#discussions: concept art/development

[firadessa]

More crown anaylsis:

My working theory is that the second crown is actually the crown for autumn like Sarena suggested. But was never supposed to be the "normal one" she wears

We see from many concept arts and even a deleted scene that the fall scepter was originally going to be a crown

Not only that, this is a piece the original concept art of the mirror of encanta. One of the plot points of the movie was that pieces of the mirror would be used to rebuild the scepter, same would go for the crown right? LT and TB were also being worked on the same time, explaining on how the crown could end up in Tinker Bell, which I'm thinking it did during the Vidia confrontation scene

This is from a scene where Blaze returns home instead of going to Pixie Hollow

Now the PHG crown looks very detailed right?

Well, the crown is so detailed and ornate- I can't believe I missed it because I was so used to the so called "default". Well there is plenty of reason that this crown can look like this. The original working title for the movie was "Race through The Seasons" and it was originally a full length film, the 5th and final one before it was condensed for TV. I believe every movie prior, which should have included SoTW, would have had a different design. However, the directors lost interest, and there was general confusion regarding the crowns. Only PHG got a crown design for the special.

I believe it was supposed to be a more "seasonal" design, it could also be a a design reject from Lost Treasure.

Another interesting thing is this magazine or some source I read mentioned Clarion's first crown is the "Arrival Day" crown and the flower crown is the "Spring Celebration" crown. However, I am inclined to believe that her first crown was always supposed to be her normal crown design was always supposed to be the Arrival Crown. This crown features a white floral motif, her favorite flower is white cala lily and symbol of her regal status. I believe this crown, was always meant by other artists to be a regular everyday crown, though somehow the autumn crown/swirly design ended up being the regular day crown.

A weird thing about Clarion's ROB/pre final design was that it had no crown but a necklace instead, making her seem like she's more humble. It would make sense for the notes to say, make it more regal, using the books lily thing as inspiration. Many of her merch at the time seems to have the pointy crown or the Ring of Belief style, meaning the Arrival crown could have always been the normal one. Maybe that's too much thought into a small difference but still. Last one is the edited website image

On Queen Clarion’s crowns. After Mary and anon had mentioned it, I had to look for all the crowns she’s worn in the movies and do some quick analysis!

The first scene, Tinker Bell’s arrival, takes place in Winter, and Queen Clarion is wearing a glowing white crown. Later, when she attends a review of Spring preparations, she changes into a flower crown which she keeps for the rest of the film (and presumably the season.) In the next movie, the fairies are preparing for Autumn, and Clarion again has a new tiara. Finally, the Pixie Hollow Games special introduces one more crown, and this just so happens to take place in Summer.

Was this coincidental, that we only see Clarion wear certain crowns in certain seasons? Or was it an intentional design choice? I don’t know, but I don’t care. My headcanon is that she has a tiara for each season.

This would solidify the timeline of when the rest of the movies occur, which is something obvious for the first few films…TB = winter-spring, LT = autumn, GFR/PHG = summer…But not so much for the others. The next three films take place only in Never Land and we aren’t told what season the fairies are bringing to the mainland.

But the answer is hidden in Clarion’s crown! She wears her Autumn crown for the rest of the movies.

We can even prove this at least as far as SotW, judging simply by what’s going on in that movie. The winter fairies are all in Pixie Hollow, practicing their frost and packing snowflakes into baskets to take to the mainland. They’re in Autumn, preparing for their upcoming season.

[aroaessidhe]

2024 reads / storygraph

Outdrawn

f/f contemporary romance

two cartoonist who’ve been rivals since uni, and now have competing webcomics online, have to work together on the relaunch of a cult classic at the comic press they both work at

they both struggle with art-related physical and mental health issues, and complicated families

[king-crawler]

Short excerpt from the art book about Vanellope's kart🥺

[firadessa]

I'm still thinking about her...who were you... Rani???

We're all still bitter 😭

[dani-the-toad]

character google doc for all my ocs! some of them have info, some are still being worked on. all of them have basic info though (age, height, pronouns)

[weirdmageddon]

this is the biggest pokemon leak weve ever seen. holy fuck.

a gamefreak employee got phished in a dev portal. i feel really really bad for them. but at the same time so much of this is amazing. i love cut content. i love seeing the process of making stuff. so i have mixed feelings, but i’m going to set that aside.

ive been here for multiple beta leaks since the spaceworld gold demo in 2018 and the diamond and pearl beta leak somewhere after that. this is by far the most intensive leak of beta pokemon stuff ive seen.

source code and beta builds for gens 3, 4, 5, and later 6 and 7. it is MASSIVE.

there is so fucking much and you can see coverage here

edit: if you dont have twitter (elon is a shitbag i dont blame you) you can go on r/PokeLeaks

this document from junichi masuda made in 2005 is the highlight for me, the symbol used in the hgss arceus event. it seems the legendaries are like a greek pantheon of deities

but we got more

internal development and discussion. universe creation lore, character profiles (e.g. skyla is a sexy latina pilot inspired by jennifer lopez and isabella fontana), never before seen designs, seen-before designs (latiken had a fucking sprite!), concept art, gen 3 had some darker looking discarded dev art. WHAT IS THIS IT RULES

here are compiled beta sprites from gens 3, 4, 5

[dredgen-nope]

i need to start some portfolio projects but im just sitting here stuck cause i dunno where to start or what to do

[jesncin]

Thinking about Disney and how we talk about Cultural Representation

(concept art by Scott Watanabe)

Old essay originally written on Cohost in November 2023. With additions.

With all the promo stuff about Disney's upcoming animated film Wish, I can't help but think about Raya and the Last Dragon again. I spent a year intensively researching things about that movie and the discourse surrounding it for a series of videos on Xiran Jay Zhao's channel, and oh boy did that reveal a lot about the current way we talk about cultural representation in casual media criticism.

Lately we've grown a habit of looking at signifiers to culture, things like a cultural dish, a nod to a martial arts style, a piece of clothing, maybe a hairstyle, a weapon and so on, and then projecting a bunch of intentions onto the work regardless of authorial intent. I witnessed this a bunch of times in discussions surrounding Raya and the Last Dragon.

You basically get a bunch of 4d chess-style justifications for the lazy implementation of culture in Raya.

random examples cuz there's too many to name:

The movie will do something like make the leaders of the villain nation women, and people immediately assumed it was some kind of bespoke reference to Minangkabau matriarchical society.

the art book of Raya specifically stated that they purposely misplaced things as a stylistic fantasy choice "we could take something that is known and place it in an unexpected location, like coral in the desert and cacti in the snow". But when people saw a water buffalo placed in the desert they assumed it was some super clever environmental story decision.

The movie will tell you it includes things like Borobudur, Angkor wat, Keris, and most people will take their word for it without hesitation. Never mind that Southeast Asians could barely recognize these nods to our culture through how amalgamated the designs are.

(early concept art by Scott Watanabe)

Moving forward, I think we need to talk less about "what" parts of a culture are being represented in these movies, and more about HOW they're being included, we need to ask:

What is this piece of media's relationship with the cultures it represents?

Because Raya and the Last Dragon is not a cultural movie, it's a monolith film pitched and written by white people and a Mexican director with 2 SEA writers added later in production to avoid backlash. Culture serves the purpose of aesthetic set dressing in the film, as opposed to something that informs its themes and characters.

it wasn't even initially pitched as a Southeast Asian movie. The white writers who pitched it were going for a vague East Asian sci fi fantasy story under the working title "Dragon Empire". Southeast Asian culture was an aesthetic change added much later.

This is what happens when a corporation tries to put representational value on a shallow aesthetic. Because of the way Disney constantly marketed Raya as this big authentic cultural film, it primes its audience to read cultural intention in the most benign details. And when we get lost in the details, we lose sight of the bigger picture.

Contextualizing Cultural media criticism

(visual development art by April Liu)

We need to start demanding more context in our analysis. The next time we see a reference to culture in media we consume, take a step back and ask what purpose it serves in the narrative. And most importantly!! What Is Its Relationship With The Culture It Represents? We shouldn't just accept things at face value.

start asking yourself,

through what lens is this cultural dish and its spicy flavors being presented to us? Are the customs surrounding the food being respected?

If martial arts or dance is represented, how is it translated in the adaptation? Are you getting generic hollywood-fu or are you seeing specific movements with purpose and motivation? Are the philosophies or spiritual contexts of these traditions present in the text?

Are the clothing, hairstyles, and presentation of the characters being de-yassified through a colonial filter? Is the non-conformity of the cultures' different framework for gender presentation being adjusted to fit a more recognizable binary?

If language is present, what role does it serve? Is it presented as other through being exclusively used by villainous beings? Is it being made a monolith as one "non-English" language?

is this temple actually a place of worship or is it just a set piece for a goddang Indiana jones booby trap action fight sequence

This way, instead of unquestionably defending a piece of media because a character wore a traditional outfit one time, or because some characters took their shoes off at a temple, or because there were Arnis sticks in that one fight scene, we can approach the text with a more nuanced and holistic understanding of how culture informs narrative.

To quote Haunani K. Trask (author of From A Native Daughter):

“Cultural people have to become political… Our culture can’t just be ornamental and recreational. That’s what Waikiki is. Our culture has to be the core of our resistance. The core of our anger. The core of our mana. That’s what culture is for.”

[shmaba]

I’m going to assume that at this point you’ve all seen Critical Role’s new show Candela Obscura and at least skimmed through the Quickstart Guide (you have done all that riiiight??) So I wanted to compile all the things I’ve done that have been shown so far. Its long so read below the line!

I’m going to try to avoid spoilers. So feel free to read without worry. I’m also going to try and avoid breaking any NDA like a good professional. So I will not be doing some deep dive behind the scenes thing. Only visuals that have already been publicly shared are going to be on here

The very first thing I did on this show was the concepts for the main set. Everything is practical. Nothing is green screen or cg or whatever. Some people think it’s just good cg but nope that's all real. You could touch it! (don’t touch it, there are ghosts)

There were multiple iterations on the design, each with their own vibe and statement piece. CR narrowed it down to what you see in the show: a sort of storage hall with an odd clock contraption behind the GM. I think I called this design version the “Abyssal Hall” or something like that (I gave the different versions names to better keep track of which design was being discussed)

The company Flip This Bitch built the physical set. They turned my silly little art into a real thing. So they did all the actual magic of making this set come together in the end! They deserve a lot of the credit for it looking so good in the end.

Also that little piece of art in the bottom left of the preshow is a section from the final concept art of the set.

That contraption behind Matt is based on astrolabes and clocks. This isn’t really meant to be a literal astrolabe or a clock as we would use them in our world. Narratively this isn’t a device that measures either of the things that a traditional astrolabe or clock does. This is a special magickal tool that does a secret third thing.

Also I did concepts for the GM screen. You don't really see it besides in the fancy-shmancy preshow. There were a number of more intricate designs for it but CR went with the simpler option since the only part that would be visible on stream is the top, so that's where I put the most detail.

I should also note that I did not design the logo! It’s pretty prominent on the GM screen but I was supplied an already existing logo for this.

NEXT is the Taliesin enclosure set that you see in the trailer. This is actually meant to be like the lantern room on the top of a lighthouse, minus the big light beacon (You could say Taliesin is the beacon).

Also in the trailer you see a couple brief sketches I did for some world building concepts:

Speaking of sketches there are a number of art pieces of mine in the Quickstart guide

A lot of my art is sketches. They’re all meant to be like notes and drawings from members of Candela as they travel and notate their findings. Most of the notes on these sketches are my actually my notes when I was doing world building concepts, but they replaced my handwriting with a font because my handwriting sucks lmao (also likely for ease of future localization).

Also the cover of the Quickstart guide uses line art of a part of that astrolabe clock set piece. This line art was part of the deliverables that was sent over to Flip This Bitch for construction. They’re just using pieces of those set concepts everywhere!

As you can see I’ve done a lot of art for this project. I was part of this project when it was still early in development. It’s changed quite a bit from where we started. 

I wasn’t the only one that made all this art happen though. Other artists, writers, and designers got to add their own vision to this. It was very much a collaborative effort that took a long time to happen. It’s very exciting to see everyone’s hard work come to fruition and there is a lot more to come!

[firadessa]

if you need a hint let us know!

Mark Cote Info Reveal- Silvermist's Quest

(Long Post Warning)

Me and a few friends are doing our own searches for information on the elusive Tinker Bell draft. We were able to secure an interview with Mark Cote, who was on the film for both a 2d and 3d version. Unfortunately, we were not able to save many recordings in good quality and mine has no audio. I also failed to transcribe our meeting, but hopefully this will not be our only meeting.

Before the original movie was put into 3D, it had several character quests all linked to the narrative to save Neverland. I thought it would be like Disneytoon's failed Enchanted Tales series, but unlike Enchanted Tales or Cinderella 2 the segments wouldn't be so self contained. It was like the movie Fantasia, but connected through a larger plot. There would also be a ticking time bomb in the form of the worlds of the mainland and Neverland combining due to the theft of pixie dust by Tinker Bell and friends before they earned it messing up the natural order. He told us that all 5 character quests would have to be approved by management, so he experienced delays in production. Several quests were greenlit but they had a hard time when they got to Silvermist and Iridessa.

We asked in a riddle, what brings water life? It took a while to get an answer, but @princessquinnella was reminded of water fairies in the books. The thing is though, Silvermist was conceived pretty differently from Rani. Despite being a water fairy, she was a repressive and pragmatic character. If you had a Disney Fairies DVD that came with the toys, you might remember the line "Still waters run deep" in reference to Silvermist. The pond and lotus where she lived, is implied to be "Stillwater Springs" or Lilypad Pond from what we know. x Here is the description from the illusive "pitch book"

Firstly, Mark told us for this "epic story" Silvermist's quest would be next to last. None of the fairies can fly because of the magic has dissipated. The story starts in her home of Stillwater Springs/Lilypad Pond, she creates a magical cloud named Tempest to fly. Tempest is an opposite to SIlvermist, he's a joyful and free spirited cloud like a impish child. Like in the final cut, there are 4 seasonal areas? There would be 5 themed areas in Pixie Hollow where each fairy lived. Many inanimate things live here in this word inspired by Art Nouveau.

She needs to fly on Tempest to reach the "water of life", and she travels to Pixie Hollow in a harsh desert area. She has a small glass vile to collect the "water of life" and flies over the stretch of desert looking everywhere. There's a color script of this segment somewhere on AODF (dont know where to link), where it is blurry and you can see the desert.

Silvermist and Tempest even meet other clouds on their journey, but they are grumpy and stern adult clouds.

Here, on the color guide- we see things a bit different. There seems to be some sort of snowdrop-esque flower in place of Tempest- but also some clouds, so I'm not sure what it could be.

Silvermist has been in the sky for a while now in this desert, but cannot find the water of life. Suddenly! Tempest, the child cloud starts to die. Silvermist is scared, because her friend is dying and she hasn't found the water of life. She sits down defeated... and starts to cry.

He showed us a piece I am very familiar with:

It is then, when she is at her lowest- when she cries... Tempest is resurected, and she is able to save her friend and collect the Water of Life, the quest item she needs to save Pixie Hollow.

Lastly, I should say the desert like areas in Pixie Hollow remind me of the elusive art from the mysterious artbook "The Art of Judith Holmes Clarke" (excuse quality, its a short frame in an IG video)

Now it's time for the next quest to reveal information about, there should be 2 left with more info to share with you...

This one shall be fill in the blank:

"------ is the key that opens every door."

Fly with you later!

[usagifuyusummer]

More silly and fun practice sketches on the Victorian Era FOP AU lol. Just gonna post them here first while we're still developing this and busy with our real-life duties as students.

There's actually a ton of my thoughts in the alt text of these images lol. I hope it's still there. I will also include the links of the existing posts relating to this AU to keep track of what has been created.

Origin Discussion Posts

Updated Character Designs 1

Updated Character Designs and Concepts 2

Concept Art 1: Boy with a Parasol

Tumblr Asks 1

Credit: @keyintheeye-blog original creator and the default character designer of this Victorian Era FOP AU.

I will post my other thoughts (something like a what's happening update) on the repost of this later. Gotta get back to my unavoidable university duties... Have a nice day tho 💐

[patricia-taxxon]

Hey! I was wondering what your opinion was on some of your tracks being used for audiovisual productions? I’m a digital arts and animation major studying down in central Mexico and I have been a huge fan, now that I’m being tasked with making actual animation and I just wanted to know if you are comfortable with making concept art or actually developed animation to accompany your work! If not then I can just animate over anything else, I'm open to the idea of discussing this in private too! ty!

my purpose as an artist is to beget more art

[firadessa]

Me walking up to the witches grotto make a soul bargain in desperation for the movie that almost killed the Disney Fairies franchise but the witch sold their soul to the Disney company

Me and the crew if we ever get our hands on some new material

Me trying to guess plotpoints based on random concept art/prototype thing

Me if some one had it on their hard drive under ransom

Disneys security is slaking rn please

[letsatomicbanana]

Ink!Sans Cultural Character Coding (OUTDATED)

art by @/sakuramochi64 on twitter

Disclaimer!

This post is meant to present and analyse obvious and obscure East Asian (Jpn-Chi) ethnic and cultural influences on Ink!Sans character. If any of the material in this essay is incorrect and/or considered morally offensive, please contact me!

Ink!Sans by @comyet

↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓↓

/Despite the fact that Ink is a non-human monster skeleton character, he is often portrayed with human-like traits and characteristics that range between a bunch of topics. One of them that's portrayed as very predominat to his character is his etchnic cultural background/inspiration. Again, this post is meant to analyse and to discuss such inspirations and how it affects his character./

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INSPIRATIONS

According to Ink's creator, Comyet, the concept of Ink!Sans was conceived by a Japanese and Chinese ink calligraphy brush. These are known as Fude brushes (筆) and Xuan brushes (宣笔 Xuān bǐ) respectively. This ultimately inspired his ink abilities and powers, just like his concept of being an 'artist' (In simple words, it inspired Ink as a whole).

'The history of ink brushes and the ink material is a long and complicated journey to cover, but it's important to know that these were invented in ancient China around 300 B.C (traditional Chinese: 毛筆; simplified Chinese: 毛笔; pinyin: máo bǐ) and are used in a vast variety of East and Southeast Asian countries, like Korea; Vietnam and Japan.

example of the brush Ink!Sans was inspired by.

At glance, ink (the material) is an enduring medium that still surrounds society till this day and it's used in multiple cultures across the world.

Writing with ink calligraphy brushes are common in the Europe and the Middle East as well, but the material was crafted of iron salt and oak galls. When written, ink is often a dark color but fades to brown tones of rust'. Such phenomenon was detectable in the Middle Eastern Bible manuscripts and even ancient European literature as an example.

Ink!Sans was based of the ink material created in East Asia, most commonly made with carbon-base black substance, which preserverd the dark coloration even after hundred of years.

↑ Example of an ancient Japanese painting, such arts are called 'Sumi-e' (Japanese, 墨絵) or ' Shuimohua' (traditional Chinese,水墨畫).

Unlike iron gall ink, carbon based inks are still very common to this day.

'Throughout the long history of East Asia, writing with ink was a very important ability to have. The Materials were made with precision, long traditions of training in calligraphic skills were developed, and writing and literacy were often wrapped up in questions of social status and class.

Although the development of major Chinese calligraphic scripts was completed by the fourth century, the art of calligraphy continued to evolve over the millennia. Master calligraphers with years of training and dedicated practice were recognized for their personal styles, and later generations of artists often adapted brushstrokes and designs to their own style. This stylistic evolution of scripts continues to enliven Chinese calligraphy to the present day.

Calligraphy was an important mark of personal learning and aesthetic sensibility in Japan. Portable, lacquered wood boxes were designed to hold an inkstone and water dropper in the base, with trays to hold writing brushes and solid ink sticks. Inkstone boxes (硯箱,suzuribako 'ink stone box' ) could be easily carried to a pleasant location, even outdoors in fine weather, to write correspondence, diary entries, or poetry.'

Fun fact: Ink's font 'Note This' is inspired by such ancient writing.

Example of Ink's canon speaking font and Japanese calligraphy (書道, calligraphy)

'However, when it comes to the subject of painting with the material, different schools of painting existed in China, the scholar-painters of Song-dynasty China generally preferred ink-based paintings over the more colorful, pigment-filled paintings produced historically and at the painting academy. Chinese painting manuals and commentaries from the Song (Sung) and Yuan dynasties (rarely mention pigments, possibly because it was assumed a painter’s skill shouldn’t depend on the use of colors.

Japanese artists are known for using media appropriate for the subject matter. Images depicting traditional Japanese narrative tales were typically rendered in opaque colors with outlines created in ink and later obscured by color overlay. Ink monochrome was closely associated with Chinese styles, particularly those transported to Japan via Zen Buddhism. Ink-based forms created with modulated strokes and layered washes suggested introspection and spiritual exploration.'

Ancient Japanese paintings that uses dull colors and ink outlines.

Exhaustive examples of ancient Ink paintings. Dragons and Clouds 雲龍図屏風 （左隻）and Seitei kachō gafu 省亭花鳥画譜

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DESIGN

Also clarified in an ask on her main blog, Comyet describes that traditional Japanese clothing inspired Ink's 2020 outift redesing, such inspirations are very obvious in first and second analysis.

Ink!sans reference sheets for the 2020 design, which can be found in Ink's official F.A.Q

Starting off, the pants.

Ink's pants were inspired by Hakama pants (袴), a traditional Japanese garment designed as a skirt-like pants often worn over any type of kimono. His pants seems to be inspired by umanori (馬乗り)Hakamas, whose had a division in the middle and often used in horse-riding activities.

Example of a Hakama.

The Hakama is a wide pleated pants (seven pleats, five in front and two behind), with a rigid backrest (腰 板,koshi ita) placed at the level of the lumbar region. It is tightened with four straps, on the left and on the right, as well in front as behind.

Historically, the origins of the Hakama dates back to the Sui and Tan dynasty were this garment was worn by the Chinese imperial court. Later, the Hakama exported itself to Japan during the Kamakura period (1185 to 1332) and became a traditional garment for the upper classes of Japanese society as well as for samurai warriors who wore it over a kimono (Hakama-shita).

During the history of Japan, the Hakama took on different styles and was mainly made for men, although in the beginning it was a unisex garment. During the Asuka and Nara era (6th to 8th century), the Hakama came in two versions. The first one was open on the front and was tied on each side of the waist with two straps. The second one was open on the left side and closed on one side only.

During the Edo period, the Hakama was worn by the nobles as a complement to the outfits of the time such as the noshi and the kariginu (狩衣; a sleeveless jacket with very pronounced shoulders). Very functional, these pants were also adopted by samurai warriors who usually wore them as Kamishimo (上下/裃). It is a combination of kimono, Hakama and kataginu. When the warrior visited the shōgun, he wore a Hakama called naga-bakama which greatly restricted his movements.

Edit:Currently, hakamas are both worn by men and women.

However, under the scarft, Ink also seems to use a jacket that features a collar that has striking similarities to a Mandarin collar (or Mao collar)

Ink!sans reference sheets for the 2020 design, which can be found in Ink's official F.A.Q

Mandarin collars originated in ancient China and were worn  by Qing-era bureaucrats.

Picture of a Chinese man in a traditional Mandarin collar (early 1900's)

These are short, stand-up collars and sometimes fasten in the center with a small hook. Such collars are still used today for both fashionable and practical reasons. One example of modern usaged of the clothing is seen in the U.S Amry combat uniform, that features a stand-up collar of Chinese origin.

Picture of the U.S Army combat clothing

Regarding of color palette, Ink!Sans redesign uses soft but dull colors and a sinple silhouette and fabric for the outift, such design choises are similar to male kimono's dressing codes which uses dull colors (like dark blue, grey, green and occasionaly brown). Male kimonos are always more simple in design compared to female kimonos.

Photo that shows the difference of kimonos used by men and women

Although not specified, Ink seems to wear brown thigh-high socks, also known as 'tights' under the outfit. Japan has a long-standing cultural tradition of wearing such piece of clothing, this trend is particularly popular among young people and is often associated with the "gyaru" subculture, which emphasizes fashion, beauty, and individuality. Additionally, thigh-high socks are often worn with school uniforms, and are considered a symbol of youth and innocence. Additionally, it is also considered fashionable and trendy in Japan, and you can see many young people wearing them.

In regards of physical appearance, Ink also seems to follow ancient Japanese and Chinese beauty standarts, specially one's targeted towards women.

In ancient japan, specially towards the Nara (奈良時代, Nara jidai), Heian (平安時代, Heian jidai) and Edo period (江戸時代, Edo jidai) the beauty standarts for Japanese women were of those with slim eyebrowns, flat oval face shape and narrowed eyes.

Such attributes can be observed on Ink!Sans apperance.

Visual representation of old Japanese beauty standarts

/Keep in mind that some of such standarts presented are now out of fashion due to the westernization of asian countries. Specially regarding eye shape/

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MUSICAL THEMES

Ink!Sans has a long history of being associated with East Asian music, specially those of Japanese origin.

Themes that comyet associated with him includes, 'Code Wu- Asia River Album 江水/Asia River' ( post can be found here), 'Dullahan under the willows' and 'Futatsuiwa from Sado (二ツ岩で佐渡) both from the japanese game 'Touhou'. (post can also be found here.

He's also associated with East Asian musical instruments, something quite noticeable in Ink!Sans theme for the the web-series 'Underverse'. Such theme is called 'Brushwork'.

The theme starts with an instrument similar to a Shamisen (Japanese-三味線) and a Guzhen (Chinese-古筝) and also uses a traditional flute.

Photo of a Guzhen and a Shamisen, respectively

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TRIVIA

On Underverse's opening for season 2, Ink!Sans can be seem between a field of Sakura trees or Cherry Blossoms (桜).

Cherry blossom trees are an icon of Japan. Some people even call the cherry blossom Japan’s informal national flower. The Japanese school year starts in April, during cherry blossom season. The flowers symbolize good luck, love, and springtime. Since they bloom for such a short time, cherry blossom trees also represent human mortality. They remind us how short and precious life is.

In the same series, Ink is also drawn in a Sumi-e inspired style for the 'Soulless Heart Instrumental' video. Such artwork features Japanese writing in black ink.

Ink's canon instrument is the flute. Although invented in ancient germany, the flute is highly associated with East Asian cultures and it's music, chinese and japanese culture are the main ones . Other than that, Comyet already made a connection to Ink's asian influence and the instrument itself.

According to research made by the University Microfilms International (UMI) affirms that the moderny performance and melody of the instruments has clear East Asian roots, mainly from Chinese and Japanese style of music.

'The flute is a particularly appropriate instrument for such a

study because of its versatility of pitch and timbre, the latter being

one of the most important elements in Eastern music; it is capable of

'pitch-bending' and infinite changes in tone quality which are impossible

to achieve on instruments of set pitch.

The flute music selected for stud/ shows varying degrees of Eastern

influence. Depending on the nature of the composition, the Eastern

elements may be extremely subtle and difficult for the untrained to

decipher; in other instances the composer makes clear those sounds or

concepts with Eastern roots, either through accompanying explanation or

within the context of the music.'

Sources

1.National Museum of asian art (materials & techniques. Ink section)

2. Asian Brushpaper (an-overview-of-chinese-ink-history)

3. Wikipedia (wiki Hakama-pants)

4. Aikido Journal (Hakama-101)

5. Wikipedia (Mandarin-collar)

6. Kirrin finch (What-is-a-mandarin-collar)

7. University Microfilms International (UMI) (east-asian-presence-in-modern-flute-music)

[phlurrii]

It’s finally time to introduce the secondary project I’ve been working on >;Dc

I’ve had this queued for sometime in June, did not check when, so hello on [random date in june] ;D

I’m also here to explain how I’ll be posting this stuff going forward! Everything will be posted here, on my main account before being reblogged over to Soul’s Anchor a side bog with the place holder title. Unless it deals with more adult/suggestive content or heavier topics, of which will be exclusively posted to Soul’s Anchor side blog. As I don’t want certain themes alongside AM! I’ll also be referring to this series as Anchor for short! I will encourage any and all Questions, Mentions, and Thoughts to be directed there for those interested and those who are not, dw! You’ll only see the initial posts here, no asks or follows up, but this is still my art account and I shall enjoy it as I please ;3

Brief Synopsis about the Story:

A queer love story following a cursed pirate and a cult refugee implanted with a god’s eye as they combat the reality of living in a world which was created solely to feed the gods that govern it. All whilst a sapphic couple attempt to help guide the pair along a path to to a better future, one that’s validity comes into question. A dark fantasy story that aims to represent the disabled community, the LGBTQIA+, and SA survivors written by fellow members of these communities.

Also brief disclaimer, I, Phlurrii, am simply an ally to the disabled community, my partner in crime writing alongside me, ArtJunco on Instagram, is our resident community member ;]

Anyways onto the meat of this!

Below is a collection of some, emphasis on some, of the concept art and processes I went through to develop and create one of the two main characters, Lumae.

Here are some of the earliest ideas, the basic thoughts I had in my brain when developing this goober after a 3 hours pacing in my kitchen at 1 am when that inspiration struck. His hair was the HARDEST bit for me to figure out. Which sucked as usually the hair is one of the first things I figure out because of how much I love it, so it was Agony while brainstorming that part.

I also briefly considered a goatee, however it was so cruelly shot down by my dear friend. So in stead we compromised that he may get one later down the line story wise… and see how we feel then. However, upon finally figuring out his hair I was bloody elated, still has some tweaks now and then, but the base is there.

As for this next concept, this was actually the FIRST thing created for Lumae and what started everything else about his character/design! His eyes! They are still my favourite but about him and something I adore whole heartedly! They are the core of his character ;3c

These next few are early refs and mock ups of his full design, testing our colours, experimenting with shading, getting used to drawing humans again, and general concepts I had for him as a character! Also a sneak peak at Ayric, our second main goober for this story! Who was lovingly designed and created by ArtJunco!

And finally his most recent WIP ref! The only thing currently bothering me about his design is the colour for his boot covers, I have no idea what to do with them so I’d you have suggestion or ideas, sincerely, feel free to shoot an ask to the Anchor blog! I’d genuinely love outside opinions!

As for the main curiosity of why I’m doing this, for those that missed the last post, I’ll give a brief explanation below ;3

To help with burnout so I can hop between fixations, help to avoid losing interest in AM in the future!

Keep up practicing humans and critters alike.

To take a break from story telling to do story building! Give the telling part of my brain a break, while still making cool stuff ;]

To have a more interactive blog with ya’ll! One where I’ll likely be asking advice and discussing a lot more hypotheticals, doodling asks, and general audience interaction given I am not bound by any updates! Purely just “ooo… shiny-“ and anyone is welcome to join me ;D

Last thing I request is to please read Anchor’s blog bio/description before you follow, as this story will deal with subjects not suited for all audiences posted/discussed exclusively on that blog.

Anywho, that’s all for now folks, hope you enjoyed this brief intermission to kickoff the second project being public!