the school’s music room. A fantail pigeon that Nageki recognized as one of Hiyoko’s friends was playing the piece. Hiyoko and Ryouta were also present, watching him perform. Hiyoko, ever alert, noticed Nageki enter the room. She stared at him, eyes wide.

“Nageki?!” she exclaimed.

That got Ryouta’s attention, whose mouth dropped open at the mourning dove’s presence. The fantail (Sakuya, he believed?) stopped playing and looked them, annoyed.

“Who is this, and why do you find the need to interrupt the flow of the music?” he grumbled.

“I’m sorry, I didn’t mean to interrupt you. It sounded so beautiful, and I wanted to hear it bett-“ Nageki was interrupted by Hiyoko grasping him in a bear hug, spinning around in excitement.

“YOU’RE OUTSIDE OF THE LIBRARY! HOW IS THIS EVEN POSSIBLE?!” she squealed.

“Er, Hiyoko? I think you’re making him dizzy,” Ryouta commented. Nageki was greatful, considering Ryouta was right. Hiyoko stopping spinning him and loosened her grip, but she didn’t let go.

“Hehe, sorry. I’m just really happy for you, Nageki. How did this happen, anyway?” Hiyoko said, smiling.

“I’m not really sure myself. I really wanted to listen to the piano music, and when I went to the entrance of the library to hear it better I found I was no longer trapped,” Nageki explained.

“Weird. Well, I don’t really care how. I’m just glad you’re here,” she said.

“Will somebody please tell me what is going on?!” Sakuya interjected.

Hiyoko introduced Sakuya to Nageki and gave a basic explanation of his backstory as the library ghost.

“But wait, I thought you couldn’t see Nageki, Sakuya. At least, you couldn’t when we all went to watch the eclipse. Oh! Is it because you’re no longer a classist jerk?” Hiyoko mused.

“What?!” Sakuya sputtered in indignation.

“Um, I was wondering, what song were you playing?” Nageki asked, changing the subject before things could get out of hand. Sakuya noticeably relaxed when the conversation was brought back to music.

“The piece is called Clair de Lune by Claude Debussy. Would you like to hear it in full?” Sakuya asked, giving Hiyoko a sharp glare.

“That would be lovely,” Nageki said.

Sakuya started the piece again. Nageki thought it sounded even more beautiful up close.

“Coo, coo!”

Nageki sat on the bleachers, watching an energetic dove run laps around the track. Since the piano incident, Nageki found he could now go as far as the school grounds. After that, he hit an invisible wall much like he had before in the library. Hiyoko was disappointed he couldn’t leave the school, but Nageki was content with any improvement. It certainly made it easier to hang out with his friends, given that they tended to cause a bit of a ruckus in the library. Case in point, Okosan. The dove always managed to make a mess or anger the librarian whenever he stopped by, so he was overjoyed to hear Nageki could meet him outside instead. Despite his oddities, Nageki thought Okosan made for pleasant company. Okosan paused after finishing his latest lap, flying up next to Nageki’s spot in the bleachers.

“Coo coo? (Is Nageki enjoying watching Okosan run?)�� Okosan asked.

“Yes. Your speed is quite impressive, Oko,” Nageki replied.

“Coo coo! (Of course! Okosan is the fasted member of the track team!)” Okosan puffed out his chest proudly. He noticed Nageki staring beyond the track.

“Coo? (Is something bothering Nageki?)”

“Not much. It’s just... weird, being out here. I was trapped in the library for so long, and now I suddenly have the whole school. Will I be able to go even farther? I wonder...”

“Coo coo. (Okosan thinks it’s just like running.”

“Hm?”

“Coo coo, coo! Coo coo! (Like, Okosan started out only able to run a few laps at a time. But Okosan trained and trained, and now Okosan can run many many more! It’s the same for Nageki. Nageki’s spirit needs to get stronger and stronger, so he can run farther! The stronger you get, the farther you can run!)”

Nageki thought about it. He did feel stronger than he did before. Bonding with Hiyoko, and making actual friends... he had certainly grown a lot from when he had first awoken as a ghost.

“Heh... maybe you’re right, Oko.”

“Coo coo! (Okosan is always right!)

“Estelle, I must implore you to take this cursed painting from my possession!” Anghel said, thrusting a piece of paper in Nageki’s direction. He seemed flustered.

Nageki examined the the paper. It contained sketches of Nageki and all of their friends, but it was different from Anghel’s usual fare. Instead of the fantasy style he drew his manga in, the drawings were much more realistic. He vaguely remembered Anghel busily sketching the last time everybody hung out together as a group. He must have drawn everybody then.

“What’s this, Anghel?”

“The other day, I came across the Golden-Winged Messanger on my way out of these cursed halls. As I made haste so as to not waste my crimson blood on him once more, the Tome of Epics was nearly lost. The Golden-Winged Messenger retrieved it, and remarked that indulging in a study of the profane would allow me to better harness my abilities. However, now that the training is complete, I can no longer hold onto this page, lest it infect me with the despair of the unenlightened,” Anghel explained.

“I... see,” Nageki said slowly, “Why are you giving it to me?”

“I thought... you would appreciate an illustration of those you have formed the pact of blood with,” Anghel muttered, embarrassed.

“Pact of blood?” Nageki echoed.

“Yes, a pact of blood! The spiritual entwinement of souls, interlocking fates!”

Nageki stared at Anghel, confused. He had gotten used to interpreting Anghel’s... Anghelisms, but he couldn’t possibly mean what it sounded like he meant. Anghel sighed in frustration.

“Family, as the unenlightened would put it,” Anghel grumbled, clearly unhappy with having to use normal language.

Nageki stared at the paper. Family, huh...? Nageki remembered having a family. It was blurry amd distant, but he did have one at some point. But now...? He thought about Hiyoko’s bright encouragement, Ryouta’s gentle conversations, Sakuya’s strong presence, and Okosan’s exuberant advice. And of course, Anghel’s strange brand of affection. Nageki smiled brightly, tears pricking his eyes. Yes, he supposed he did have a family now.

#hatofulshipweek #hatoful boyfriend #Nageki Fujishiro #hiyoko tosaka #ryouta kawara #sakuya le bel shirogane #okosan #Anghel Higure

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drink-n-watch · 5 years ago

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Editing Irina here: I have to admit this post got a bit away from me. instead of a simple list of anime directors I happen to like it turned into this little diatribe about the role of directors in anime production and now it’s way too long. Still I did enjoy writing it so I’m leaving it in but feel free to skip to the list section. I won’t be sad!

For some time I’ve been under the impression that anime directors have a much bigger impact on their end product than live action directors. By no means am I trying to imply that a traditional director does not shape the works they are a part of but for me, it wasn’t as flagrant. There are a lot of directors whose filmography stuns me. Unless they’re big names they don’t necessarily have that much control over the final cut so even renowned directors have some pretty confusing early movies. To me, I tend to notice writer directors way more, than those that stick to just directing.

But in anime, I almost never get caught off guard. I can usually see clear family resemblances between shows from a same series director even if they get produced by a different studio and are in completely different genres. I’m sure there are a lot of reasons for that but I think one of the main differences is storyboarding.

As far as I know, pretty much all shows and movies have storyboards. It’s a basic part of film production. I’m sure there are some rebels out there who just go out and wing it, but when it comes to animated works it’s considerably less optional. It also has more impact.

Even if a director didn’t write a particular series (or adapt it as is usually the case) they always have a final say on the storyboards, if they didn’t outright create them. The storyboards guide and shape the action in such a precise and deliberate way that it’s impossible not to leave a trace. This makes the director’s input as important and obvious as the writer.

or maybe not… no need to get mad

Of course, anime directors also have control of the appearance of a given series but unlike real life shows they are not bound by physical or budgetary constraints when it comes to setting and are never forced into bad casting…. Actually that’s not true. They don’t have to deal with any particular actor’s looks or physicality but they could get stuck with some horribly miscast voice actor and that can be just as damaging.

This said, as far as appearances go, animation in general allows for a much tighter control over the look of a series than would otherwise be possible. It also allows for easy signature looks. You know certain design styles and colours are favoured by certain directors and show up in most of their works. After a while you can tell at the glance when a new show is likely from a director you like. Of course you can get fooled.

The same type of signature look is very difficult and mostly, very expensive to recreate in a live action setting. Not to mention that because it is so involved, a lot of directors will purposefully avoid creating one as it can end up distracting from the story. I heard that in an interview. I don’t remember the director who said it but I like to think it was subtle shade at Tim Burton.

Animation is a more independent venture than traditional film making. Unlike actors on a set, animators do not have to be physically in the same room to create a scene. Everything is compartmentalized. Designers come up with a design. The tons of artists draw the different elements and scenes, separately. The images go somewhere else to be cleaned up and coloured. They then get put together and edited by different people once more. After that the voice and soundtracks are created. And all these people never even have to meet. The producer and director become much more vital to making sure all the moving parts fit together.

it sometimes works better than others

Because of how central the anime directors role is, they tend to leave their fingerprints all over the production. Not to mention that generally speaking, aside from new media (i.e. YouTube) most media has more oversight than anime and as such anime directors have more freedom to mould their shows than even western animation directors. Let me tell you, most of the stuff that comes out of the big anime studios would never fly at Disney. Wait, does Disney own anime now? It’s possible, they own everything else…

Once again, I want to make sure that I don’t sound like I’m trivializing the role of classic directors. They can make or break a movie or show in any format. I’m just saying that I personally feel the director’s presence more in anime than other mediums.

And it’s therefore particularly bad that I hardly ever acknowledge them. I speak or writers, voice actors, studios but I hardly ever mention directors. I would like to fix that today with a very short list of anime directors I am currently interested in. This is by no means an exhaustive list!

Hiroyuki Imaishi

Renowned key animator, director and co-founder of studio Trigger. Regardless of what people may say about Trigger’s narrative choices, most do agree that their productions are usually stylish and distinctive.

As a director Imaishi has helmed:

Dead Leaves (2004)

Gurren Lagann (2007)

Panty & Stocking with Garterbelt (2010)

Kill la Kill (2013)

Space Patrol Luluco (2016)

Promare (2019)

Considering my deep love for both Gurren Lagann, Kill la Kill and Promare, it’s not surprising that he tops my list. Beyond just the visual flare and fantastic palette choices, I find that Imaishi is very skilled at pacing high action with emotional verve. His works are often tongue in cheek and meant to convey deeper meaning and questioning through high speed antics and crazy over the top moments. He manages to balance out both plot and character development with good ole fashion fun in a way that has always managed to suck me in.

Kunihiko Ikuhara

A fantastic creator and veteran of the anime industry, if his name is attached to a project, it has my attention. Especially as a director. Utena alone was enough to win my devotion but this guy also directed:

Sailor Moon R (and a lot of Sailor Moon in fact – also Hell Yeah Sailor Moon!!!)

Revolutionary Girl Utena

Penguindrum

Yurikuma Arashi (will see this really soon)

Sarazanmai (I fell in love with this)

I don’t think I made my point clear enough, but Sailor Moon was a great series and it does NOT get enough credit. It should have been considered on of the Big Boys but somehow never makes the list. A travesty. Since Ikuhara often has a hand in writing or storyboarding the shows he directs, they often have a certain feel to them. That feel is bonkers. This guy loves him some surrealism and so do I. I don’t know what his next project will be but count me in.

Yuki Yase

Ok, I’m not gonna lie, I enjoy good visuals and strong compositions. I sort of give them disproportionate importance. So the director of Fire Force made this list. Whatever else it may be, the series has given me some of my best gallery posts by far.

Yuki Yase may not be quite as seasoned as the two I mentioned so far and although he’s worked as an episode director a lot (and in some very prestigious shows), he only has a few full series to his name:

Fire Force (TV)

Hidamari Sketch × Honeycomb (TV)

Kubikiri Cycle: Aoiro Savant to Zaregoto Tsukai (OAV)

Mekakucity Actors (TV)

Admittedly aside from Fire Force I’ve only seen Mekakucity Actors but it made an impression. I would say he is one of the most adventures directors I know, unafraid to experiment with productions. Sometimes even a bit too much but then again, I appreciate the verve. Both shows are distinctive and visually interesting which is enough to make me want to see what’s next.

Naoyoshi SHIOTANI

Naoyoshi Shiotani has been in the business for a while and racked up quite a few credits but as a director, he’s basically done two things. Blood+ and Psycho Pass. But pretty much all of Psycho Pass) I haven’t watched the second season of Psycho Pass (and I haven’t great things), but I have seen clips of it. And one thing I enjoy about Shiotani is his consistence. I can tell its Psycho Pass from a mile away. And it’s not all up to character designs and backgrounds. Colour choice, voice actor delivery, movement framing and camera angles. All of them have a very specific style and remain true in both movies and series throughout the years. There’s a dedication to his direction which I just appreciate. He also manages to spread out a complicated story in such a way that it’s clear for the audience without talking down to the viewers. That’s a gift.

Takuya Igarashi

Wikipedia makes a point of stating that Igarashi is a freelance director, I’m not sure why. And I might never have picked up on this guy until last season of Bungo Stray Dogs basically made me get a pinterest account so I could keep all my screencaps safe. It was gorgeous. The framing in the series, the angles… Beautiful and masterfully integrated into the atmosphere and ambiance of the series.

Bungo Stray Dogs (TV) : Bungo Stray Dogs (TV 3) :

Bungo Stray Dogs 2 (TV) : ) Bungo Stray Dogs: Dead Apple (movie) : Bungo Stray Dogs: Hitori Ayumu (OAV) : Captain Earth (TV) :

Ojamajo Doremi (TV) :

Sailor Moon Sailor Stars (TV) (Hells Yeah Sailor Moon)

Soul Eater (TV) (whoa)

Star Driver (TV)

Zatch Bell: Attack of Mechavulcan (movie 2)

So I guess the moral of the story is, I like directors who worked on Sailor Moon at some point? Good moral. Let’s go with that!

I am going to start paying more attention to the production team when new anime get announced cause that’s usually the best indicator of how likely I am to enjoy a show. Who am I kidding..? I’m gonna look at the promo picture band decide entirely based on that. Reading is hard guys! But maybe I’ll look at the production staff of the first few shows! Baby steps.

Do you have any favourite anime directors? Who are they?

Way Too Long My Top 5 Anime Directors post Editing Irina here: I have to admit this post got a bit away from me. instead of a simple list of anime directors I happen to like it turned into this little diatribe about the role of directors in anime production and now it's way too long.

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trendingnewsb · 7 years ago

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From Ferraris to flying taxis: Q&A with Liliums new head of Product Design

Munich-based Lilium, the super-ambitious company developing an electric vertical take-off and landing (VTOL) jet and accompanying “air taxi” service, continues to hire top talent to make its vision a reality. The latest new recruitment is car design veteran Frank Stephenson, who has previously worked for Ferrari, Maserati and Mini, to name but a few.

Considered one of the world’s most renowned and influential car designers in recent times, 58-year-old Stephenson’s portfolio includes iconic designs such as the BMW X5, New MINI, Ferrari F430, Maserati MC12 and McLaren P1. Now he’s embarking on adding the Lilium jet to that list.

Officially starting next month, he’ll be tasked with recruiting an entirely new design team to shape both the interior and exterior of the jet itself, as well as a design language for the company’s wider infrastructure, including landing pads and departure lounges.

In a call with Stephenson yesterday morning, I got to ask him why he’s ditched Ferraris for flying taxis, what his new role will entail more specifically and to dig a little deeper into how he thinks about design and why good design really matters. A lightly edited transcript of the full Q&A follows.

TC: I don’t know a huge amount about designing cars, let alone designing cars that can fly. Designing a modern-day car involves a heck of a lot of people and designing something like the Lilium jet again involves a whole team of people. As head of design, how does your role fit into the larger machine of building a vehicle or “flying car?”

So if you have a Michelin-rated restaurant and you’ve got to feed 100 people, you’re going to have quite a few cooks in there and the waiters and everybody else to run the machine. But the chef, the guy that’s got the Michelin stars… gets all the credit for it. But it’s all the other guys doing the work for him and he’s basically overseeing it and he’s trying to keep everything moving along the right track. That’s kind of what it’s like. I mean, I’m not probably your standard type of design director because I like to get in and cook and mix up the stuff too. I just have never been able to stop getting my hands dirty. I guess in that respect, the design directors come across often as prima donnas almost and sit back and watch the guys work and every now and then say he likes it or he doesn’t like it. But I am more of a hands-on type of director.

I like to build small teams. I don’t like huge teams because it takes a lot longer to get things done and the energy sometimes isn’t as strong with a big team as it is with a smaller team. You’ve got to work faster and much more focused and much more efficiently to get the amount of work done. So that sort of builds the steam up in the pressure cooker, but if you love design it’s absolutely the right temperature to be working at. You want to be under pressure to deliver great design. And typically if you think about a design too long, it gets watered down and loses that character, that pureness that you had at the beginning. So smaller teams tend to come up with better ideas I think, or more dramatic ideas, than huge companies with huge design teams.

I don’t set the brief because that comes from marketing, what product segment or what market segment the product should fit. So if they’re telling us to design a two-seater vehicle or a five-seater vehicle or whatever then that becomes the target of the design team to deliver in a certain time span. What I do is I meet with the marketing guys, I meet with engineering guys.

The engineering guys will lay out what we call a package, where all the critical components are for the vehicle. With a car it is typically “Where does the passenger and the driver sit? Where are the wheels and where is the engine and how much trunk or boot space are we going to have?” Things like that. And then I work around all those components with the aerodynamic engineers, suspension and everything.

What I have to do basically is get the team going with theme ideas and really innovative breakthrough ideas, because that’s what designers do. They don’t repeat stuff, they have to come up with stuff that basically moves the game forward. You’ve got to create within this design team a kind of awesome childlike creativity and emotion feeling. It takes a lot of brainstorming and inspiration. You sort of set the tone of that kind of atmosphere within design to get the designers going and then the mood gains momentum.

I’m very advanced in the way I think — I have to be because of the way design is geared, you do a lot of computer work — but I typically make sure that we all start pen on paper sketching, because that is really the only way to get a design or a spark out of your mind. If you go through a computer it loses the human… So I pretty much try to keep the design team on paper as long as possible.

The moment we come up with great ideas, we work with engineers. Typically I try to get engineers and designers working together in the same studio or very tightly together so there’s no loss of traction, and to make sure that what we’re doing can be made. We typically create scale models out of clay. We maybe do two, maybe three, different designs, and as those designs evolve one will get chosen as the favorite theme. That goes to full-scale. And then when this clay model is finally approved by engineering, and approved by finance, and approved by marketing, and approved by design, we will recommend that to the CEO and he’ll have a look at it if he hasn’t followed throughout the process, and then that product will become the model for prototyping and we’ll take molds off of it and create the real panels for the car and then it goes into production. Pretty much that’s it in a nutshell.

As a design director I have to control everything from the look to the color to the ergonomics to the feasibility of it. And then with Lilium the requirements will probably branch out over into what the Lilium port will look like that you access to get into your jet. So the whole kind of environment from an aesthetic or emotional point of view.

TC: Give me more of a sense of the relationship between design and engineering (or form and function)… Aren’t you somewhat constrained in your imagination by the science of flying?

No, that’s what a bad designer would tell you, “I’m constrained, that’s why the vehicle doesn’t look as good as it should.” But the fact is he’s getting paid the big bucks to make that thing look good and if he can’t make it look good he’s just not good enough. So there’s no excuse in my book for bad design or anything that looks bad. Absolutely no excuse. Anything can be made beautiful and should be made desirable, obviously.

We have to have constraints because safety and engineering require that. If we don’t have constraints then designers aren’t designers they’re just artists and they’re not doing the job. You can make a pretty picture but if it doesn’t work at the end of the day then you haven’t really designed anything, you’ve just drawn a pretty picture.

So in terms of constraints, yeah, but that is what makes the game so fun for a designer, that you’re working within rules and legislation and restrictions which make it a challenge. That’s why you get good-looking cars and other cars that don’t look as good. Like I said, if there is a beautiful small car, why aren’t all small cars beautiful? It’s a taste thing obviously. Some people like some designs, a lot of people like other designs. But good design is absolutely not subjective. There’s good design and bad design, and there are a lot of bad designs out there — not to knock them or criticize — but there are principles for good design that designers typically learn when they’re being educated. If you don’t apply those laws of good design then you’re not going to have a good design.

Inspiration for good design comes from a lot of different sources, but if you’re looking at inspiration from trendy sources like fashion or other types of design that are in one day and out the next then you’re not gonna have a timeless design or an iconic design. Iconic designs are typically timeless designs, they last forever. Anything that was designed iconically 40 years ago will still look great 40 years in the future. The design is so good that it just lasts and lasts and lasts. It is hard to achieve that, but if you use the right type of mental design approach then it’s achievable.

I think designing cars is not harder or easier than designing an aircraft, it’s just making the absolutely best product you can make that works well. Typically if you design something that works very, very well it looks fantastic. If you design something that doesn’t work very well then the design doesn’t matter at the end of the day. One of the interesting things is people always say that form follows function. I’ve never heard anything more ridiculous in my life because for me form equals function. If the product works well, it looks great. There’s nothing in the world that works fantastically well and looks awful, that combination doesn’t exist. Especially in nature. You look at all these beautiful animals and organisms in nature that work incredibly well, and therein lies the beauty of nature. Horses and cheetahs and all these amazing animals, nobody sat down and designed this amazing-looking animal. Evolution caused it to be absolutely fantastic at what it does, and through being fantastic at what it does, the result is the look, and that look is awesome. That same principle is how I feel about design. If you work very good with the engineers and you create optimized solutions, it’s very easy to make them look good, it’s almost inherent in that way.

TC: Regarding the Lilium jet… what is the main challenge in your mind of designing what is a new type of transportation?

My challenge — simply put — is to make the person who gets into the jet not want to get out of it. You know. Although he’s reached his destination he’ll want to do it again and again and again. The reason behind that is because all the new generations coming along after the old farts like us are basically looking for experiences. They’re not so much geared towards buying materialistic things. They love experiences. And that’s what Lilium is going to be offering, an experience and a service. And I see that as the future. For me it’s an amazing opportunity to be able to take something from scratch and develop it into a reality.

It’s always been a sort of science fiction, when you see The Jetsons, the cartoons and things… it’s like, one day, but not in my lifetime. Well, here’s news for the world, it’s coming before they know it and it’s going to be here very, very soon. And these things have to look as amazing as the technology that they’re bringing with them.

What I need to do is not just make it an incredible aesthetic joy to be in, but when you get inside one of these things you don’t want to get out of it. It’s going to be the experiences that you have when you’re inside this transportation device. If you could just take that situation of being inside a capsule, what would you want to occur there? You want to relax, you want to socialize, you want to work, you want to be entertained. All that is now incredibly possible.

I mean all the advances … where everything coming now is digital and so real that you can actually imagine something on the inside being the new wave of entertainment. So basically you’re in your private space, you get to turn it into a virtual world where you’re being transported from A to B or wherever your destination is. And within that space in time you’re in the ideal atmosphere. You’re not really sitting in a plane and just going along for the ride, which is what you do pretty much in a taxi. All the new materials that are coming about at the moment in terms of seats, flooring, lighting, buttons, displays, image projection, sounds and temperature control. You know all the things that we try to shoot into new cars as a next step for luxury, those are just going to become everyday things that are making the whole ride an incredible experience.

Regretfully they’ll be a lot shorter in duration because of the nature of the jet being you know very high-speed and all that. But it’s kind of like if you can imagine somebody who loves roller coasters they’re always at the end thinking “oh my gosh that was too quick, I want to do this thing again.” That is the kind of positive feeling you should have when you get out of the vehicle.

TC: I saw this documentary a while back that made the point that the world we live in is predominately designed by humans and therefore design can make or break our everyday experiences. As a designer, is it really difficult for you living in a world where, let’s face it, a lot of design is awful?

Some designers take it as a job. Other people just live it. And design is all about making the world a better place not a prettier place. That’s [just] a consequence of making it a better place, but making it a better place is what the end goal should be. It’s a shame that there aren’t more designers in the world thinking about making the world a better place.

TC: How did you get this job ? Did they come to you? Were you just like, “I’ve done cars, I want to do something new”?

It was fate, that thing when two separate paths suddenly collide. I think it was more like that. I’d left McLaren in November 2017, not because I was frustrated or anything like that but because I thought there was something bigger than just designing products that nobody really needs, they just desired and want. What was I doing, I was just clogging up the road networks even more and not making the world a better place, probably a more exciting place, but not socially better. And so I left with my ideas of starting my own design studio, which I’ve been sort of kicking off, in terms of how to improve the world, and then I heard about Lilium and Lilium contacted me.

It was just a match made in heaven. It met all my principles of working for an exciting and incredibly innovative company from the very beginning. To be able to establish a design department for them with a design DNA, a design language, the design team, the studio. Doing something for the future of humanity. Staying with transportation, but making it even better than it ever was. Making something science fiction reality.

TC: Are there any particular designers or designs that you can point to and say that designer or product has stood the test of time?

That’s really, really tough. I can tell you specific products for their aesthetic value but I think I have to go deeper than that because you know everybody admires different designers for different reasons. If you could put two guys together that would be da Vinci and Einstein. I mean da Vinci was probably the guy because he not only could paint and draw and all that but he was also an incredible engineer and he figured out how to make these things work and he wanted things to look great too. So if I could say one person for me it would be da Vinci more than anybody else just because the guy could paint, the guy could engineer. Anything he ever touched was absolutely amazing. He was doing flying machines way back too. I like his natural approach. I like people who are really in tune with nature because for me that’s the best inspiration we have. He came up with things that never existed before for the benefit of humanity. Pretty much. If he would have been that kind of guy today he would be the absolutely most awesome human being on earth. I’ve got tons of books on his works and him, and everything like that, just because he’s so inspiring to me.

Read more: https://techcrunch.com/2018/04/23/ferraris-to-flying-taxis/

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abckidstvyara · 7 years ago

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From Ferraris to flying taxis: Q&A with Lilium’s new Head of Product Design

Munich-based Lilium, the super ambitious company developing an electric vertical take-off and landing (VTOL) jet and accompanying “air taxi” service, continues to hire top talent to make its vision a reality. The latest new recruitment is car design veteran Frank Stephenson, who has previously worked for Ferrari, Maserati, and Mini, to name but a few.

Considered one of the world’s most renowned and influential car designers in recent times, 58-year-old Stephenson’s portfolio includes iconic designs such as the BMW X5, New MINI, Ferrari F430, Maserati MC12, and McLaren P1. Now he’s embarking on adding the Lilium jet to that list.

In a call with Stephenson yesterday morning, I got to ask him why he’s ditched Ferraris for flying taxis, what his new role will entail more specifically, and to dig a little deeper into how he thinks about design and why good design really matters. A lightly edited transcript of the full Q&A follows.

So if you have a Michelin rated-restaurant and you’ve got to feed 100 people, you’re going to have quite a few cooks in there and the waiters and everybody else to run the machine. But the chef, the guy that’s got the Michelin stars… gets all the credit for it. But it’s all the other guys doing the work for him and he’s basically overseeing it and he’s trying to keep everything moving along the right track. That’s kind of what it’s like. I mean, I’m not probably your standard type of design director because I like to get in and cook and mix up the stuff too. I just have never been able to stop getting my hands dirty. I guess in that respect, the design directors come across often as prima donnas almost and sit back and watch the guys work and every now and then say he likes it or he doesn’t like it. But I am more of a hands on type of director.

I don’t set the brief because that comes from marketing, what product segment or what market segment the product should fit. So if they’re telling us to design a two-seater vehicle or a five seater vehicle or whatever then that becomes the target of the design team to deliver in a certain time span. What I do is I meet with the marketing guys, I meet with engineering guys.

The engineering guys will lay out what we call a package, where all the critical components are for the vehicle. With a car it is typically where does the passenger and the driver sit, where are the wheels and where is the engine and how much trunk or boot space are we going to have. Things like that. And then I work around all those components with the aerodynamic engineers, suspension and everything.

The moment we come up with great ideas, we work with engineers. Typically I try to get engineers and designers working together in the same studio or very tightly together so there’s no loss of traction, and to make sure that what we’re doing can be made. We typically create scale models out of clay. We maybe do two, maybe three, different designs, and as those designs evolve one will get chosen as the favourite theme. That goes to full-scale. And then when this clay model is finally approved by engineering, and approved by finance, and approved by marketing, and approved by design, we will recommend that to the CEO and he’ll have a look at it if he hasn’t followed throughout the process, and then that product will become the model for prototyping and we’ll take moulds off of it and create the real panels for the car and then it goes into production. Pretty much that’s it in a nutshell.

As a design director I have to control everything from the look to the colour to the ergonomics to the feasibility of it. And then with Lilium the requirements will probably branch out over into what the Lilium port will look like that you access to get into your jet. So the whole kind of environment from an aesthetic or emotional point of view.

TC: Give me more of a sense of the relationship between design and engineering (or form and function)… Aren’t you somewhat constrained in your imagination by the science of flying?

No, that’s what a bad designer would tell you, ‘I’m constrained, that’s why the vehicle doesn’t look as good as it should’. But the fact is he’s getting paid the big bucks to make that thing look good and if he can’t make it look good he’s just not good enough. So there’s no excuse in my book for bad design or anything that looks bad. Absolutely no excuse. Anything can be made beautiful and should be made desirable, obviously.

So in terms of constraints, yeah, but that is what makes the game so fun for a designer, that you’re working within rules and legislation and restrictions which make it a challenge. That’s why you get good-looking cars and other cars that don’t look as good. Like I said, if there is a beautiful small car, why aren’t all small cars beautiful? It’s a taste thing obviously. Some people like some designs, a lot of people like other designs. But good design is absolutely not subjective. There’s good design and bad design, and there are a lot of bad designs out there — not to knock them or criticise — but there are principles for good design that designers typically learn when they’re being educated. If you don’t apply those laws of good design then you’re not going to have a good design.

I think designing cars is not harder or easier than designing an aircraft, it’s just making the absolutely best product you can make that works well. Typically if you design something that works very, very well it looks fantastic. If you design something that doesn’t work very well then the design doesn’t matter at the end of the day. One of the interesting things is people always say that form follows function. I’ve never heard anything more ridiculous in my life because for me form equals function. If the product works well, it looks great. There’s nothing in the world that works fantastically well and looks awful, that combination doesn’t exist. Especially in nature. You look at all these beautiful animals and organisms in nature that work incredibly well, and therein lies the beauty of nature. Horses and cheetahs and all these amazing animals, nobody sat down and designed this amazing looking animal. Evolution caused it to be absolutely fantastic at what it does, and through being fantastic at what it does, the result is the look, and that look is awesome. That same principle is how I feel about design. If you work very good with the engineers and you create optimised solutions, it’s very easy to make them look good, it’s almost inherent in that way.

TC: Regards the Lilium jet… what is the main challenge in your mind of designing what is a new type of transportation?

What I need to do is not just make it an incredible aesthetic joy to be in, but when you get inside of one of these things you don’t want to get out of it. It’s going to be the experiences that you have when you’re inside this transportation device. If you could just take that situation of being inside of a capsule, what would you want to occur there? You want to relax, you want to socialize, you want to work, you want to be entertained. All that is now incredibly possible.

I mean all the advances … where everything coming now is digital and so real that you can actually imagine something on the inside being the new wave of entertainment. So basically you’re in your private space, you get to turn it into a virtual world where you’re being transported from A to B or wherever your destination is. And within that space in time you’re in the ideal atmosphere. You’re not really sitting in a plane and just going along for the ride, which is what you do pretty much in a taxi. All the new materials that are coming about at the moment in terms of seats, flooring, lighting, buttons, displays, image projection, sounds, and temperature control. You know all the things that we try to shoot into new cars as a next step for luxury, those are just going to become everyday things that are making the whole ride an incredible experience.

Regretfully they’ll be a lot shorter in duration because of the nature of the jet being you know very high-speed and all that. But it’s kind of like if you can imagine somebody who loves roller coasters they’re always at the end thinking ‘oh my gosh that was too quick, I want to do this thing again’. That is the kind of positive feeling you should have when you get out of the vehicle.

TC: How did you get this job ? Did they come to you? Were you just like, ‘I’ve done cars, I want to do something new’?

TC: Are there any particular designers or designs that you can point to and say that designer or product has stood the test of time?

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cherrykcrunch · 8 years ago

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Advice maybe?

yoo I’m getting paid really soon for the editing I did. Collectively my dad and I sorted out that I worked about 20 hours total. and the pay at the beginning was determined to be something like 20-30 dollars an hour. so low range 400 and high range 600 (probably gonna be on the lower end).

I’m putting at least 150 into my bank account to save for future shit. I owe my mom $60. The rest will be free for me to spend with maybe some put aside to get some decent lunches at school. so probably around $160 to spend??

the thing is, I’m not sure what I want to buy yet. I’d easily go buy a solgaleo and a lunala plush (which seem to sit at around $60 each when I checked online) with no regrets whatsoever but my parents would likely not appreciate that or allow me to do so.

(They’re both central parts of my sun and moon teams. I don’t put them in boxes for anything. plus it’d be neat to have all the starters and legendary pokemon // I also like having plushies I have a lot from when I was a kid but I find them super comforting and like if I’m at home I’ll always bring a couple around the house with me throughout the day to wherever I am. Particularly if I’m sitting down. I tend to give them nicknames and like make bracelets and scarves and like clothes for all that for them because it’s calming and actually very fun? I never played much with human dolls but I had a massive bin full of animal figures. And yeah some people would think It’s a waste but those kind of things have value to me, and it’s money I worked hard to earn so it’s not really anyone else’s place to say what I can or can’t spend it on - of course if I wanted to spend it on something illegal or unsafe that’d be different - I might try to make the argument and see where it takes me)

Seeing as it’s likely that’ll be difficult or impossible, I’m thinking of other things I might want to do.

If I had gotten this much money in the past I would’ve immediately gone to spend it on books at my favourite secondhand bookstore. The thing is, It’s not around anymore (though if I was looking for something hard to find I could likely email the owner since we talked frequently). another thing is while I still love the thrill of collecting books, I don’t read them anywhere near as much as I used to. It’s not that I don’t want to or don’t have time. It’s the face that I have trouble getting started and extreme difficulty focusing now. Its something that depresses the fuck out of me because I’m still interested in the stories but I have so much trouble immersing myself now.

The second thing I would default to was art supplies. but the thing is I’ve had a horrible time with art this semester and last. I struggle to motivate myself to do traditional art beyond sketching on my notes and tests at school because I’m desperate to be doing something else. digital art has little hold up but I have a good tablet and a good program I’m comfortable with I don’t need anything more than that. Something I was thinking about doing was investing in some decent acrylic paints but I haven’t done a proper acrylic painting for a year or more now because of focus and motivation issues. (Doesn’t help that I have a summative right now that literally has to be a goddamn fucking acrylic painting). And honestly? I want to distance myself from art for a while. I want to get back into it when and if I genuinely really want to and I feel comfortable sitting down and I can focus for more than a half hour at a time, less if you consider the set up time.

There’s obviously something very important to me that I’d willing put all my money towards : HRT - testosterone in my case. the thing is? my parents kind of backed me into a corner and made me promise I won’t take anything or do any sort of physical surgery until I’m 18 and most likely not living under their roof. At this point my dysphoria is a major issue, as well as the problems I face with having a period.

I can’t go to school without wearing my binder because I just break down. Wearing it so often causes me some strain though. I’ve been finding that I don’t breathe deeply enough and as a result feel trapped and restless and my back and shoulders start to ache midway through the school day. But I need one thing at least to keep me grounded in that way. If I was taking hormones I’d be fine wearing a looser sports bra as an alternative because I recognize that seeing other changes would even out some of the stress.

As far as periods go, I don’t get them on a solid monthly basis. they come and go about every six weeks to two months. And the week before, during and after are an absolute living hell. before I generally get extreme mood swings, lash out at friends, split frequently and generally unsettle the foundations of most of my relationships with other people at the time. During I feel tired, sleepy, depressed, bitter and barely function with the feelings as well as physical things I have a heavy flow so I get woozy and dizzy and usually lightheaded and vaguely confused often, It usually lasts a full 7 day week take or (more likely) give a few. I feel violent aggressive and I generally just feel like curling up in a ball telling everyone to fuck off and dying on the spot. After I feel worn out emotionally numb and I usually have to fix up whatever fuck ups I made at the time (apologies, catching up, etc.). Basically my bpd rears it’s ugly head in full gear for two weeks and then I have to spend one or two more fixing it up.

But, I made a dumb promise, and even though it’s dumb I can’t break my promises it’s one of the few things in my own moral code that I’m not a hypocrite about.

So there’s my dilemma right now I don’t really know what to do but If I can’t get what I want most (Honestly? I can’t) I might as well go for the second (if that’s even possible?) and yeah I could just save that too but why? I feel good when I spend impulsively (in the sense of having a set sum of money and having the free choice to spend it when and where and on what I want as whims take me) and If it goes in my bank account I won’t be at it for years likely. I feel I need something in the moment that’ll make me happy, not in the future. I feel gross and depressed and terrible now and if I can make myself feel better I’m going to do that over having money to spend when I’m at a place where I’m happy enough as is.

#sorry for not adding a read more but no one reads those #long post #so if you block that tag you're fine #dysphoria #trans #ftm #money #spending #money help

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abckidstvyara · 7 years ago

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