#process of drawing all nine mercs

[static-sulker]

The Process of Drawing all Nine Mercs (engineer and medic)

Im currently working on a new study for the characters, Im not done yet but I just wanna make sure Im not just dead quiet for a bit. I've gotten Sniper, Spy, Medic and Engie kinda sorted down to designs I really like. Im currently fixing up my Scout, Pyro and Solider drabbles, which I'm pretty confident with in Solider's case. Pyro is a bit harder with the face shape and the idea of the unmasked version which I really want to get right. I'm then probably going to do a study on Demoman and finally Heavy, which is the one Im not as excited about. Demoman does seem pretty enjoyable with how cosmetics make his hair but heavy is my fear right now. He has a very specific head shape and overall model for the face that I want to emulate in my style which may be pretty hard to get through with how I work with anatomy. While I'm taking my break, I wanna talk a bit on my hopes for the designs and overall notes on each of their designs. (I also will be making a big reference sheet for them all when I'm done with all 9 mercs).

Engineer

I adore Engineer and with him being my favorite character in the series, I wanted to get his design very specific for me. I wanted to create a model and almost a story for Dell in a way that emulated his character in a good way that wasn't too overdone or simple. One of the only "issues" I had to work with was the jump with hairstyling. I work with big hair and normally have characters gain mullets or longer hair when I flavor them (COUGH sniper COUGH) and the common choice of no hair for Dell is something I wanted to keep. It was easier after I formed and worked my art style into something that could work with a bald character, I think. My big piece that changes my design of Dell from others is his scars. If you couldn't tell from my work, I love drawing scars, and each of my final designs for each have very specific scars or bruises that really enwrap the character they sit upon. His main scar is his right eye having been caught in a severe explosion from an enemy demomans shot on his nearby sentry. This falls into the bond and story I want to give between both Ludwig and Dell, being one of their main bonding moments in my own personal canon. That scar in my opinion really personalizes his design in such a way that It can make him stand out from the original design but still showing his personality. His rather bubbling passion in battle that keeps him on the enemy line, with his sentry being placed in the perfect position to attack. He needs modifications, he needs upgrades. He cannot just be simple. He needs to be perfect, but that is always settled by his own personality and humbleness. I like to think he has a cracking, explosive point that breaks his normal attitude into something darker in battle, which I really like the idea of. Moving on from the main scars, I have a few other things that I like added to his design.

two slashes on his lower chin that creep up his lip. Spy encounter.

He has a series of soft freckles around his body, which appear more on his arms that face but still are apparent to a keen eye

READING GLASSES! He wears them sometimes, normally substituted for his goggles, but he wears reading glasses and I adore it

A lil tooth gap or a snarl tooth, which I really enjoy...It's a guilty pleasure to give all my characters teeth gaps(undecided if either one OR both)

Medic

Medic is another one of my really top tier characters, and I just love everything about him. His voicelines and overall demeanor that he just radiates is such a sinister and interesting energy that I needed to get down on paper. The issue for medic was probably his maturity. Less on his actually maturity, but in his overall body. My older style didn't focus on older or middle-aged characters all that often, radiating on a more softer and youthful body shape. The shape of his face was something I really needed to master, and I really enjoyed my time getting his overall silhouette. A LARGE shoutout to @archiarthur in being one of my biggest references to get his overall appearance and a lot of my reference besides his actual game models! It was a major help and I love your work :D! Anyways, back to medic. Ludwig overall is one of the designs i've gotten very comfortable with. His main design is good enough as it is, and really depicts exactly what I enjoy from him. The design is something I didn't want to falter with too much in my tranfer from screen to paper. He has a very specific smile that I wanted to bring over, making my usual flavor for teeth impracticalities like chips, dents, or any form of misshapen become harder to get across. I went more into the clothing or situation for the real flavoring when it came to my medic drawings, and how he held himself. I wanted to give him more moments with his birds, and with the power of art, I get to make infinite amounts of moments with his lil babys. Besides context and overall clothing hes not too overly flavored, just given a bit more hair, sometimes given larger or chained glasses which overall is never a permanent addition to his design, and some smaller things? His design isn't too overally added on but I do love drawing him and gotten into a real good groove with the design so uh yippie!

[c0nn0r-c0nn0r13]

“If Tim Drake was meta, his ability would be shadow travel!”

“No, immortality!”

“No, shapeshifting!”

NO. NO. NO. HE WOULD BE SPIDER-MAN. FIGHT ME.

actual explanation:

All ‘weird’ behaviour he does? Spider things. Walk with me. Sleeping in the most random places, spider hibernation. Getting in on high building as a child, sticky. Bad eyesight (thats a personal hc), spiders are nearsighted. Really smart, although arachnids have brains that could literally fit on the head of a pin, the work of scientists suggests that they have capabilities we'd have no problem hailing as signs of intelligence if exhibited by animals with much larger brains. (I copied that off safari but my point stands)

Now, you’ve read that and you’re probably like “but, Connor, thats basically nothing, why are trying pushing spider-man! Tim for meta AU’s.” Well, my answer to that is: i don’t know. But lets compare Peter Parker and Tim Drake for a minute.

Tim:

Heavily shipped with his friends (Conner, Bart, Bernard, Cassie, the rest of the young justice98 line up)

Bi

Wears red

Photography as a hobby

Skateboards

Smart

Nerd

Two (+more) friends that wear red

Peter:

Heavily shipped with his friends/people he works with (Wade, Johnny, Harry, Ned, Harley, Mary Jane, Gwen Stacy, Felicia, Matt, Flash)

Queer coded/Bi

Wears red

Photography as a hobby

Skateboards

Smart

Nerd

Two (+ more) friends that wear red

See, basically the same person. “But Connor, when would Tim get bit by the spider, or are you just gonna say he was born with it.” Yes and no, i have no idea how meta powers work in dc, so we’re going with marvel mutants, stick with me.

Tim was born with a mutant (meta) gene, but it doesn’t awaken till he’s nine and gets bitten by the spider. The spider itself is a failed lab experiment from one of the rogues. He gets bit when he’s following batman and robin. It gets him sick and he doesn’t end up following them for a while because his body is changing. The robin (1 to 2) switch happens, Tim’s still in boarding school so he can’t follow them everyday anyways.

“If Tims robin, when does he become spider-man?”

I hc Tim as gender fluid, so he goes by arachnid. Anyways, he becomes that universe’s resident friendly neighbourhood arachnid when his red robin arch happens (AND HE STAYS AS ARACHNID, NO GOING BACK TO ROBIN SHIT!) Dick still tries (and fails) to get him to go to therapy, all that good stuff. He still meets Pru, Owen, and Z. They (minus Pru) dies. You know how the red robin arch goes. Explosion and losing spleens.

Now, this had derailed so much, but i’m going to derail it even more. Anita Fite is this worlds Deadpool, and Cissie King-Jones is this worlds Daredevil. Why is this? Because i said so, anyways this is how it works.

When being trained by her mother, Cissie gets into an accident, loses her sight, that goops/ooze things makes her “see” the world like Matt does. She proceeds to relearn archery with her disability, she becomes arrowette, then retires like in canon. But later on, she can’t just sit by and let everything happen. She goes to college and gets a law degree, she quits being an actresses. She opens a lawyer place thingy. But its not enough. So she dawns the mantle daredevil.

Anita Fite’s parents get kidnapped as an attempt to draw Empress out of hiding. She comes to get her parents back, but they get killed in the process. She gets nocked out, then when she wakes up she can regenerate and can’t die. She feels like she can’t go back to young justice so she takes up jobs as merc. Taking the name Deadpool.

Why did i decide to add them into why i think tim drake’s meta ability would be spiderman. This was because i was trying to get you guys to think about my team red! Tim, Cisse, & Anita. *insert evil laugh*

I will be drawing art for this later. Good day (do you guys want more of this, because i want more of it, and have to the one make it.)

[officialotakudome]

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New Post has been published on https://otakudome.com/spirit-untamed-dated-on-home-media/

Spirit Untamed Dated On Home Media

Universal has dated Spirit Untamed on home media:

Universal City, California, August 10, 2021 – Join pals Lucky, Abigail and Prue in SPIRIT UNTAMED, an epic journey brimming with family, friendship and adventure that you can watch over-and-over. The all-new film is yours to own for the first time on Digital August 17, 2021 and on Blu-ray™ and DVD August 31, 2021 from Universal Pictures Home Entertainment and DreamWorks Animation. This release is jam-packed with more than an hour of bonus content, including deleted scenes, multiple at-home activities, including how to make your own “campfire” indoors, cast interviews, sing-alongs, and much more!

SPIRIT UNTAMED is a story of adventure, family and friendship. Free-spirited Lucky Prescott moves to Miradero to join her estranged father. She is decidedly unimpressed with the sleepy town until she discovers a unique tie to her late mother who was a fearless horse-riding stunt performer. She quickly forms a bond with a wild mustang named Spirit and makes two new pals who love horses as much as she does. When a heartless wrangler plans to capture Spirit and his herd, Lucky and her friends set off on an epic journey to rescue the horse who has given her an unbreakable connection to her mother’s legacy.

SPIRIT UNTAMED stars Isabela Merced (Dora and the Lost City of Gold),  Marsai Martin (Little), Mckenna Grace (Captain Marvel), Walton Goggins (“Justified”), Andre Braugher (“Brooklyn Nine-Nine”), Eiza González (Fast & Furious Presents: Hobbs and Shaw), with Julianne Moore (Kingsman: The Golden Circle)  and Jake Gyllenhaal (Spider-Man: Far From Home). The adventure is directed by Elaine Bogan (“Trolhunters: Tales of Arcadia”) and co-directed by Ennio Torresan (The Boss Baby). The film is produced by Karen Foster (How to Train Your Dragon) and the film’s score and original song “Fearless” is by composer Amie Doherty (Marooned).

BONUS FEATURES ON BLU-RAYTM, DVD and digital:

DELETED / EXTENDED SCENES

FINDING YOUR SPIRIT: Meet the cast and filmmakers behind SPIRIT UNTAMED and discover how they brought this incredible story to life. Find out how this film fits into the overall Spirit story and learn the secrets behind the animation process.

BEHIND THE VOICES – THE CAST: It’s always fun to see the people behind the voices. In this series of short featurettes, we not only meet the cast but we discover what characteristics they share with their on-screen personas and how they inhabit them.

COWGIRLS RULE: This featurette goes into more detail about the female-focused story and explains why it’s not just a “girls like ponies” movie.

DRAWING SPIRIT – SPIRIT UNTAMED: A unique look and chance to learn from one of the talented artists how they bring the characters, both human and equine, to life.

CREATE YOUR OWN INDOOR ‘CAMPFIRE:’ Using crepe paper and LED lights, build your very own campfire at home!

HOW TO UKELELE: Discover how to create your very own ukulele at home. Then, learn some simple chords so you can impress your friends and family around the campfire.

SNACK TIME – S’MORES: During their adventure, Lucky and her friends enjoy a campfire snack that we all know, and love-s’mores! This tasty “how to” feature will teach viewers to safely make their own traditional toasted treats along with a selection of not so traditional recipes.

ABIGAIL’S HAND SHADOW SECRETS: Ever wish you could tell stories using hand shadows, just like Abigail? Well now you can! With the help of a hand shadow master, a simple lamp and an old sheet, anyone can learn how to create cool creatures with nothing but your two hands.

HOW TO ZOETROPE: Lucky Prescott discovers her mother’s horse-riding talent when she finds a zoetrope at her father’s house. This “how to” video teaches fans of the film how to build their own and bring it to life using the drawings they learn in the “drawing spirit” feature.

SING-ALONGS: Watch these fun lyric videos featuring songs from the film and sing-along around your own ‘campfire’.

FEATURE COMMENTARY: Commentary with director Elaine Bogan, co-director Ennio Torresan, and producer Karen Foster.

SPIRIT UNTAMED will be available on Blu-rayTM, DVD and Digital.

Blu-rayTM unleashes the power of your HDTV and is the best way to watch movies at home, featuring 6X the picture resolution of DVD, exclusive extras and theater-quality surround sound.

Digital lets fans watch movies anywhere on their favorite devices. Users can buy or rent the film.

MOVIES ANYWHERE is the digital app that simplifies and enhances the digital movie collection and viewing experience by allowing consumers to access their favorite digital movies in one place when purchased or redeemed through participating digital retailers. Consumers can also redeem digital copy codes found in eligible Blu-rayTM and DVD disc packages from participating studios and stream or download them through Movies Anywhere. MOVIES ANYWHERE is only available in the United States. For more information, visit https://moviesanywhere.com.

For artwork, please log onto our website at www.uphepublicity.com. Website: https://www.uphe.com/movies/spirit-untamed-the-movie Trailer: https://uni.pictures/SpiritUntamedTrailer Facebook: @DreamWorksSpirit Instagram: @dreamworksspirit Hashtag: #SpiritUntamed #DreamWorksSpirit

FILMMAKERS: Directed By: Elaine Bogan Co-Director: Ennio Torresan, Jr. Produced By:  Karen Foster, p.g.a. Screenplay By: Aury Wallington and Kristin Hahn Score By: Amie Doherty

TECHNICAL INFORMATION BLU-RAY™: Street Date: August 31, 2021 Selection Number: 1946213879 (US) / 1946214649 (CDN) Layers: BD 50 Aspect Ratio: 16:9 2.39:1 Widescreen Rating: PG for some adventure action Languages/Subtitles: English, French Canadian, Latin American Spanish Sound: English, French Canadian and Latin American Spanish DTS-HD Master Audio 7.1 Run Time: 01:27:33

TECHNICAL INFORMATION DVD: Street Date: August 31, 2021 Selection Number: 1946213878 (US) / 1946214648 (CDN) Layers: DVD 9 Aspect Ratio: 16:9 2.39:1 Anamorphic Widescreen Rating: PG for some adventure action Languages/Subtitles: English, French Canadian, Latin American Spanish Sound: English, French Canadian and Latin American Spanish Dolby Digital 5.1 Run Time: 01:27:39

ABOUT UNIVERSAL PICTURES HOME ENTERTAINMENT: Universal Pictures Home Entertainment (UPHE – www.uphe.com) is a unit of Universal Filmed Entertainment Group (UFEG). UFEG produces, acquires, markets and distributes filmed entertainment worldwide in various media formats for theatrical, home entertainment, television and other distribution platforms, as well as consumer products, interactive gaming and live entertainment. The global division includes Universal Pictures, Focus Features, Universal Pictures Home Entertainment, Universal Brand Development, Fandango, DreamWorks Animation Film and Television.  UFEG is part of NBCUniversal, one of the world’s leading media and entertainment companies in the development, production and marketing of entertainment, news and information to a global audience.  NBCUniversal owns and operates a valuable portfolio of news and entertainment networks, a premier motion picture company, significant television production operations, a leading television stations group, world-renowned theme parks and a suite of leading Internet-based businesses. NBCUniversal is a subsidiary of Comcast Corporation.

ABOUT DREAMWORKS ANIMATION: DreamWorks Animation (DWA), a division of the Universal Filmed Entertainment Group, within NBCUniversal, a subsidiary of Comcast Corporation, is a global family entertainment company with feature film and television brands. The company’s deep portfolio of intellectual property is supported by a robust, worldwide consumer products practice, which includes licensing, and location-based entertainment venues around the world.  DWA’s feature film heritage includes many of the world’s most beloved characters and franchises, including Shrek, Madagascar, Kung Fu Panda, How to Train Your Dragon, Trolls and The Boss Baby, and have amassed more than $15 billion in global box office receipts.  DreamWorks Animation’s television business has quickly become one of the world’s leading producers of high-quality, animated family programming, reaching consumers in more than 190 countries. Creating a diverse array of original content in a variety of formats and delivering deep, fully immersive worlds served up with compelling characters, the prolific studio has garnered 31 Emmy awards since inception in 2013.

[stephenpetroniocompany]

“Bloodlines is the project of a lifetime.”

Melanie George’s program notes for the 2017 season of Bloodlines

“I don’t have one dance home. I have lots of homes.” -Stephen Petronio

Bloodlines is the project of a lifetime. Literally. Initiated in 2014, on the heels of Stephen Petronio Company’s 30th anniversary, Bloodlines simultaneously looks forward and back on the legacy of Stephen Petronio, while making space for the vision and lineage of his most influential predecessors. With specific focus on Petronio’s post-modern heroes and mentors (Trisha Brown, Merce Cunningham, Anna Halprin, Steve Paxton, and Yvonne Rainer), Bloodlines endeavors to shift dance history from the books into the body, and, in doing so, encourages audiences to reframe the narratives assigned to these dances within history. Part homage, part investigation, through Bloodlines, Petronio draws a serpentine line from post-modernism to his own signature elegance and kineticism.

Beginning with Merce Cunningham’s RainForest in 2014, each season, Stephen Petronio Company has added one or more historic post-modern dance works to their repertory, to be performed alongside a new work created by Petronio. For its 2017 season, the company presents an excerpt from Steve Paxton’s Goldberg Variations, a triptych of early works by Yvonne Rainer, and Anna Halprin’s solo The Courtesan and the Crone, performed by Petronio. Though the artists have a shared history in modern dance chronology, each of the works represents a different era in the artists’ lives: Rainer’s works are from the start of her career, Paxton’s dances were originated in his late forties, and Halprin was a septuagenarian when she created her solo. Bloodlines is not a retrospective. More than mere tribute, the repertory is in dialogue with itself and current and future pieces by Petronio. Similar to revisiting great written works, within each dance is context and subtext promoting a rereading of what we think we know of these dances.  

Yvonne Rainer’s Diagonal was first presented as part of the evening length work, Terrain (1963). Diagonal is a playful game, full of humor and chance, but with clear rules for space, time, and movement, denoted by letter and number. In reducing the design to a series of actions, devoid of meaning, the performers relationship to the movements is revealed. Dancers alternately revel, grapple, and impose their will on one another. In Diagonal, we glimpse the seeds of Rainer’s movement aesthetic that would eventually be immortalized in her No Manifesto and most famous work, Trio A: a fascination with pedestrianism and repetition, direct locomotor movement, limb initiation as an obstacle to traveling movement, and an averted gaze.

Trio A with Flags (1966/1970), is one of many versions of the iconic dance, Trio A. Originally titled The Mind is a Muscle Part 1, Trio A was first performed on January 10, 1966 at Judson Church. An egalitarian, movement-focused work performed by any willing participant with any degree of skill, Trio A can be a trio, solo, an ensemble work, or duet. Its focus on movement invention sans repetition, seduction, or spectacle, would, over time, be seen as the ultimate rebellious act of post-modern dance. In questioning, and ultimately breaking, most of the rules of conventional dance composition and performance, it succeeded on its own terms and redefined those terms for the field, in general.

In program notes for a March 1968 performance, Rainer stated

“Just as ideological issues have no bearing on the nature of the work, neither does the tenor of the current political and social conditions have bearing on its execution… This statement is not an apology. It’s a reflection of a state of mind that reacts with horror and disbelief… not at the sight of death, however, but at the fact the TV can be shut off afterwards as after a bad Western. My body remains enduring reality.” (1)

Her words reflect the inherent iconoclasm of Trio A’s origins. Though the content remains unchanged, or perhaps because of it, the intent is endlessly malleable. In the case of Trio A with Flags, it is overtly political. First performed in 1970 by Grand Union (with David Gordon, Paxton, and Rainer) during the People’s Flag Show, the dance was used to protest the arrest of fellow artists. Nude, with five foot flags tied around the neck, this version has rarely been performed since 1970.

The decision to revive Trio A with Flags at a time when our cultural and political climate is fractured, is a purposeful, tactical act of resistance. Petronio has chosen to speak with his most effective medium. He states, “...our actions are the architecture of our souls, and so we shall be remembered for the heart and breath and fierce passion of our march.” Where words fail, the body speaks eloquently, transforming what was once a timeless counter-culture political statement, into a timely, necessary declaration on the role of art in society. It incites. It reflects. It validates. It comforts.

Chair-Pillow is an excerpt from 1969’s Continuous Project-Altered Daily. The most structured and conventional of the three excerpts presented on this program, in the original evening length piece Chair-Pillow served as an interstitial counterpoint to a series of interchangeable solos duets, trios and group dances. In documents from the rehearsal period, Rainer writes extensively of a need to interrogate the role of authority and directorship in her creative process. Of this time she commented, “It seemed a moral imperative to form a democratic social structure.”(2) Chair-Pillow is an interesting byproduct of this approach, as it is organized and repetitive, but, in its original incarnation, could be initiated by any dancer, at any time in the performance.(3) What is clear in the early performances, and the Petronio restaging, is Chair-Pillow is a dance about self-inflicted obstacles, theoretical and tangible. Though Rainer and her Judson Church compatriots rarely get due credit for their whimsy, how could the accompanying Ike and Tina Turner performance of “River Deep, Mountain High” be anything but whimsical. In the narrative of the anarchical, political, and experimental leanings of Judson Dance Theatre, humor is often excised. By adding these works to the Bloodlines repertoire, Stephen Petronio Company balances the scales between the wit and wisdom that is woven through Rainer’s choreographic history.

Of the many dance interpretations of Bach’s Goldberg Variations, Steve Paxton’s work is, perhaps, the most invested in variety. Beginning in 1986, Paxton’s Goldberg Variations project extended over six years, rooted in his commitment to never perform the work identically. Inspired by Glenn Gould’s 1982 recording, and intrigued by the juxtaposition of an ever changing dance set to a fixed audio reproduction, Paxton did not commit to recording any of his performances until the project’s end in 1992.(4) A quarter of a century later, the video serves as a lush portrait of who Paxton was as a mover during this time, though that was never his intent. Widely revered as the shepherd of contact improvisation, history texts often fail to mention the exquisite nature of Paxton as a performer of his own repertory. Yvonne Rainer once commented that Paxton developed his aesthetic as a means to avoid the inherent technical brilliance of his dancing body.(5) This excerpt from Paxton’s work highlights the magic that results from mating a highly evolved mover with a masterful improviser. Shifting from isolation and fine motor movements to athletic gross motor movement, existing in all dimensions in space, contrasting strong, quick effort with undulations of the spine, the dance, and Nicholas Sciscione’s performance, are facile… curious…. alluring.

The Courtesan and the Crone was chosen for Petronio by Anna Halprin. Halprin created the dance in 1999, at the age seventy-nine. A feminist work about aging and image, the piece is emblematic of the manner in which Halprin remains present in her work, evolving thematic material to reflect current states, eliminating the distinction between life and art.  Inspired by the gift of an Italian mask from her daughter, Halprin designed a humorous dance of seduction, revelation, and resignation. Petronio’s performance is sly and provocative, as it simultaneously assumes and subverts the character through age and gender. His performance poses questions found in Halprin’s artist statement: “What next? Where am I going? What is my work now…?”(6), while also touching on drag and genderqueer themes. The result is a mix of illusion and vulnerability from a character of indeterminate identity.

Petronio’s latest work, Untitled Touch, is a mix of purposeful propulsion and dexterous motion. The dancers often act upon another, rather than work in tandem, orbiting around each other while transitions and groupings dissolve. The movement allows varied aesthetics to rub together, as classical lines collide with the deliberate release of effort. As noted in the title, it is a tactile work, but is neither sensitive nor indulgent. Instead, it employs surprisingly percussive movement vocabulary. The accompanying score, composed by frequent collaborator Son Lux, suggests an ongoingness in opposition to the decisive irregularity of the staging. In these moments of juxtaposition, Petronio makes his own dance history transparent, referencing his influences without mimicry or portraiture. The non-discerning eye might miss the elements upon first glance, but in the context of this program, we see clear nods to Trisha Brown’s dynamism, Paxton’s athleticism, Rainer’s intellect, and Halprin’s humanity. In Untitled Touch, and the Bloodlines project overall, Petronio unpacks these coexisting aesthetics, reassembling them like a three dimensional puzzle with its own internal logic and multiple non-linear perspectives.

Bloodlines continually plays with sum and parts, discarding the notion that one is greater. Of note is Petronio’s decision to explore the work of other artists at a point in his career when most artists are concerned with concretizing their own legacy. The notion of legacy as synergistic is anomalous to the vision of modern dance history as a roster of individuals chiefly concerned with authoritative personal statements. Though historians often encourage the reductive geometry of timelines and family trees, we know the evolution and chronology of art is rarely linear or singular. No art form evolves in a vacuum. An alternate reading of the Bloodlines project highlights cooperative artmaking as one of the lasting lessons from Petronio’s early dance training. A dancer’s movement profile is an amalgam of every physical experience encountered over time. There are preferences and predispositions toward style, genre, and technique, but one cannot undo his physical history. What the body encounters changes it, dynamically; what the eyes capture imprint on the brain. The result is a complex recipe that cannot be quantified or duplicated, but is tangible and visible in performance.

-Melanie George

(1)  Rainer, Yvonne. Work 1961-73. Halifax: Press of the Nova Scotia College of Art and Design, 1979. Print. (2) Ibid (3) Chair/Pillow History. Perf. Yvonne Rainer, Mila Parrish. Vimeo. Arizona State University ArtsWork Theatre, 2012. Web. 15 Feb. 2017. <Chair/Pillow History>. (4) Steve Paxton's Introduction to the Goldberg Variations. Dir. Walter Verdin. Perf. Steve Paxton. Vimeo. N.p., 1993. Web. 15 Feb. 2017. <https://vimeo.com/188213292>. (5) Kourlas, Gia. "Yvonne Rainer Talks about Her Newest Dance and Judson." Time Out New York. Time Out, 30 Oct. 2012. Web. 15 Feb. 2017. <https://www.timeout.com/newyork/dance/yvonne-rainer-talks-about-her-newest-dance-and-judson>. (6) Halprin, Anna. "Artist Statement." Anna Halprin. N.p., 2016. Web. 12 Feb. 2017. <https://www.annahalprin.org/artist-statement>.

[static-sulker]

The Process of drawing all nine mercs (Sniper And Spy)

haha I know, it's been a few months sense my last tumblr ramble and a good amount of time sense anything TF2 based. I've been really diving into my own fiction, with my book! I haven't talked here on it much, but I am a aspiring writer (cringe I know) and currently want to start getting a full book done and in my portfolio and not just dozens of short stories, which will be daunting but I think I can make it. It's been a hobby and a time consuming one at that, so I really haven't dove back into TF2 with the whole book thing, and my other hyperfixation holding me in a chokehold (COUGH COUGH fnaf, epithet erased and undertale COUGH COUGH). But now I have the mental capacity to continue this little series! Right now I have finished the designs for Scout, Spy, Sniper, Pyro, Engineer and Medic. Solider is almost done, as well as Demoman...Haven't touched Heavy's design but I promise I will soon...maybe...BUT! Today, I want to go over the silly little guys of Mundy, and Pierre (Spys headcanoned name for my canon :D) Anyways lets dive in!

Sniper

Sniper is held near and dear to my heart, but jesus fucking christ I could not get his design for a awhile. It wasn't just one thing and little tweaks, like most of the other members so far--Engineer, Medic and Spy--- whos were pretty simple to fix. Engie just had his hair, Medic on his mature features and Spy with what was behind the mask. Sniper had like 5 different core aspects that I couldn't draw when I first starting drawing team fortress. The face shape was extremely long for my styling and for the first few tries, it just felt too off. Either too small when i tried my original style and too much when I did it more accurate but less trained. his hat sucked the soul out of my body I fucking hate drawing hats. His figure at the time was hard, as when I started this journey I only drew twinks and girls, both being far younger then the main cast. So for awhile, I had to place Sniper on a shelf and studied Dell, Ludwig and Pierre more. When I finally adapted my style to older characters, I finally got to draw Sniper. His flavoring aren't much different, as the usual design was for my style. I think it's crazy that the original base game really doesn't show many visible scars on characters (besides the comics and the meet videos which were both for Sniper so that did help his design). I gave him a few bullet wounds and the Percy classic, wolfcut hair. I would give him some greyer streaks as I bet money that you don't stay to calm under the pressure in his shoes no matter how big his professional persona keeps up. Also I give him top surgery scars because I am trans. What do you expect me to do. I also gave him the trademark teeth impracticalities! He has a lot of chips and uneven teeth, cause he ya know...lives in a van. I also don't think they give dental care in popular game team fortress two.

SPY

Spys design is nothing but iconic. If you don't know the game, you probably have seen either Heavy or Spy in some type of meme template. That was the main intimidating hurdle I had to get across (as well as some minor tweaks as usual) on how to make this character still show as Spy on paper. The mask took a good while to get right, as masks were never my strongsuit, and hats. Fuck hats. Spy is really fun to draw though. My main practice to draw the characters was in dresses or formal attire if not their classic uniforms or cosmetics in the game. Spy felt so much easier to draw if I did in some type of cocktail dress or ever some flowery more formal dress. He just has the perfect slim build to work in my style. It was a fun design to recreate and I do really enjoy drawing him. The main issue, besides his mask which was an easy jump, was his face. Like. Behind the mask. I cannot tell you how I got it done, I just looked really hard at the details in popular fanfiction "Solitude, But Two" (READ IT OR DIE I DON'T MAKE THE RULES) By Lu_undy on ao3 Im rabid im crazy GRAJHAHAHA. Anyways. Ahem. I kinda just blacked out and then I had Spys face. I have him more hair as usual, and I got him a different teeth screw up. Impacted canines! it makes them look like little small fangs that are smaller then the teeth! It's really interesting and I had done a lot of just sharp canine work in Sniper and I kinda knew that already before drawing Spy. Give the man some tiny wrinkles because I want him to be angry and be disgusted by his imperfections because I love him. I also would nail him to a tree, no questions asked.