#horizontal wood grain

[krispeetersvisitingthings]

Bathroom 3/4 Bath Portland Maine Inspiration for a medium-sized rustic 3/4-tile installation in blue and porcelain Remodeling a shower alcove with beige flooring, quartz countertops, an undermount sink, flat-panel cabinets, and brown walls with porcelain tile.

[90days-90reasons]

Living Room - Open

Example of a large, modern living room with an open concept, gray floor, vaulted ceiling, and wood ceiling, as well as white walls and a wall-mounted television.

[carleighrose]

Bathroom 3/4 Bath Portland Maine Mid-sized mountain style 3/4 blue tile and porcelain tile porcelain tile and beige floor alcove shower photo with flat-panel cabinets, medium tone wood cabinets, an undermount sink, quartz countertops, brown walls and a hinged shower door

[sadatmirza]

Midcentury Bathroom - Bathroom

[bixels]

It's crazy how Dungeon Meshi's manga can feel more cinematic and emotional than the anime to me, even when they're practically the same. Compared to the anime, this moment is such a heartbreaking gut-drop. The way Kui uses negative space and flat compositions to create a sense of horrific stillness is so key.

The way the text (Senshi's monologue) is sequestered to an empty corner of a panel or huddled away from the edge of its text box is not only a great way of showing Senshi's headspace (fearful, isolated, dissociating), but creates a visual representation of pause, as if you hold your breathe after each line. The first panel puts us directly in Senshi's perspective too (compared to in the anime, which puts us as an outside observer over Senshi's shoulder). The detail of the door and bricks so effectively implies that he stared at it for so long, waiting and hoping, that its image is burned in his memory. The wood grain, the brick arch, the number of rivets. The lack of dialogue in the second panel shows a moment of realization too –– "he's dead" (also a great example of the Kuleshov effect). And it's that pause that creates a beat and sets a great rhythm to his headspace, like a music rest: "He never came back." (oh god.) "I'm all alone." Finally, the third panel's negative space, cropping Senshi, shows how truly alone he feels. Without his family, the world ceases to exists. Under shock, he traps himself in a 1-foot radius, too scared to even perceive a world outside its boundaries; a world that can hurt him, kill him, make him disappear with it. There is only his body, the stone beneath his feet and against his back, his thoughts, and that awful bowl of soup.

Even though they're a series of flat images, there's an implicit reading of silence in Senshi's realization and horror. Kui influences your experience to slow down and take your time.

Compare this to the anime, which fills every shot with dialogue. The pacing is fast; we never get to sit in silence like we do with the manga. The horizontal frame allowed the boarders to add Senshi, turning the composition into an over-the-shoulder shot, which takes us out of Senshi's POV. They also added a zoom-out in shot one, which adds unnecessary energy to a very somber scene. The tightening on Senshi as a close-up reaction shot also dulls the moment. In the original panel, Senshi stares ahead at the empty space to his left as a shadow surrounds his mind. It not only shows how Senshi's senses are dulling and his world is shrinking (setting up panel three), but shows how terrified Senshi is of what's in front of him, how the air itself becomes pitch black and opaque, how Senshi is surrendering himself to fear. The pacing is understandable and necessary; this episode packed a lot of story content together. It's just a shame because it really (imo) deflated one of the most nauseating moments in Dungeon Meshi.

[rogersx]

Great Room - Modern Kitchen

Inspiration for a mid-sized modern kitchen remodel with a single-bowl sink, flat-panel cabinets, light wood cabinets, quartz countertops, stainless steel appliances, an island, and white countertops in a brown and light wood floor, open concept layout.

[todayintentacles]

Bridgeport Single Wall Home Bar Mid-sized minimalist single-wall concrete floor home bar photo with flat-panel cabinets, dark wood cabinets, solid surface countertops, white backsplash and stone slab backsplash

[felixsander]

Bathroom Kids in San Francisco A medium-sized trendy image of a children's bathroom featuring light wood cabinets and flat panels

[dodie-snk]

Modern Kitchen - Great Room Inspiration for a mid-sized modern kitchen remodel with a single-bowl sink, flat-panel cabinets, light wood cabinets, quartz countertops, stainless steel appliances, an island, and white countertops in a brown and light wood floor, open concept layout.

[sstudiously]

Kitchen - Great Room Inspiration for a mid-sized modern u-shaped light wood floor and brown floor open concept kitchen remodel with a single-bowl sink, flat-panel cabinets, light wood cabinets, quartz countertops, stainless steel appliances, an island and white countertops

[spacecampband]

Kids Bathroom

[cohibacubancigars]

Kitchen Great Room

[zagreuses-art]

Woodcut & riso Cover/poster for Moving pictures I made in my printing class

[ID: a mixed media black and white print illustration. The illustration has a border of movie film. At the top is the text "Moving Pictures" in the style of the Hollywood sign. Below is a scene of two alchemists demonstrating a movie projector. The alchemists are in the style of medieval woodcuts,one has glasses and a goatee and is pointing at the movie screen. the other has a robe covered in alchemical symbols, and is inspecting the photorealistic film being fed into the photorealistic old fashioned movie projector, which is sitting on a table between them. The screen looks a bit like a old mantlepeice, with carved skulls at the corners, on the screen is a frame of a black and white movie depicting a woman in the pose of the Whore of Babylon, wearing a 20's style dress and half-circle headpiece, on top of a beast with six heads. In the foreground three other alchemists are watching the two giving the presentation from a set of movie seats, one has glasses, another is bald, the third is eating popcorn. In the black space created by the seats is the name Terry Pratchett, in white. End ID]

Easter Eggs:

- the film image in the center is from the movie Metropolis, because it's my favorite silent movie and I thought it fit thematically with the Hollywood Eldritch abomination aspect of the boom.

- the projector is an Edison design I found a photo of, as is the pose of the alchemist holding the film next to it, I edited out Edison's name on it because fuck that guy

- the name text is silent movie subtitles card font and the title is Hollywood sign font, both hand carved

- the seats are meant to look a bit like the MST3K silhouettes

- this has risograph printed and woodblock printed elements, the wood had a very definite grain that made it hard to do horizontal lines

[shastakiss]

Hello Shasta, thank you so much for linking Rudhira's post but I think they didn't do Cluedo woods only Cluedo colors? Do you have a tutorial somewhere on how to recolor stuff in your Cluedo woods? Sorry for being so annoying about this but I'm pretty obsessed with your stuff lol. Thank you <3

Hello and thank you for the compliment!

Here's a tutorial for basic recolors using GIMP at Sims2Artists. If you're using Photoshop, I'm no help. @poppet-sims might have written one, not sure.

Recoloring vs. Retexturing For recolors (using the tutorial linked above) you're using EA's original textures and shading for the chair, layered on top of a solid color you've chosen. For retextures (e.g. using a cluedo wood on the Hemnes bed), you have to figure out which part of the TXTR needs the wood grain running vertically and which needs the wood grain running horizontally. If you're new to retexturing, EA original ts2 meshes are not easy (welcome to hell!)

For the Hemnes bed TXTR, I used EA's white texture (top) for my shading layer. When I did the pirate wood retexture (bottom), I probably guessed correctly where the wood grain was vertical and where it was horizontal but I'm sure there was LOTS and LOTS of fiddling too (but I can be a perfectionist). Because of EA's sadistic mapping, using textures with a distinctly noticeable grain (like wide stripey Cluedo woods) could be be extra frustrating.

Best wishes and good luck, I feel like I'm sending you off into battle

[legobiwan]

Cut Scenes #2: The Destruction of the Sammer Kingdom

I couldn't justify including this section in the latest update to Expiate, as it would have slowed down the narrative unnecessarily. So enjoy, if one can use such a word for this scene, my take on traumatizing Mario and co. with the end of the world.

~~~~~~~~~~~~

“What number was that?”

“Twenty-seven, I think!” 

Mario lets loose a vicious oath. 

There’s not enough time.��

They reach the next set of doors, panting. On the unspoken count of three they push, Mario using his own beleaguered body as a battering ram, slamming his throbbing shoulder into hard-grained wood. 

“Twenty…eight…” Bowser heaves, folding over, clasping his knees with shaking hands. 

Mario grunts, racing around to Bowser’s rear, pushing at his shell with what little strength he has remaining. “Get moving, Koopa,” he grits, sweat stinging at the corners of his eyes. “We can’t rest, not now.”

The Void belches with a gargantuan roar, spewing an ashen plume of iridescent nothingness which cascades through the sky, specks of obliteration flittering to the ground.

“I know, I know,” Bowser wheezes, one large hand grabbing onto Mario’s bad shoulder for support.

Above them, the Void grumbles.

Mario nods, and a moment later, they’re off again, dashing up and over the podium where another one of Sammer’s men remains steadfast, kneeling in doomed obeisance. Mario wonders what happened to the real Sammer leader, if he’s already dead. It would be kinder, he thinks, than this.

They sprint upwards, twenty-nine, thirty, thirty-one, thirty-two, the world losing hue with each ascension, shadows with no object slithering from the sky. They crash through to the thirty-third level, scraped and bleeding, Peach’s skirt tearing on broken wood, angry splinters gouging into raw fingers and swollen palms as they push another set of doors open. 

“Thirty-four,” Peach announces as the ground rumbles, then lets out a calamitous roar, the world phasing in multicolored duality. Bowser is thrown forward, stumbling towards the raised stage before them, perspiration dripping in wild zigzag patterns from his shell. Mario grabs for the nearest stanchion, the vertigo of a near-undone reality knocking him to his knees. He barks out a ragged cough, dirty phlegm rocketing from his lungs. 

The taste is necrotic.

One of Sammer’s men stands on the far end of the platform, crimson hat melting around his head, a bright-red trail of sanguine decay creeping from his temple to inner ear. He brandishes a tarnished, silver pike in his right hand, swinging the weapon to a horizontal bar across his body. 

“We are doomed!” he proclaims, eyes frenzied and bloodshot, jaw unhinged in an open smile that nearly bisects his face. He yells to the open, bleeding sky, shaking his pike to the falling heavens. “It cannot be stopped!”

“IT CANNOT BE STOPPED!” the guard barks with hysterical laughter, throwing his head back, blood splattering across the broken stage. 

“HAHAHAHAHAHAHAHAHAHAHA!”

They need to leave, need to run, they -

Mario freezes. Something’s wrong with his shadow. 

He looks up. The sun is fading into the outline of a bright halo, what’s left of the sky now fallen into a deep indigo. The tectonic convulsions of the earth peter out, undulating land gently seesawing back to a nervous equilibrium.

Mario grabs Peach’s hand. 

Something very, very bad is about to happen.

All at once, static pushes up through the earth in high-pitched, curling squeals. Mario stares, slack-jawed, as the sonic leviathan rises from the ends of the universe, mountains fracturing into shards of bone, forest pummeled into flat, dripping entrails. He thinks he hears Bowser calling for his children, thinks he hears himself shouting for his lost brother, but the Void’s hunger is as loud as it is insatiable, slurping at rivers, needlepoint teeth tearing into the belly of the sky with a satisfied growl that shakes the world. There’s nothing left, nothing but Peach’s hand in his and all Mario can think is please forgive me as the last of existence unspools with a serrated shriek and -

[sansmeanswithout]

ok versions of horror based on different axes time!

information on the types of axes from source 1 source 2 source 3 source 4

Name: Hatchet

Named after:

A hatchet is a general all-purpose axe, and is the kind of axe that most people own for light jobs in the yard. These can range enormously in price, from just a few dollars to $100+. They are relatively small compared to some other axes, with a chunky handle most commonly made from hickory wood. The head is weighted, with a flared shape that comes to a sharp-tipped blade. Balance is very important for a good hatchet, as an overall balanced feel will help to produce more accurate swings and cuts, making jobs much quicker and easier to complete. A hatchet is used for felling small trees, and for chopping and splitting logs.

Things about him: inspired by the sans known as Brass and the pure bite bittys which are made by @boe-someone Hatchet is a more absent minded and anxious version of horror he often bites because of instincts or being startled. he's generally apologetic afterwards. during the famine he is much less apologetic for his biting unless it's someone he's actually still on good terms with like his papyrus. he's also pretty fast when biting maybe comparable to the speed of a frogfish.

Name: Grub

Named after:

Also known as a ‘cutter mattock,’ a grub axe has a head with an axe on one side and an adze on the other side. The axe blade will be at a vertical angle, while the adze blade, which is the longer of the two, will be at a horizontal angle. The name ‘grub axe’ comes from the way the tool is used, as it is great for grubbing in compacted soils and rough terrain. These tools are very useful in the garden, as they can dig holes to set new plants in or break up resistant roots of old plants.

Things about him: Grub is much more coherent than other horrors and doesn't disassociate as much. his head injury mainly affects his memory for names and faces. he enjoys working with his hands and has a bit of a green thumb however that didn't help much during the famine due to Snowdins cold and his papyrus not wanting to leave Snowdin. Grub is face blind and relies on peoples and monsters clothing to identify them.

Named: Maul

Named after:

These axes are specifically designed for splitting logs into kindling. They have a design very similar to a felling axe, with a long wooden handle to give a good swing. When using a splitting maul, you should use a downward swing, not a sideways swing like that used for a felling axe. Unlike felling axes, which cut against the grain of the wood, splitting mauls cut with the grain, which is what results in split wood rather than chopped wood. The head of a splitting maul will be much heavier than a felling axe, at around eight pounds. The head takes the shape of a chunky wedge, with one sharp end and one blunt end, though the sharp end doesn’t need to be particularly sharp in order to be functional, as it is the shape and weight of the blade that will do most of the work. Because of this, splitting mauls need to be sharpened much less frequently than other axes, as they can work well even when fairly blunt.

Things about him: Maul is a horror who didn't adapt much to the changes in the underground after his head injury thankfully his papyrus is more stable and he's taken to caring for Maul. Maul oftentimes is in a disassociated state and going through the motions of routines. he often goes back to routines from before the famine which leaves him vulnerable leading to his brother getting him a child leash. he's small and skinny because he often refuses the small amount of food available because he struggles to stomach the reality of the famine.

Name: Tomahawk

Named after:

Tomahawk axes originate from North America, where they were first used by Native Americans. They have a rich military history and have been used in battle since their creation, by both sides in the American Revolution, and later in the Vietnam War. These axes resemble hatchets, but they have a completely straight handle and are noticeably lighter. The straight handle makes them easier to release in combat to throw at an opponent, and the sharp blade makes them useful for a range of jobs, including digging, prying, chopping, and splitting. Though tomahawks are popular among soldiers, they have more recently become fashionable for camping. They are lighter and smaller than hatchets and are therefore easier to carry around. They are multifunctional, able to be used for a range of bushcraft activities. Tomahawks are also popular for use in knife throwing competitions, where they have their own category.

Things about him: inspired by birdtale which is Greyscales (aka sablescales) on ao3 yes he has bird wings specifically those of an ivory billed woodpecker. he can fly but he isn't allowed to for his own safety as after his head injury he lost his depth perception and sense of direction. he's really fragile but extra light on his feet. he's very skilled in combat and has a hobby of woodworking.

Named: Adze

Named after:

An adze is technically any hand tool that has a sharp cutting blade, but the original adze dates back to the Stone Age. These ancient tools are generally used for woodwork, to carve and smooth out wood. The blade of an adze is set at right angles and is very sharp to carry out refined and detailed carpentry. There are many types of adze, but they can be categorized into two different groups, hand adzes and foot adzes. A hand adze should be swung with just one hand and will have a short handle to accommodate this. A foot adze will be swung with both hands, and have a longer handle. The name ‘foot adze’ refers to the point at which the head usually lands, around foot or shin height.

Things about him: Adze is a sorta jack of all trades master of none. before the famine he was interested in nearly everything including wilderness survival and cooking. after his head injury he became very protective and a bit feral. he took his papyrus deep in the Snowdin woods once things started getting really bad in town.

Named: Shepard (also known as Shepa)

Named after:

The shepherd's axe is a long thin light axe of Eurasian origin used in past centuries by shepherds in the Carpathian Mountains and in other territories which comprise today Slovakia, Czech Republic, Poland, Ukraine, Romania and Hungary. The features of a shepherd's axe combine a tool with a walking stick, that could be used as a light weapon. It has symbolic historical and cultural connotations and is still used as a prop in many traditional dances, for example the odzemek.

Things about him: Shepard also known as Shepa is a more calm horror. he's very protective but not just of his papyrus, he actually managed to keep some of Snowdin together despite his head injury. he acted as a lookout and guardian to his group before the barrier broke. his head injury mainly affects his balance and he uses a cane.