#like is this referring to adding extra details to scenes

[starheavenly]

hiii!!! loving your locket comics!!!!!! just wanted to ask a few questions about your process, if you dont mind :D

whats your general process like?

do you do thumbnails, how do they look like?

roughly how long does it take you to complete a comic panel or page?

how detailed are your sketches? do you do multiple?

do you have any specific techniques for lineart?

do you typically use references for your comics?

generally, how much effort and focus do you put into your comics?

do you have any advice for drawing comics?

sorry for for the absolute bombardment of questions, lmao. just really enjoy your art and comics and very interested in the behind the scenes!! feel free to skip any questions (or this whole ask) well wishes and salutations!!! :D

Hello! I'm so glad you enjoy my comics, and I totally don't mind breaking down the process!

For a normal comic page, I would likely actually write a script since it's much easier to keep track of dialogue and actions. But since these are short, I just write it into my thumbnails.

Step 1: Thumbnails. Easily one of my favorite parts, since I get to throw all my ideas down. I do these comics on a 2-panel grid, so I don't have to worry about actual paneling, and it allows me to focus more on the setup of each shot. Think of it like storyboarding!

Step 2: Add cleaner thumbs if needed. I actually made 3D models of Deadlock and Ratchet's chest in Blockbench, so I often trace them to save myself some time! (It might look insane, but I promise, for me, it's not.)

Step 3: Lettering! I actually like to get the lettering out of the way right away since it can take a while. Ever since I started treating lettering as its own form of art, my skills have gotten better, but it also takes much longer.

Step 4: Clean sketch! I'm just now finding out that people think I’m doing lineart for these? I am not… these are all just clean sketches. Maybe doing the blackwork gives the illusion of lineart?

Step 5: Color! Most of these comics are in black and white to save time, but it also lets me focus on values and shot framing again. I add my glow overlay to the eyes, and boom, done!

Roughly how long does it take you to complete a comic panel or page?

It really depends on how complicated the panels are. I like to step out of my comfort zone. I know the Grimlock and Misfire one took longer because of how many panels there were and the fact that I was drawing characters I’d never drawn before, but I’d say it usually takes around 5-8 hours for a whole page.

Do you typically use references for your comics?

I'm literally the reference GOD- we all know this. But yes, I love using references and doing character studies. I have yet to do a study on LL Drift, but I have a few references of him that I’ve made.

Generally, how much effort and focus do you put into your comics?

I mean, I wouldn't say I don't put in a lot of effort? I put in enough. I don't know… there's a point in the clean sketch process where you can kind of just turn off your brain. I'm passionate about comics, but we can all agree there's a point in a drawing where you just zone out.

Do you have any advice for drawing comics?

I think being able to balance dialogue and visuals is super important. I don't know if you guys have picked up a graphic novel from Barnes & Noble recently, but if you open a page, you'll see a character sitting with the biggest bubble you've ever seen, filled with paragraphs of text. While I get it—being a novel as much as it's graphic—I personally like to visualize emotions more. If it means adding two more panels to make an interesting dialogue setup, I don't mind doing it. Another thing to remember is that not all panels need to have details or 100% effort. Sometimes you need to simplify and move on, and that's okay! Those two extra panels that are giving you a better stage setup might be the ones that need fewer details and less time. I would consider my comic page work and my 4-panel work very different. One is about paneling, setup, and visuals, while the other is very much like storyboarding. Both are skills you learn with practice and study.

[daisywords]

how do you know if you're an "overwriter" or an "underwriter"

[nikibogwater]

Actually while I'm thinking about it, I just wanna say that the more live-action remakes Disney shlups out like shoveled manure, the more amazed I am that Cinderella (2015) exists. It breaks literally every standard of Disney's LA remakes.

It's not a shot-for-shot remake of the original 1950 animated film, though it does include small references and homages to it, but only when such things can be incorporated organically into the story.

The creators understood and respected the cross-cultural significance of the Cinderella story. They didn't want to "fix" it, or add some wacky twist to it, they just wanted to make the best possible version of the Quintessential Cinderella that they could.

Everything that could be done practically was done practically. The carriage was a real, the horses pulling it were real, and all of the other animals (with the exception of the mice and lizards, since their performance was a lot more involved than the others') were real living animals, the lizard footman and goose carriage driver were wearing prosthetics instead of just having their animal features added in post, the Fairy Godmother's dress had little LED lights sewn into it so that it would actually glow for real, the ballroom set was built by hand and included real chandeliers with more than 2000 total candles that were all actually lit for the scene, and I could go on but you get the point.

There's a ton of attention paid to little details that make the world feel real and lived in. Ella's shoes are always a little scuffed and dirty. Her farm dress is faded and wrinkled. When she breaks down and runs away to the woods, she rides her horse bareback (which, once again, was a thing Lily James actually did, no stunt-double or editing in post), because not only is that something a country girl like her would know how to do, but it also makes sense that with as upset as she is, she wouldn't want to waste time with saddling the horse. When she's dancing with the prince, it's visually obvious that he is leading her and giving her cues because of course Ella wouldn't know the latest ballroom dances, and would need him to guide her through it.

Hey speaking of dancing, y'know what else this movie does that no other LA remake has been allowed to do (at least not to this extent)? ROMANCE. Land sakes alive, this is one of the most unabashedly and yet still tastefully romantic movies I've ever seen. Ella and Kit are just oozing romantic chemistry from the moment they lock eyes for the first time. It all comes down to the fact that these two characters both have the same core values of courage and kindness, which makes their admiration for each other feel grounded and believable. Richard Madden also really sells Kit's feelings for Ella with the way his eyes go all big and soft whenever he looks at her. And don't even get me started on Lily's performance as Ella. Her quiet awe that someone as powerful as the prince loves her. The timidity and fear that she's not really worthy of that. The selfless determination to protect him from her family's cruelty, even if it means she'll never see him again, I'm just-- *banging my fist against the table and screaming into a pillow*

Absolutely god-tier costume design. No notes, I think Sandy Powell's work speaks for itself. Btw, in case you were somehow still wondering, yes, Ella's ballgown is fully practical--those layers upon layers of dreamy silk skirts are real. CG was only used to brighten up the blue color to make her stand out from the crowd more.

Wicked stepmother was allowed to actually be wicked. The movie never tries to make you sympathize with Lady Tremaine, or shift the blame off to someone else. And her villainy is given an extra layer of depth with the reveal that she is a dark reflection of Ella. They've both lost people they loved, but where Ella refused to let her grief get in the way of kindness, Lady Tremaine became utterly consumed by it. She views the death of her first husband as a sort of twisted justification for pursuing all her worst impulses. She despises Ella for her ability to flourish even while enduring terrible suffering, for being everything Lady Tremaine was either unable or flat-out refused to be.

Also Cate Blanchet absolutely SLAYS in this role. Hands-down my favorite portrayal of the wicked stepmother character.

Anyways, TLDR: Cinderella (2015) is the only Disney live-action remake that can justify its own existence and that's because it actively defies everything the LA remakes are today.

[hpowellsmith]

Honor Bound Chapter 7 Update!

I’m delighted to share Honor Bound Chapter 7 on Dashingdon and itch! You can skip any number of chapters to start at the chapter of your choice, or you can play through the whole thing. You can try loading a save you made before this update, but you will probably need to start a fresh one. If you encounter a bug when using a loaded save, please try replaying through the whole thing or using the chapter-skip to replay the chapter in which you found the problem - in some cases this will fix it!

If you have a minute, I’d love to hear your feedback! As before, there is some feedback that I’m waiting until later to implement, and a minor character who hasn’t been added in yet, but I always pay attention to all feedback being sent in.

This new demo is around 306,000 words, with Chapter 7 and various edits adding around 43,000 words to the whole thing!

This is going to be the last chapter that I put up publicly before the beta testing begins. I may put up edits to Chapters 1-7 before then, and will implement bugfixes, but we’re getting towards the home stretch now and I’d like playtesters to have the experience of playing all the later chapters so they can have a big-picture perspective on how the branches can go.

In this chapter you will encounter:

a lot of bad things (more detailed content notes below)

As well as the new chapter, I’ve made some significant edits to earlier chapters in response to player feedback - more about that below too.

Many thanks to everyone for their feedback - it’s been so helpful! Thanks especially to an anonymous Patreon subscriber who gave some really useful comments about some Chapter 7 one-on-one scenes which inspired me to expand on them and include some extra characterful moments.

Read more about Honor Bound on the forum thread

Play the Honor Bound demo on dashingdon and itch

Give feedback

Wishlist on Steam

Revisions:

Overall:

More references to trauma responses when PC’s health is low, more reference to cane use, a bit more flavour text about the injury, more flavour text referring to health improvements to reflect the PC looking after themself

Chapters 5 and 6: added talk with Denario about the PC being trans if it didn’t happen in Chapter 3

General typo fixes

Chapter 4

expanded a branch of the late-chapter Korzha scene for more breathing room

Chapter 5

added option to medically assess Korzha when they look sick

minor expansion of conversation with Catarina about what she thinks about the trip

minor expansion of letter-writing with Fiore

Chapter 6

tweaked Alva’s assignment offer, with clearer information and potential disadvantages of taking it

expanded end of Savarel’s one-on-one scene

fixed an error making end of Korzha’s goodnight scene shorter than intended

added a choice to enable an amorous PC and Raffi to hide what’s going on from Simone

added optional one-on-one Denario scene, including optional sex scene

Chapter 7 content notes: earthquake, quicksand, fire, building collapse, potential severe injuries to the PC and others​

[otaku553]

I think we all wanna know about the process for the last two pages

HAHA IM GLAD. THESE TWO PAGES TOOK FOREVER

I was really proud of them when I sketched them out and you can definitely see a lot of details ended up staying the same between the sketch and the final! These were the pages that I probably had the clearest ideas on because I wanted especially Ace drowning and Tage saving him to be impactful and pretty memorable, hence all of the different viewpoints and poses. Getting the head angle on that final page was really annoying but there are some excellent references on referenceangle.com for heads turned upwards, like the following:

What probably took the longest this time around was the lineart, actually, because I got Really Into It and couldn’t stop adding more detail.

This becomes! A trend! Because that one panel of Ace’s hair made me feel like I had to keep that consistent quality of lineart for the rest of the chapter even after that. So that’s why I had to split the chapter lmao

Extra notes on coloring:

Doing underwater pieces is actually a really good exercise for color theory, since warm colors in cool lighting and in a blue environment are often quite different than you’d expect them to be. You can definitely do a shortcut by using hard light blending mode on full opacity, as I’ve shown here, but when you use hard light blending mode, sometimes some specific colors may turn out muddled or brown-ish, like the orange, so I find picking your own colors also gives you some nice freedom over like. Cohesion in your palette.

The other thing that really makes the underwater scenes is the bubbles which are honestly a lot of fun to do! After you realize that bubbles are fundamentally just weird little glass/ mirror balls that take even less effort because the shapes will get distorted anyways you can sorta just do whatever. The key is mostly getting sharp contrast between the darker blues and the bright highlights I think?. If you want a tutorial on bubbles let me know :)

[purrpletiger]

FRESH DRAWING GUIDE:

Hello everybody, I've come to give you all this absurd reference guide for drawing Fresh. yep. I decided to spend hours slapping this together.

If I got anything wrong or should add anything PLEEEASE lemme know! All ideas welcome!

If you want to see my "research" on this character, let me know in the replies, because there's so much to talk about with him and I'd love to do a character analysis or two, I couldn't put much about his personality or source posts in this because it's just a drawing guide!

Link to all the full images

Transcript and close-ups of the text on the image: (May be in a strange order)

Fresh was created by @loverofpiggies (CQ)

Main Outfit:

YOLO sunglasses

Backwards propeller cap

Pink Polo shirt

Crayola Jacket

Gold Tooth

SWAG fannypack

Convertible Zip-off pants

White Heelie shoes

Pink socks

He has thick eyebrows to emote! (The eyebrows are usually depicted with black hair but one human design has eyebrows that match the pink hair color!)

The bag says SWAG on it

His glasses say YOLO by default, but the letters can magically change mid-scene...

this design for Fresh is Tall, we dunno how tall but taller than CQ's Sans characters (or just Geno since he's literally sans undertale with some added steps). But his height is just his host's height sooo it can vary.

those (cyan and yellow) shoe details are on the innerside but not outerside

HE HAS HEELIES!

Pink glove cuffs!

his skateboard is inconsistent dont worry about it

Glasses Off:

The host's soul shows up in their left eyesocket

- The soul tends to look unstable (cracks & a sortve stroboscopic effect.. i couldn't think of a better word.) but not in some cases...

It doesn't have to be a white upside-down heart, that's just a reference to an undertale monster soul.

He has a purple substance full of little RADs that emanate from his eyesockets (when his sunglasses are off)

"The soul in Fresh's eyes CAN be cracked. That soul isn't his. it belongs to his host. And.... after a while.... things go bad for the host, and he needs a new one." -CQ

(example of soul with unstable effect with no cracks) (example of soul with cracks but lacking the effect)

The purple aura(?) can glow and emanate from the eyes when his glasses are on too

i miss this one design specifically. the colors and the SK8 OR B SK8 shirt were peak

I miss the SWAG necklace...

Fresh leaves a rainbow cloud of smoke when he "poofs". Either teleporting him and his host body somewhere or leaving his host behind.

Human Designs:

Fresh can possess humans too.

They all look physically different because they're different people that he's possessing.

Fresh can possess pretty much any body, but I thought I'd show the varied examples of humans anyway

Don't forget the orange jacket flaps! or his hat propeller!

I dunno what's up with the multicolor tongue thing. I think it was extra parasites in the host's mouth? I feel like it was scrapped at some point... but I could be wrong

FURBIES!:

Oh yeah, he also does this: (no image for the bat tho)

"I mean when he fights he pulls Furbies out of his magical fanny pack. takes out a wiffle bat. and hits the furby at his enemies.

And then the furby explodes in a blaze of glory." -CQ

Despite using some furbies as explosives, he seems to 'care' about and treat these two like precious babies:

This one is potentially named McFreshby The Fresh Furbrah (Fresh is mentioned to have one named that, and this is the only other furby he's been depicted with)

It can also do THIS: (roll its eyes back into a spookier look)

This is DJ FurBs. that's all i know about him

The REAL Parasite:

Fresh is actually this little parasite controlling a host body. (if you didn't know that why are you reading this post rn!?! but nah I love new Fresh fans, welcome!)

The main parasite is this purple one with the eyemouth and four(?) tendrils, the other colored tentacles are prrrobably Fresh's offspring (freshmageddon moment?) (I'm not actually sure, I'm just pretty sure they're not part of the main parasite but are parasite tentacles)

You can also see Fresh's five or more purple tendrils here stretching out all over his host's body

All art from CrayonQueen/@loverofpiggies

Reference guide made by PurrpleParrasite/@purrpletiger

pls suggest changes or additions if u have ideas!

That's all!

[morbethgames]

The Final Part of Chapter 4 Mostly Is Now Live!

So, you guys are probably wondering what the mostly is about. Simply put, there’s a subroute in the final part that I still need to write. Not very long, it won’t be too big of a deal later on, but this scene was blocking me hard. After working on it for 2 months straight I just wanted to move on. Needless to say, if I had to write one more set of variations for how the PC fights the suspect, I was going to go insane. That being said, it is all mostly there. There’s simply one greyed out option is all. I’m going to come revisit this scene when it’s more fresh to me again and when I don’t have to push myself so damn hard and force myself to write it. Along with the final part, I’ll probably be adding a bit more variation to it in general. But, now that that’s out of the way, let me get to the patch notes!

Patch Notes:

Added most of the rest of Chapter 4, which includes another Text Box Investigation Scene!

Added an unlockable extra story of Ryder’s PoV before the after funeral scene.

Multiple gender variable mistakes have been fixed.

Fixed a mistake where Alvarez and Ryder were being referred to as ‘mommy’.

Added a small dialogue variation to Ryder’s train scene where, if you’ve already talked to Alvarez, the PC won’t ask Ryder to clarify details about Alvarez’s age.

Added a small dialogue variation to the talk with Hawks in Dennis’ Office where, if the PC didn’t answer the phone for their brother in Chapter 2, it will reflect that choice.

Fixed the error on my part where the hoplite in the painting in Hawks’ office was being referred to as ‘Roman’ instead of ‘Greek’.

Fixed a bug where, if you chose to talk to Lance first on the train, it wouldn’t give you the option to talk to a second person.

Thank you all so much for sticking with me while I’m pumping this stuff out! It feels like such a weight off my shoulders to be able to just moved on from this scene, and to give myself the room to just come back to it later. Expect the Patreon to pick back up to two posts a week again as I get to start writing all the in between stuff for Chapter 4.5! If you like this story, and you want to support either me or this story, head on over to my Patreon where you can get an early look at extra stories, audiobook readings of this story and other IF’s, original short stories with original characters, and so on.

Patreon Link ←

We’re getting close for sure everyone. Hopefully, bare minimum, by the end of the year, this story will be completed. I’m excited, scared, and worried all at the same time.

Thank you all again so much for sticking with me.

Stay Brilliant, -Vi

Demo Link: https://dashingdon.com/play/morbethgames/the-bureau-wip/mygame/

The Bureau forum page: https://forum.choiceofgames.com/t/wip-the-bureau-chapters-1-3-550k-total-words-updated-03-14-2024/99993

[bvnga-aprikot]

Attempt at Athy’s Novel-Accurate Debutante Gown (+extra Jetty)

Due to my own boredom and inability to focus on my schoolwork, i decided to detour from that and sketch what i imagine a novel-accurate debutante gown for Athy would look like with the description given for it in chapter 54.

i try to stick to what was described and took heavy references from pinterest, especially with details such as the bow, bracelet, skirt, etc.. also, my first time drawing Athy with her platinum blonde hair as described in the novel! obviously in the manhwa Athy’s hair already looks more like Diana than Claude’s with it being lighter, but it definitely was on the subtler side (which i honestly think works with scenes where Athy emulates Claude). i also try to keep it fairy-like in terms of vibes and added sparkles to her bow and hair. overall, not too bad for a first attempt though i think it’s still a little far off. this design is basically one that i try to take the least liberties with since i’m aware of how many people want to see art of Athy’s novel dress and i’m one of them so i feel quite happy with this. though is it technically a sketch…

and as if sketching Athy’s dress from the novel description wasn’t enough, i decided to take my brain rot further and sketch out how i think Jennette’s debutante dress would look like. courtesy to it not being described and my brain going haywire at this point lmao.

i’m exposing my inner ASM stan again because this is the second time i used an iconic ASM lady’s hair (or, hairbow to be exact) as an inspiration for a WMMAP fan design. this time instead of Shuri i decided to reference Ohara because honestly that hairstyle is to die for. Jennette’s dress on the other hand heavily referenced from a dress that assume is from the regency era? i just think the vibes suit her. yes i did also give her a fan for some details (referenced a drawing of a character named Audrey Hall from Lord Of The Mysteries, never read it but i heard it’s great) and i know it doesn’t match her vibe in the slightest but like, she deserves some fun in this sketch.

so, yeah. that’s my attempt at sketching out what i would imagine Athanasia’s debutante gown would look like as described in the novel, with a bonus Jennette to boot. let me know if there’s anything in these designs i improve on as i would love to hear some feedback. see ya <3 ;3

[sunderingstars]

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✩ ‧₊˚ ⌞ INTRODUCTION ⌝

sampo analysis m.list

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— hello & welcome to my dark twisted mind (full of sampo theories)

— this is the first major analysis project i’ve taken on, so i’m very excited to lay out all the evidence i’ve found — i’m trying to keep it as open-ended & -minded as possible, even though i’m biased out of sheer interest towards the aha!sampo theory.

— i’m sure there are things in here that are common knowledge, but since i tracked down every single sampo reference and voice line (literally) on the wiki during an obsession-induced state for the better part of two months, i’m hoping there’s some information here that may be new or less-discussed as well!

— i’ll be uploading each sub-topic as a separate post (because i have a lot to say about so many things), but depending on your preferences you can always follow/block the ⌞ 🎭 ⌝ tag, which is going to be the tag i use for anything relating to this project.

— here’s a brief outline of the topics i’ll be covering:

visual cues + art (aha splash art, kit, body language & confidence, performance & performative emotion, eidolons, etc.)

vocal cues + voicelines (third person references, voicelines, worldview, self-awareness, gender, etc.)

scene analysis (intro scene, belobog, sampo & sparkle’s conversation, fourth wall breaking, mr. cold feet, dream bubbles, etc.)

specific topics (placement in the narrative, jokes & situational comedy, the astral express, etc.)

specific theories (“retirement,” playing the long game, risk vs. reward, man or muppet?, “committed to the bit,” aha is not exempt from The Rules, etc.)

extra info on the masked fools as an organization, aeonic consciousness, and sampo character details outside of elation!sampo theories

as well as counterarguments and a conclusion + anything i feel like adding along the way!

— the next few posts i’ll be uploading will be my masterlists (yes, plural, i am insane 😔💔) so i can get ahead of the curve, then it’s onto the real meat of things. this is a passion project for me, so i am very grateful for everyone’s support thus far (seriously, y'all are so sweet) !!

— as always, feel free to send me asks if you want elaboration on one thing or another, or just want to talk about your own thoughts/theories. hope you enjoy!

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© analysis by sunderingstars. do not copy, repost, translate, modify, or claim my work as your own.

[felassan]

Snippets. 🐺💜

John: "one of the funnier quirks of game dev is you will never remember missions by their real names but instead by the name you called them by for several years of development it will never be 'In Your Heart Shall Burn' for me, it'll always be Setback" [source] / Blair: "there was that awkward period where half of the DA:V ones had "gods" in the title, so discussions were always some variant of: "Did you mean 'Gods Are Back' or 'Gods Are Bad'? I've heard people mention 'Egads! Gods!' but I'm not sure if that's new or a rework."" [source] / Malcolm (in reply to John): "I have one like this in DA:Ve and I can't share it yet because spoilers but I promise you it's delightful" [source]

John: "the only one i can ever remember is 'Wicked Eyes and Wicked Hearts' and it's because it seems to be the only DAI mission that people constantly reference by name online" [source] / Mary: "It's proper name is "Ham Ball." I put that in the file names, even." [source]

John: "idk how widely it’s been advertised but a reminder we are doing another Veilguard Q&A on Discord this Friday noon Mountain time (so 11 Pacific)" [source] / Malcolm: "Make sure you don't tell them about that one thing that happens in that place, with the guy." [source]

Trick: "BioWare released a new screenshot of Taash! I love how it captures the amazing detail work the character artists did." [source]

Image description on the Taash screenshot in Trick's post of the cap:

"A screenshot of Taash looking off to the side. The lighting is warm like either late afternoon or an interior with a fireplace, and it catches in the gold on Taash's armor and horns. Taash looks pensive or vulnerable -- not the deadpan stare or badass determination we've seen in other shots."

pensive or vulnerable.. ohh Taash. 🥺 Trick!!

User on the screenshot: "Taash looks *completely the fuck over this shit* in a totally exhausted sort of way, here. which is, mind, amazing detail work on the character artists' party!!" / Trick: "You know, it's a spectrum." [source]

Trick on DA:I - "Miss May is amazing in many ways, and especially in finding the balance of sweetness to pain for the Solas scenes. ❤️" [source] ((thankyouuu Miss May!!))

User: "it must be basically impossible to resist putting at least one extra moon around your fantasy world" / John: "if dragon age didn’t already have two you’d better believe I would’ve added another one. sitting next to a dial titled ‘number of moons’ and every so often I add another one. anyways the thing about Satina is- (a large hook drags me offstage)" [source, two, three] ((omg.. THE SECOND MOON shfuehfuehdbdh)

User: "i've been thinking about bellara's pockets and i need to know what her thoughts on cargo pants would be. would she be a fan for the utility." / John: "she wouldn't wear them all the time - she's a firm believer in a distinction between 'work clothes' and 'at home clothes' - but she is always in search of more pockets to carry more things into the field. she'd own at least three pairs" [source]

User: "The next two months are going to feel like the Fade section in DAO 😭" / Dragon Age: "Good thing we have a Veil Jumper to help you out! 💜" [source]

User: "MY SON LOOKS SO CUTE" (re: the new pic of Manfred from today) / Dragon Age: "MY BOY MANFRED 💀💚" [source]

User: "Can we change the armor/gear on our companions?" / Dragon Age: "You can!" [source]

User: "thank you for the food 🙏🙏🙏" / Dragon Age: "Enjoy your meal!" [source]

[winterdaphne2]

Gay Easter Eggs in BBC Sherlock

(I trust the above requires no explanation.)

Perhaps someone has done this before, but I wanted to put together a compilation of gay easter eggs in the show that I’ve seen other people point out and/or have thoughts on myself. So here it is!

When I say “easter eggs,” I’m thinking of small clues that the show creators included in the set designs, music choices, and other details of the show to reference that Sherlock and John are in love. I’m thinking of things you could miss at first, especially little clues that often require a bit of extra information or require observations across episodes to understand.

Of course, there’s also lots of subtext woven into the show, moments where interpreting the dialogue or visuals in a certain way tells us something about Sherlock, John, and/or the state of their feelings for one another. I’m not sure if I can clearly define “subtext” versus “easter eggs” and explain what distinguishes them, but at least to me, several of the things I’ve listed here seem a bit different from what people often refer to as subtext. Maybe subtext is about uncovering the layers to a piece of dialogue or an action that takes place in plain sight and seeing how that impacts our interpretation of the story, but easter eggs are about spotting smaller, hidden details. I’m not trained in literary or film studies, though, and I’m not trying to be doctrinaire about this at all! This list is just for fun, anyway. (The above image might not actually count as an easter egg, but I couldn’t resist including it here. Indulge me.)

The more I read about this show and the harder I look, the more I think that hardly anything is there on accident. All these easter eggs must have been included on purpose. The creators knew they were telling a love story all along.

I’ve linked to the posts where I initially saw people point these out or to other good sources, and for some of these I’ve added my own commentary/observations/interpretations. I’m sure there are many other easter eggs that I’ve missed! What have you spotted?

John’s PIN in TBB – When John tries to pay for his groceries at the beginning of the episode, we see that his PIN is 743. In ASIB, Irene’s code to unlock her phone is SHER, which would be 7437 on a phone keypad. So, John’s PIN is a clue that he is or will be in love with Sherlock. Source: @loudest-subtext-in-tv, here.

Shaftesbury Avenue, 20m from Piccadilly Circus in TBB – While investigating in Chinatown, Sherlock and John bump into each other at what used to be a cruising spot for gay men in London. Source: @the-signs-of-two, here.

Archer the American in ASIB – In the scene where the American CIA agents try to get Sherlock to open Irene’s safe, the head CIA agent pressures Sherlock by threatening to have one of his men shoot John. The agent says: “Mr. Archer, on the count of three, shoot Dr. Watson.” Ordering someone named “Archer” to shoot John could be a reference to Arthur Conan Doyle’s poem “The Blind Archer,” which is about Cupid and describes Cupid shooting two men who sound an awful lot like Sherlock and John. Source: couldntpossiblycomment, here.

“¿Dónde Estás, Yolanda?” in TEH – The song that plays during the scene with John and Sherlock’s disastrous reunion at the Landmark restaurant is a cover of the song “¿Dónde Estás, Yolanda?” performed by the band Pink Martini. The Spanish lyrics to this song are about searching for a long-lost lover, which is fitting for the scene where John sees Sherlock again for the first time since his fall. Notably, the creators didn’t use the first of the two versions of this song that Pink Martini has released. The band’s first version appears on their 1997 studio album Sympathique and features a man singing about a woman. Instead of using that version, the creators used the version from Pink Martini’s 2011 compilation album A Retrospective, in which China Forbes performs most of the vocals. So, the creators deliberately chose a remade version of the song in which a woman sings about a woman. They chose a gay song about searching for a long-lost lover for Sherlock and John’s reunion. abrae (@tea-and-liminality on tumblr) has a meta with more to say about the use of this song here.

John’s “oscillation on the pavement” in TEH – In TSOT, John observes a potential client standing outside 221B and trying to make up her mind as to whether to come in. Sherlock tells John “I’ve seen those symptoms before. Oscillation on the pavement always means there’s a love affair.” In the previous episode, John came to visit Sherlock at 221B but hesitated on the pavement outside, staring at the door and trying to decide whether to go in. Sherlock’s comment, “I’ve seen those symptoms before,” is a hint that we, the audience, have also seen those symptoms before—with John in the previous episode. Source: @bidoctor, here. (I saw someone else point out that last part about Sherlock’s hint to the audience, but I can’t find that post, sorry!)

Lilac dresses in TSOT – While planning John and Mary’s wedding, Sherlock chooses lilac-colored dresses for the bridesmaids. When John tells Sherlock that he likes the bridesmaids in purple, Sherlock pointedly corrects him by stating that the dresses are lilac. Apparently, “In Victorian times, giving a lilac meant that the giver is trying to remind the receiver of a first love.” So by dressing the bridesmaids in lilac, Sherlock is trying to remind John of his first love: himself, Sherlock. My heart breaks. Source: @asherlockstudy, here.

Putting the horns on Mary and Janine in TSOT and HLV – In TSOT, there’s a shot where Mary gives Sherlock and John a thumbs up before they head out on a case. The way Mary is standing, the horns on Sherlock’s cow skull thing on the wall behind her are placed right over her head. (I always thought this shot looked pretty weird, but now I see that it must have been intentional!) In the HLV scene with Janine at 221B, there’s a moment when Janine steps in front of John in the frame to kiss Sherlock, and her movement positions the horns right over her head. “Putting the horns” on someone means cheating on them. So in both cases, placing the horns right above Mary’s and Janine’s heads indicates to the audience that Sherlock and John are the real relationship in this show. Source: this post from multiple users on the @sherlockmeta blog.

The architecture of Sherlock’s mind palace in HLV – In the mind palace scene after Mary shoots Sherlock, the architecture of Sherlock’s mind palace is based on locations from ASIP. Sherlock literally built his mind palace out of places from his first case with John, illustrating that his relationship with John is what grounds him and that it means everything to him. abrae has some very helpful screencaps of this here (and I would recommend that whole meta, btw!)

The glasshouse scene in TAB – In TAB, the Victorian John tries to ask Sherlock about his sexuality and sexual history while they’re sitting in a glasshouse. In Victorian Britain, “glasshouse” was another term for a military prison. So John, a military veteran, asks Sherlock about his sexuality in a setting that represents where he would have been sent if he had acted upon his homosexual desires at a time when homosexuality was criminalized. Source: @haffieliesel, here.

What do we say about coincidences? The universe is rarely so lazy.

[luxuki-1]

Like I said I would, I'm going to go through the details I hid in my recent FNAF painting. Not because anyone asked, but because I want to and I'm proud of everything put in

1. Michael's design is my own! I've pretty much had the same concept for the design since SB came out. I just really liked the idea of having part of his jaw missing for no particular reason other than it looks cool. But, I have since moved the jaw gap to the other side, as well as defining scars and wrinkles.

2. I've already posted Golden Freddy but here he is again. I redrew the original poster since I really didn't feel like I just should just slap the original on there. Since I had that freedom now, I decided to make references in the design to later games since it is appearing as a hallucination(?) to Michael. Obviously there are blood stains around the mouth to reference The Bite of '83 and I also added tear stains to reference Evan/CC, said victim of the bite.

3. The classic "Celebrate!" poster. The same thing with Golden Freddy, I didn't feel like I should copy and paste the original so I drew it myself, but this time I only drew the bottom half of the crew since you'd only see that part anyway. Maybe one day I'll fully recreate the poster but for now, this is it lol (You may also notice that I gave each of them different leg shapes, to make them more distinguished from each other other than just colour)

4. And again, didn't want to just copy and paste, so I re-typed all of the newspaper clippings myself in Canva. They say pretty much the same thing as the originals, but I'll still put them here anyway in case anyone wants to take a look:

5. I also recreated the children's drawings myself. Fun fact: I actually used my NON-dominant hand to draw most the basic shapes. I figured that if I drew with my dominant hand, the lines might look too clean, showing my obvious years experience. It's silly but I really wanted it to look and feel like a child drew it

6. It ends up being pretty much invisible in the final painting, but on the floor you can see old confetti and blood stains on the tiles

7. If it wasn't obvious; cup from the Security office is here too

8. Now it should it obvious by now that I chose to not draw the security office. Why you ask? I'm still new to drawing more detailed backgrounds, and I really didn't feel like drawing the office in the moment lol so I opted for the hallway, and I think it still looks pretty good with what I was going for

9. As a bonus, here's the original sketch I planned out. As you can see, I was originally planning to have more posters, some featuring the missing children. But in the end, I decided to scrap it and leave room for the wall to be more detailed since I thought it looked bare. Also, if you look closely, you can see a faint plan for a shadow over Mike. I was originally planning to put a shadow of Freddy there, but when I really started finishing up the shading, I realised that the extra shadow would be too much for an already dimly lit scene

And that's pretty much everything! I had so much fun doing all the little details and references, even though it did end up being more time consuming lol. I also tried out a bunch of different rendering techniques and I think they really helped pulled everything together. I'm definitely going to try my hand and making more paintings like this in the future ^^

If interested in seeing the full process, here's a link to the speed-paint:

[dailyhatsune]

hi! not exactly a request but i do wanna ask, whats your process when you're rendering more paint like art? (if that makes sense, English isnt my first language so apologies hdskhsjdbd) i really love how you use the colors and im curious how you do it :0

i’ve been meaning to answer this one for a while so here’s how i painted miku in today’s post (put under the read more because yeah prepare for a long post

i’d also like to preface this by saying that i never follow a set way of doing things, so in terms of what my personal process is like, these are only broad strokes of what i do! sometimes i’ll combine or skip parts entirely, depending on how i feel. also, this is not a tutorial, just how i do things, so please don’t treat it like one :’D this will read like the ‘how to draw an owl’ picture if you do

first, like every artist, i sketch. more specifically, i’m getting an idea of what i want to paint later on. this could be how a scene is set up or in this case, how a character is posed. here i’m not concerned about details or getting everything perfectly, i’m only planning how the thing will be composed. maybe a lot of canvas size changing, or adjusting what miku’s doing (note how busted miku’s right hand looks from all the transforming!) however, i still have to be concerned with how clear the sketch will be to future me, because the sketch won’t be any good if i can’t read what miku’s doing

after that, i lay down a flat gray under the sketch, mainly focusing on giving miku a clear silhouette. this is also a good time to make adjustments to the composition on the fly if i suddenly feel like something can be improved upon, like shortening miku’s left arm from the sketch!

after painting a flat silhouette, i start shading in grayscale, focusing only on lighting. i usually do it in two passes, one for the lightest and darkest tones i’ll use (not black and white) and then a second for midtones to blend them better with the base gray but i forgot to screenshot the result of the first pass 🗿 nevertheless, here is where i can start adding some amount of details. i’m not including any extra accessories yet, just focusing on the base design of the outfit and the character herself (for anyone wanting to draw characters from That Gacha Game, this is how i personally make the process more bearable for myself.) i still use the dark gray to separate where certain details (like the facial features and fingers) begin and end, mainly to make colouring more bearable later.

now here’s where i get the Good Colours. it’s a cheat lol. i put a gradient map layer over the grayscale painting so that there’s a little bit of color to start. some gradient maps can be applied as is, some need the layer settings adjusted to make it look good. this one, for example, is a (free) gradient map set from the csp assets store that needs you to set the layer opacity to 20% and to set the blending mode to color to achieve this result. in general, i tend to pick which gradient map i want to use based on vibes, or basically whether i want the work to be warmer or cooler, colour-wise. but this does do quite a bit of lifting for the colors in my stuff.

and then, finally, i add the colours. i add flat base colours in an overlay layer. at this stage, i’ve made the character silhouette clear enough that i don’t need to refer to the sketch anymore for what miku looks like. also, the gradient map layer does its magic by making the shading a bit more vibrant than it would’ve been without it. after that i paint over with a new layer to add details like the lace.

and then i put some extra shading on top. basically this is where the ‘better lighting’ happens. again, this isn’t a tutorial, so i’m not here to say what each part of the lighting is, but i’ve labeled which layers do which job. in other works where the lighting within a scene is more defined (from a window, from a small crack in the walls, etc) the glow dodge layer may be more opaque and sharper, but since this isn’t a work with that, the lighting was applied using an airbrush. the linear burn layer is also there to make the whole thing darker so the glow dodge doesn’t end up oversaturating miku. i also usually match the lights to the vibe i want, and use a complementary color for the shadows. so here you can see i have warm colors on the glow dodge layer, but light purple on both the linear burn and multiply layer.

and that’s it for the character—here’s a gif showing how each layer adds to miku! (sorry it’s so toasty)

as for the background, depending on the complexity, it may go through a similar process, or if i can settle with flat image backgrounds, i just go for that. it’s ok to use external image materials. i didn’t have a background in mind for this miku in specific, so i got some default csp materials and threw together something

and that’s about a rough overview of what my process for more finished works looks like! again, art is a fluid process so i never specifically stick to certain steps all the time, and you shouldn’t either. i can probably answer why i’d pick this colour over another in one particular work, but it’s something that kinda has to be learned on a grander scale. i think everyone can already feel what colors work with what atmosphere or what setting, even if they can’t immediately explain why. colors and composition do take some level of experimentation to find what works best!

[nattikay]

Avatar but with Na'vi captions/subtitles Na'vi → English and English → Na'vi

Detailed notes under cut!

[edit] Correcting a few slips and typos:

Rolo'a nìtxan tsaw tsaw should be tsakem because the thing he's referring to is an action

fko a ralpeng tìkanti Eywayä fko should be 'awpo

Fmoli kivar ayoe sawtuteti alahe Sawtuteti should be sawtuteru; the sky people were the students, not the lesson 😅 this one was a particularly dumb slip on my part and I'm not sure how I missed it, hìtxoa ma eylan, krro krro lu oe skxawng 🙃

For peng san Toruk Makto syaw foru Foru should be ayngaru; I got caught up in the original English "calls to them" and forgot that I set it up in Na'vi as a direct quote so it should be "calls to you" 🙃 gosh i miss kelutral emojis these regular ones just aren't the same i need Derp ;w;

Corrections complete, now back to the original notes:

I have been wanting to do something like this for a while. I initially planned to do more scenes, but was having trouble finding the clips (unfortunately I don't have a full editable copy of A1 like I do with A2...that said, if anyone knows where i might source such a thing...let me know >_>)

At first I planned to add only captions (plus accurate subtitles, because as you can see the official ones can be a bit ehhhh lol) for the actual spoken Na'vi, but then halfway through editing I was like "lol y'know what'd be funny, if I also translated all the English dialogue into Na'vi". so i did ¯\_(ツ)_/¯

That said, on to the more specific notes:

Na'vi → English

First a disclaimer that any "corrections" are made for nerdy/educational purposes, not to say "haha look at these dumb actors who can't speak right". Memorizing lines in a foreign language is hard, and I'm sure delivering those lines while acting is even harder! It makes sense that there'll be mispronunciations, accidentally dropped words, smoothing over tìftang, etc. Plus, practically speaking, the number of people in the general audience who know or care whether the Na'vi is mispronounced is....................extremely small, so ^^; yeah.

Unfortunately for me I am part of that extremely small number, so as someone who studies and teaches this language as a hobby, I still felt obligated to make a note of some of the more glaring errors, hence the "actor transcription" slot that sometimes appears, which is there to contrast the intended line with what the actor actually said if and when they're different.

Learners, please note that just because I didn't include an actor transcription doesn't necessarily mean the line was pronounced perfectly—there are a lot of small vowel slips etc. that I didn't bother to "correct" because I felt it was still understandable even if it's technically inaccurate (mixing up a/ä is a common one for instance, as is mixing up i/ì/e), and catching all of them would've taken far more time ^^; That said, admittedly which ones counted as "I should note this" and which ones were "I'll let that slide" was a bit played by ear but w/e, hopefully it is still useful or at least interesting ¯\_(ツ)_/¯

i apologize to Mo'at for adding extra ???? to one of her transcribed lines, I was tired when I made that panel lol

English → Na'vi

Making the Na'vi → English section is fairly straightforward, as I didn't really have to do any of the translating—all the canon lines are freely available online and have been for years. I just had to edit them into the video. For the English → Na'vi section, however, I had to do the translating myself—and therefore feel the need to go through it a little more line-by-line, to justify some of my decisions hrh.

It's nice to meet you, sir → Lu sìltsan fwa ultxarun ngengati Two things about this line: one, I was a little stuck on whether I should use ultxa si (to meet intentionally) or ultxarun (to meet by chance/to encounter). I ended up going with ultxarun because ultxa si made it sound to me more like this meeting had been arranged, which of course it hadn't. Jake may not have "encountered" Eytukan in the sense of stumbling across him in the woods, but he certainly didn't set out with the intention to meet him; the chance circumstances just kinda brought him here.

Two, Na'vi (as far as we currently know) doesn't really have separate honorifics like "sir" or "ma'am". What it does have, though, is formal first- and second-person pronouns, so I used the formal ngenga instead of the casual nga to indicate the (attempted) respectful attitude of "sir".

three, i so wanted to bop Jake on the head while editing this lol, buddy your skxawng is showing

one who interprets the will of Eywa → fko a ralpeng tìkanit Eywayä Initially I was going to translate "will" as tìnew (want/desire), but then changed it to tìkan (aim/purpose/goal/intention). Tìnew sounded more to me like Eywa is discreetly requesting specific actions which the tsahìk must interpret and answer to, while tìkan sounded more like Eywa is just doing her Eywa thing and the tsahìk is simply interpreting what that means, which felt more accurate to me.

What are you called? → Pefya fko syaw ngaru? No need to justify this one, it's pretty straightforward lol—I just think it's fun that she worded it that way in English, because "how does one call to you?" is the standard way of asking someone's identity in Na'vi!

It is hard to fill a cup which is already full → Lu ngäzìk fwa teya si tsngalur a lu teya mi again no justifying really needed, I was just kinda proud of this line because I made it rhyme lol

Jarhead clan → olo' alu Sähena-re'o Na'vi doesn't typically describe nouns with other nouns like that (sähena-re'o), but I felt like it worked for Jake's spitballing. plus Eytukan's about to drop the term "uniltìranyu-tsamsiyu" in the next few lines anyways so i think i can get a pass lol

For my people → Suteri oeyä Ok, for such a short little line this one definitely had me conflicted. If I were to translate the full line "I was afraid for my people", I would say suteri oeyä oe txopu soli (lit. "concerning my people, I was afraid"). In the forest dialect the topical is always supposed to come at the beginning of the sentence. However, that's not how Neytiri delivers the line, and I wanted to keep it consistent with her delivery. In the end I decided that fudging the "topical must come first" rule here was ok here because she is essentially saying "I was afraid", realizing that Jake might not understand what she meant, then doubling back to clarify "for my people".

I considered using fpi ("for the sake of/for the benefit of") instead of the topical, but that felt off, as if Neytiri being afraid somehow benefitted the clan.

I also considered using Na'vi instead of sute—I'd have to drop the oeyä for this because "my the People" sounds silly, but "I was afraid for the People" as in the Na'vi as a whole would make sense here. However, a standalone "Na'viri" just didn't look right to me, and while fpi Na'vi/Na'vifpi" looked a little better, I'd already decided that fpi wasn't quite what I wanted.

So, in the end I stuck with suteri oeyä concerning my people.

Jake's and Tsu'tey's speech

This one gets its own little section because it was an interesting case; I'm basically redoing Tsu'tey's job. Now, if you take the entirety of Jake's speech and line it up with the entirety of Tsu'tey's translation, it's pretty good; they do basically say the same thing (I suspect this is actually what happened lol, that KP was given the full speech and asked to translate it and said "yeah ok" and wrote Tsu'tey's version).

As you can see, though, when you go through it line-by-line the way it's delivered in the movie, it's....not always quite accurate lol. So I made a version that was a more literal to Jake's speech line-by-line.

On that note, I've noticed that KP tends to really prefer the shortened versions of case endings ("for" vs "foru" etc.) I like them sometimes ("oey" and "ngey" have really been growing on me lately lol), but as a personal style preference I wouldn't have used them in all the same places he does (this is 100% a personal preference thing that will vary between speakers, neither is more or less "correct"). That said, if and when one of the lines I translated wound up being very similar to what Tsu'tey already said, out of respect for the original I went ahead and kept the same shortened endings, as well as matching the word order.

You ride out as fast as the wind can carry you → Kämakto nìwin nìfya'o a win nìftxan na hufwe atusul Literally, "ride out in a manner as fast as the running wind".

Ngl I actually VASTLY prefer Tsu'tey's version of this one lol. "May the wind propel you" is a lovely "meaning-not-words" interpretation and I like it a lot. However, for comparisons' sake I wanted to do one that was closer to Jake's original line. That said, I'm not surprised they went with a less literal translation for this line because "as fast as the wind can carry you" is actually really hard to pull off grammatically in Na'vi. It'd have to be like "as fast as the wind's ability which is to carry you" or smth, which just sounded clunky imo. So I decided that "as fast as the running wind" was a good middle ground. Not as clean or poetic as Tsu'tey's interpretation, but techincally closer to Jake's original line without being too clunky.

peng san I'm not sure if the quotation opener is strictly necessary here but it felt more cohesive to have it in my personal opinion, so I added it to mine but didn't mark it as a mistake in Tsu'tey's.

//

and uhhhhh that's it I think. Perhaps one day I will make a part 2 if I get access to more scenes. I also already have an English → Na'vi translation of an A2 scene that I'm gonna make into a subtitled video one of these days. I'd love to do a Na'vi → English for A2 as well, but unfortunately we don't currently have a complete list of the Na'vi lines for A2 like we do for A1, and as you have seen here actor delivery can make it very hard to translate by ear, even for experienced learners. Maybe someday...

[detailtilted]

Comic-Con 2008 - Enhanced Edition of Supernatural Panel

Direct link. Warning: Some of the special content I added has big spoilers for season 4 beyond the original videos.

This video features Jared, Jensen, Eric Kripke, Sera Gamble, and Ben Edlund. If you've already seen the original videos and you're wondering why you'd want to watch this, see the details about the enhancements below. For other enhanced videos, check my YouTube channel or my Tumblr index post.

Video Improvements - Upscaled, fixed bad aspect ratios, improved colors

I received a great deal of help from @sensitivehandsomeactionman on the color correcting. They gave me tips on how to achieve better colors and they even took a screen shot from my video and corrected the colors on it with their own software to provide me with an example of what was possible. Having that example to reference was invaluable for me, because I'm not good with colors.

Without that help, Jared and Jensen would have looked like they were in training to become the world's tallest Oompa Loompas. Any remaining color wonkiness (Wonka-iness?) is due to my own failure to apply what I was taught and my failure to see the colors properly. But look at that difference! I was pretty excited about this.

Combined Videos to Cover Entire Event

As with my other enhanced videos, I combined multiple videos to create as seamless a video of the event as possible, from beginning to end. For my earlier videos, that meant combining maybe 5 videos. For this one, I used a total of 19 videos from 3 different sources. A lot of those were used for the talking head bubbles, explained further below.

None of the videos are my own. My video description on YouTube has links to the original videos I used.

Good, Color-Coded Subtitles

As with my other enhanced videos, I attempted to provide accurate and as-complete-as-possible subtitles. They're color-coded to make it easier to tell who's speaking. This is especially helpful when people are speaking at the same time, or when the speaker is off camera.

Since there were so very many people talking in this video, I doubled up on a couple colors if I thought I could do so without it being too confusing. Here's the complete color key:

Red = Jared Blue = Jensen Brown = Eric Kripke Pink = Sera Gamble Purple = Ben Edlund Green = General audience Yellow = The person asking the questions. In the first half this is the moderator, Alynda Wheat. In the second half, this is the fan at the mic. White = Mostly the publicist (Holly Ollis), but a couple times it's used for people off camera who I believe were Comic-Con staff. Two shades of orange = surprise guests

Additional Clarifying Content

As with my other enhanced videos, I've added some images to help add clarity to the references used by the speakers. I added images of characters and scenes referenced from the show, images to explain various pop culture references, as well as some explanatory text to help add details or clarity when I thought it might be useful.

I mostly kept this extra content to the sides so that, if it doesn't interest you, you can hopefully ignore it and focus on the main part of the video. Unlike my previous videos, sometimes this is on the left side and sometimes it's on the right side. The margins shift depending on where the talking head bubbles are.

Talking Head Bubbles - Jared and Jensen front and center, but other speakers visible too

This "enhancement" isn't anywhere close to perfect, but it sure as heck isn't from a lack of effort. This represented at least half if not two-thirds of the time I spent working on this video.

I always find the Comic-Con videos frustrating to watch. When the camera moves to other people who are talking, I want to see Jared and Jensen instead. I like to see their reactions and sometimes they do funny things that get missed. But when the camera is steadfastly focused on Jared and Jensen, I also get frustrated because I can’t see the people who are talking. Nope, you can’t win with me! I want to see everything.

I attempted to mitigate this frustration by adding talking head bubbles. The main source videos I used were the ones with the most constant and stable focus on Jared and Jensen. However, if one of the other source videos had a decent focus on another guest, I inserted a small window into that other video as seen below. Eric shows up on the left, because that's where he was seated relative to Jared. Sera and Ben show up on the right, because they were on the other side of Jensen.

Like I said, it's not anywhere close to perfect. Trying to make the bubbles look stable was an enormous challenge for me. Behind the scenes the person in the bubble was bobbing and weaving all over the original video frame, so I had to constantly adjust the position of the secondary video to keep the subject centered in the bubble. They also aren't always bubbles. The people taking the videos often had the writers on the edge of the frame because they wanted to capture Jared or Jensen too, so the bubbles start to collapse when they get too close to the edge because there isn't enough video surrounding them to form a circle.

I haven't decided if the end result was worth how much effort I put into these darn "bubbles", so I'd welcome any feedback -- good or bad.

[deva-arts]

Commission details!

I've decided I'm opening commissions! I only have three slots open at a time, so it's first-come, first-serve~

I offer everything from colored sketches:

To fully detailed pieces:

To backgrounds/Environments...

To comics!

I also do reference sheets!

I am open to doing other art formats, just let me know!

Will do: (Send References!)

-Oc work -Fanart -Fantasy -Humanoid/personification work -Environments -Creature design -Machines/mechs -Weapons (i.e, guns, artillery, ornate knives/swords, etc.)  -Anime styles -Extremely Intricate armor/clothing

Will not do:

-NSFW/Erotic work -Fetish art of ANY kinds -Heavy Gore (i.e. viscera, graphic depictions of wounds, etc.) -Religious pieces

Read on for pricing and details!

--PRICING--

My prices work as an add-on system so you can mix and match for your desired results :D

Linework:

Sketched lines- $20 Clean Line art- $30

Here's an example of Sketched vs Clean lines!

Coloring:

Flat color, unshaded- $20 Full shading- $50

And an example of flat vs. full shading!

Sizing-

Bust- +$10 Waist up-+$30 full body- +$45

Here's some examples of how sizing applies!

So a head-up piece with flat shading and clean lines goes for $60, but you could also order a fully shaded, full body piece with clean line-work for $125. It all depends on you!

Now for some extras!

Backgrounds:

Simple (A pattern or gradient of your liking.) Free of charge!

Furniture/Props (Your character is sitting on something! So cool.) +$10

Complex- (A scene, setting or location) $10-40

There is a discount for adding extra characters!

Two Extra Characters: 10% Discount off of total price. Three Extra Characters: 15% Discount off of Total price. Five or more: 40% Discount off of total price!

So let's say you want a piece of five ocs, friends, what say you. All of them are fully shaded, waist up with clean lines and a full, complex background.

That's $110 x 5 for the characters + $40 for the background = $590, But at forty percent off, you save nearly $240. Woah.

And that's not all...

Repeat customers also get a discount!!!

*Those who have commissioned me twice can get $15 off on one commission of their choice. Four commission orders from them will get them $20 off on one commission of their choice. Ten will get them $30 off on one commission of their choice.

*People who have ordered ten or more commissions will be considered legacy customers who will always get $35 off on their commissions <3

To consider:

The more detail, the more references needed for extra accuracy! (I would prefer you send me any specifics you'd like, rather than go to google and risk getting things wrong.)

No rushing, please! I will give your order all my time and attention! I will give you updates and estimates on how long it will take to finish.

Pay is upfront, with sketches and screenshots sent to you for progress updates.

(Sketches are not guaranteed to look like the final product, since I usually refine as I go. Please specify if you want them to look just like the sketch!)

Complex clothing or armor may take more time, but only because I want you to get what you paid for lol.

Lastly, pricing for comics and reference sheets will be different to that of a normal illustration- it depends on the number of panels, the complexity, the amount of characters, and their backgrounds... Which can't be charged the same in good faith.

Due to this, it's better if you just ask me what you would like to have done! I'll be sure to find a reasonable price, comics are cool and I want you to have one.

Let me know if you have any questions~ Feel free to PM me for inquiries too!