#practice purposes

[spotaus]

I hate making personas I hate making them so much

Anyways tentative redesign of the girly. I feel like her hair is too light brown rn but whatever I did this in like 45 minutes 😭. N has needed a redesign for ages, I'm just still not sure if this is The Vibe. (Her Skeleton Form will also be recieving similar treatment w/ a jewelry update and slight update to features if this one sticks lol.

Just for fun, her 'old' design. (Though this version might just stick around still, idk lmao-)

[potatogoats1blog]

Can someone suggest black ocs/characters to draw i want to draw black ppl so bad rn

[isjasz]

[Day 252]

More brush/style? experiments bc im having fun :D but with some of the magical mountaineers!!

[lena-in-her-mind-palace]

It is so, so important to me that people understand that Tim didn't figure out the bats because Dick was a "Show off". Like yes, Dick Grayson is the most flamboyant, dramatic ass man you will ever meet.

But the quadruple somersault? There's no way that was because dick was just showing off. Because you're telling me Bruce Wayne, who's so committed to hiding his identity that he literally acts like a completely different person out of the mask in public just to ward suspicion, would miss the fact that Robin regularly uses the flying Grayson's trademark move? There's literally no way.

In the comics we see Tim explain his deductive process to Dick and Alfred and they're both surprised impressed whatever. We don't see him explain it to Bruce. I think Bruce would be surprised and shocked that a 9 year old was able to put the pieces together but I don't think he'd be surprised that the quadruple somersault gave it away.

So if Bruce was possibly aware of such an obvious give away, why let it continue?

I'll tell you why.

It really comes down to the physics

So Dick was 9 when he started out right? That means the most he'd have likely weighed was 43kgs or roughly 95lbs in freedom units.

But Dick and both of his parents are gymnasts who tend to be smaller. So he was likely less than that.

In physics, rotating objects build up angular momentum (this is how bikes stay up right for example). The more rotation, the more momentum. And objects with less mass build up that momentum much faster than those that are heavier.

Robin constantly has to fight people who are nearly 3 times his size. I teach 8 year olds, they're tiny. A quadruple somersault for a small boy that weighs less than a hundred pounds is a brutal weapon. Especially if you add in the acceleration from gravity as he drops in from above.

And I can guarantee you this logic tracks because Dick literally utilizes this idea, without the somersault, in the 2009 teen titans cartoon.

Yeah, that's right. We're talking about the infamous knee drop.

Like it is borderline savage. Add in a quadruple somersault and the resulting force is nearly fatal. It's likely the main reason Batman would ever allow him to do it with the cape on.

Also, Dick landing feet first on the penguin in the first image probably gave the guy severe back issues

[thechekhov]

nobody in their right mind will let me do this but I want to get in the water and try to mimic orca sounds at orcas in real time. I know I can do whistles and clicks underwater, and I need to see if

a) they would be loud enough for the orca to hear and

b) if it would freak them out

whether or not I get killed in this scenario is irrelevant. I need to see an orca as wigged out as a cat when you meow at it.

[poorly-drawn-mdzs]

Lan Wangji might be an unstoppable force, but Xie Lian has 800+ years of practice of being an immovable object.

(poll results here for context)

[puppetmaster13u]

Prompt 322

Danny squints up at the slightly older realms being, even if technically he’s older in human-age. The Chaosling is practically vibrating in place, the massive realms feline peering out from over their shoulder. Huh. So this is his Clockwork-assigned babysitter-cousin? 

He didn’t know how to feel about the whole suit thing, but well, he won’t say no to a good prank. C’mon Cujo, they’re going to the daycare dimension-place!

[deoidesign]

Doing master studies the only way I know how: Stealing them and making them my guys.

(Barberini Faun)

(The Fallen Angel - Alexandre Cabanel)

(Covent Garden - William Bruce Ellis Rankin)

[rambles-about-minecraft-ocs]

one of my favorite things about zedaph is that on a server full of people that find strange and oft-overlooked minecraft mechanics or rare events and then see just how far they can push them in the name of spectacle or efficiency or world-breaking, zed is over here finding these mechanics in order to do the weirdest things he can think of in as entertaining a manner as possible

like i 100% have faith in zedaph's theoretical ability to be just as efficient or spectacular or world-breaking. if he wanted to do that stuff, i trust that he absolutely could. but thats so far from being his priority. instead, hes going to spend around a week of irl time focused entirely on eventually having the good luck to spawn in something insanely rare so that he can convert it into something even rarer, the result of which being something that 99% of the server reacts with complete and utter shock that it even exists in the first place, just because its zany and funny and he wanted to. and i love that

[hiding-under-the-willow]

Thinking about how in date he makes himself look like Mark and so the implication is that he can just make himself look human when he needs to

[serpentface]

how do you come up with the ways cultures in your setting stylize people/animals/the world in general in their artwork, i.e. jewlery, rock carvings, statues, etc? Each culture in your world seems to have a very unique "art style" and I love it a lot - makes them seem that much more 'real'. This is something I struggle with a lot in my own worldbuilding and I'd love to pick your brain if possible 😁

I think a starting point is to have a research process based in the material realities of the culture you're designing for. Ask yourself questions like:

Where do they live? What's the climate/ecosystem(s) they are based in? What geographic features are present/absent?

What is their main subsistence method? (hunter gatherer, seasonal pastoralist, nomadic pastoralist, settled agriculturalist, a mix, etc)

What access to broader trade networks do they have and to whom? Are there foreign materials that will be easily accessible in trade and common in use, or valuable trade materials used sparingly in limited capacities?

Etc

And then do some research based on the answers, in order to get a sense of what materials they would have routine access to (ie dyes, metal, textiles, etc) and other possible variables that would shape how the art is made and what it's used for. This is just a foundational step and won't likely play much into designing a Style.

If you narrow these questions down very specifically, (ie in the context of the Korya post- grassland based mounted nomads, pastoralist and hunter-gatherer subsistence, access to wider trade networks and metals), you can direct your research to specific real world instances that fit this general idea. This is not to lift culturally specific concepts from the real world and slap them into your own setting, but to notice commonalities this lifestyle enforces - (ie in the previous example- mounted nomadic peoples are highly mobile and need to easily carry their wealth (often on clothing and tack) therefore small, elaborate decorative artwork that can easily be carried from place to place is a very likely feature)

For the details of the art itself, I come up with loose 'style guides' (usually just in my head) and go from there.

Here's some example questions for forming a style (some are more baseline than others)

Are geometric patterns favored? Organic patterns? Representative patterns (flowers, animals, stars, etc)? Abstract patterns?

Is there favored material(s)? Beads, bone, clay, metals, stones, etc.

When depicting people/animals, is realism favored? Heavy stylization? The emotional impression of an animal? Are key features accentuated?

How perspective typically executed? Does art attempt to capture 3d depth? Does it favor showing the whole body in 2 dimensions (ie much of Ancient Egyptian art, with the body shown in a mix of profile and forward facing perspective so all key attributes are shown)? Will limbs overlap? Are bodies shown static? In motion?

Does artwork of people attempt to beautify them? Does it favor the culture's conception of the ideal body?

Are there common visual motifs? Important symbols? Key subject matters?

What is the art used for? Are its functions aesthetic, tutelary, spiritual, magical? (Will often exist in combination, or have different examples for each purpose)

Who is represented? Is there interest in everyday people? Does art focus on glorifying warriors, heroes, kings?

Are there conventions for representing important figures? (IE gods/kings/etc being depicted larger than culturally lesser subjects)

Is there visual shorthand to depict objects/concepts that are difficult to execute with clarity (the sun, moon, water), or are invisible (wind, the soul), or have no physical component (speech)?

Etc

Deciding on answers to any of these questions will at least give you a unique baseline, and you can fill in the rest of the gaps and specify a style further until it is distinct. Many of these questions are not mutually exclusive, both in the sense of elements being combined (patterns with both geometric and organic elements) or a culture having multiple visual styles (3d art objects having unique features, religious artwork having its own conventions, etc).

Also when you're getting in depth, you should have cultural syncretism in mind. Cultures that routinely interact (whether this interaction is exchange or exploitation) inevitably exchange ideas, which can be especially visible in art. Doing research on how this synthesizing of ideas works in practice is very helpful- what is adopted or left out from an external influence, what is retained from an internal influence, what is unique to this synthesis, AND WHY. (I find Greco-Buddhist art really interesting, that's one of many such examples)

Looking at real world examples that fit your parameters can be helpful (ie if I've decided on geometric patterns in my 'style guide', I'll look at actual geometric patterns). And I strongly encourage trying to actually LEARN about what you're seeing. All art exists in a context, and having an understanding of how the context shapes art, how art does and doesn't relate to broader aspects of a society, etc, can help you when synthesizing your own.

[roncheg]

another practice with references got out of control (idk what is happening anymore))

[adriancatrin]

katara sees her brother and bff approaching something that can make them happy and says no interruptions

based on this photo from the live action cast

[isjasz]

[Day 258]

Ok how do I explain this one. Uh @iiiacs and I somehow made a chem lab AU so here are some doodles LMAOFJASKDJAWAK THEYRE SO SILLY

[yardsards]

some people on here make Hating All Social Rules such an obnoxiously large part of their personality that you could say "it is polite to avoid farting in a crowded elevator if you can help it" and they'd call you an oppressive puritan who hates the incontinent

[apas-95]

amazed that some people still haven't gotten out of the 2010s social-justice culture war rhetoric of something being a constructed social system meaning it's 'not real'. like yeah no shit nations and ethnicities 'aren't real', but it would be utterly wrong to argue that they don't still act as genuine axes of oppression - and therefore as the basis for shared struggle - even if they don't have strict, prescriptive definitions that could define any single *individual* as a member of them or not. yes, there are people who are simply nationalists, but it's incorrect to describe nationalism as simply a 'tactic' taken up by communists, rather than a genuine end unto itself. those simple nationalists are, until the national liberation movement is through, genuinely progressive, genuinely revolutionary, without caveat. saying otherwise represents a failure to understand our positions as being historically contingent and historically situated. the proletarian, socialist cause is not the zenith of human progress. it is simply the correct and ascendant movement in given historical conditions, just as capitalism once was. failure to understand that is precisely what leads to idiotic, immaterial positions like 'neither hamas nor israel'