#standing lightbox

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Orbyt Studio / Supply.Family / Standing Lightbox (02) / Mockup / 2023

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Orbyt Studio / Supply.Family / Standing Lightbox (02) / Mockup / 2021

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[mobilelightbox]

Stand Out with Custom Light Box Graphics in Florida Stand out in Florida with custom light box graphics from Mobile Light Box. Our high-quality, eye-catching designs illuminate your storefront and attract attention. Enhance your business's visibility and make a lasting impression with unique light box graphics tailored to your needs. Get noticed and boost your brand today. Visit us - https://mobilelightbox.us

[karlicartoons]

ANIMATION FANS, WE NEED YOUR HELP!!!

Yesterday, the day before Lightbox Expo, over 800 TAG members marched to Netflix’ headquarters & delivered a petition demanding the AMPTP keep animation jobs union, agree to AI protections, & more. SHOW THE AMPTP YOU STAND WITH ANIMATION!!

Sign your name next to the people that make the shows you love: animationguild.org/tagpetition

WE REALLY REALLY REALLY NEED YOUR SUPPORT!! Over the years, I have been asked by numerous fans how they can help us keep the animation industry from collapsing. Taking this action now will directly help our fight! I’m on The Animation Guild’s negotiations committee this year. I have been in the conference call with the AMPTP.

They do not see us as human.

They want us to lose our jobs, our homes, and our entire livelihoods.

They want to REPLACE ALL OF US and give YOU AI-generated slop, because they do not fucking care about this industry.

PLEASE HELP!!

[changes]

Tuesday, June 25th, 2024

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[marlynnofmany]

Small-Scale Comedy

A lot of the time when our little courier ship makes deliveries to alien planets, the captain will send someone of the customer’s species for the hand-off. It puts them at ease to see a familiar face and all that. Usually. Other times, the customer is of a notoriously egotistical species, likely to feel affronted if the delivery person has a shinier exoskeleton than they do.

Guess which today was.

“Good greetings,” Mur said, looking up at the insectlike bundle of limbs that loomed over him. Our customer for today was colored in white and the palest pinks, edging into more vivid red at the ends of her legs, and the blades of her pincher arms. She looked like a murderous flower.

And while we had two perfectly eligible Mesmers back on the ship, one of whom I’d accompanied on similar deliveries before, Captain Sunlight had decided to send in two of the squishiest crewmates instead.

Mur lifted the package with half of his tentacles, using the rest to hold himself up at a respectable height. I stood behind him with the payment tablet. I tried to stand very still.

Instead of grabbing the box or offering to pay, the customer called imperiously for someone to come open it for her. We were indoors, in what I’d thought was an empty room aside from all the tables molded from the same brown clay as the walls, and the copious amounts of junk on them. (Buildings here were made of the classiest mud I’d seen in a while, with burnished tabletops and patterned walls. But the mess of scientific equipment and photography supplies was much less classy.)

One of the locals scurried out from one of the many holes in the wall that I’d honestly thought were decoration, but now that I thought about it, there had been a balcony at about that height outside. No need for elaborate doorways when you’re shaped like a centipede.

Yeah, our customer was a large bug person spending time among smaller bug people. This was a comparison that was probably only amusing to me, so I kept it to myself. I’m getting good at that.

The centiperson — no idea what they’re actually called — scuttled over and took the box from Mur. This looked like a risky operation to me, and I had my hands out to catch it just in case the leg-sized whatever toppled over backward, but everything went fine. Their many top legs clung to the box while that long body curled into an S, and their bottom legs skittered over to set the box on a table. Then the centiperson manipulated the combination lock with some very skilled little leggies, and opened the box.

The Mesmer swooped in to pull out a sheet of what looked like tiny stickers, muttering and inspecting it for flaws. When I was starting to wonder if Mur or I should remind her that she still needed to pay for the delivery, she handed it off to the centiperson, whose many legs handled it with more dexterity than her little wrist fingers could. Mesmer pincher arms are excellent at doing damage, but not great for detail work.

“Right, yes, money,” she said, turning back toward us. “Put those on the three in the test chamber!” That part was for her assistant, who was already climbing up onto a table full of terarriums and lightboxes. “Tell me they’re doing better!”

I held out the payment tablet. She grabbed it with a pincher and typed in her information, making me glad for the thick rubber casing on the edges. We could have used a metal case for it, but Zhee had demonstrated how easy those were to dent by crushing one with his own pinchers. It had turned out like a work of art.

“They are healthy,” reported the small voice of the centiperson. “I have applied the cameras.”

“And?” demanded the Mesmer, striding over without giving the tablet back. “Show me!” She peered down into a white-sided box that currently had a lot of lights aimed at it.

Before I could ask, something happened in the box to make the Mesmer exclaim in frustration and lift the tablet skyward. Mur made a noise, worried just like I was that she was about to smash it.

But instead she just stalked back over and thrust it into my hands. “Here. Either of you know much about animals?”

I, with my veterinarian training, had to answer, “Yes.” Mur was pointing at me with multiple tentacles.

“Good. Tell me what is wrong with these animals.”

I found myself ushered over none too gently, while the centiperson moved aside and the Mesmer spoke at length about the videography work she had come here to do.

“The final thing I need is a point-of-view recording from one of these, and I have acquired the absolute smallest of camera tabs, and I am starting to worry that the local population is diseased.”

“Why?” I asked uneasily. The white box held three tiny whatevers, each smaller than my last finger joint, as brown as the walls. They had froglike hopping legs, though none seemed interested in going anywhere. Their faces were pointed like bird beaks, and an itty-bitty camera tab sat on each head like a tiny hat.

“Their jumping is impaired,” the Mesmer said from above me. I made a mental note not to turn around quickly. “And I know that it’s not the cameras throwing them off; those have the molecular weight of smoke. I’m more concerned that something is wrong with all of the creatures here. None of the ones we’ve caught can land on their feet.”

To demonstrate, she stuck a pincher blade into the box, which made the three not-frogs scatter.

Wow, she’s not kidding, I thought as they landed on everything but their feet. They scrambled upright quickly enough, but that was some spectacular tiny pratfalls.

From right next to me, Mur asked, “Is there a disease that causes that?” He’d climbed onto the table himself, and was watching with interest.

“It’s possible,” I said. The centiperson was observing in silence, and I asked, “Are they always like this?”

“Yes.” The answer came quickly, in a flat voice that suggested this conversation had happened before.

The Mesmer waved a pincher arm, folded this time. “The entire population may be suffering from something, either a creeping illness or a low-level poison.”

“It could be,” I said slowly, watching the centiperson turn their head toward the ceiling in what looked an awful lot like exasperation. “Or these animals could be built like a small animal on my planet, with a similar problem.”

I had all their attention now.

“What problem?” demanded the Mesmer.

“Their inner ear is too small to work properly,” I said, gesturing toward the side of my own head. “The part that senses which direction gravity is pulling. It has fluid that needs to slosh around, but the channel isn’t big enough to do it.”

There was silence for a heartbeat, then Mur said “Wow,” and the Mesmer said, “WHAT?”

The centiperson just said, “That makes sense.”

“An entire species can be like that??” exclaimed the Mesmer, stepping back to where she could gesture without hitting anything.

“We did tell you,” said the centiperson.

“I thought it was toxins!”

The centiperson looked at me. “The common name for them is ‘headhoppers.’”

“I thought they had a habit of jumping onto people’s heads!”

Not replying to that, the centiperson produced a little hand net from the far side of the table, and deftly scooped up the tiny not-frogs. They really were about the size of Pumpkin Toadlets, just not bright orange, or fully frog-shaped. Once these had their tiny camera-hats removed, they tumbled willingly into a terrarium full of plants.

“Well,” Mur said, “That’s interesting.” He hopped to the floor with a splat.

The Mesmer was complaining to the world at large that fate was cruel and she’d never get the recording she wanted.

I looked to the local. “Are there any similar animals that are a little bigger?”

“YES.”

“Did you already tell her that?”

“Also yes.”

The Mesmer whined, “They’re nocturnal.”

“Flashlights exist.”

I stepped away from the table, careful to bring the tablet with me. “I’m pretty sure you can come up with a workaround. You should listen to your local expert here; sounds like there’s a wealth of information ready and waiting.”

The centiperson spread many legs and looked skyward, which looked grateful to me. The Mesmer grumbled but didn’t say no.

Already halfway out the door, Mur said, “Good luck with everything!”

I echoed the sentiment and followed him with a wave. The centiperson waved back: a rolling motion along one side that looked especially jaunty. The Mesmer’s arm motion was more of an “Ah, whatever,” but I’d take it.

“So tell me more,” Mur said as we walked back to the ship. “The tiny animals on your planet land on their faces every time? How are they still alive?”

“Well, they’re too small to really get hurt by it,” I said with a shrug. “And I’ve heard it said that any predator is probably laughing too hard to eat them.”

“Yup, that’s definitely it. Your planet sounds hilarious. I’d love to visit someday.”

“You should!” I said. “It’s a great place. Though you know what other animal jumps like that? Fleas.”

“What’s fleas?”

“Oh, let me tell you about fleas.”

~~~

The ongoing backstory adventures of the main character from this book. More to come! And I am currently drafting a sequel!

[curiousthimble]

He's finished!!!

He's actually been finished for a couple weeks, but he's too big for my lightbox and I needed a nice day to take him outside. He took about 6 weeks to make and assemble and is VERY labor intensive.

He stands over 12 inches tall and has a wingspan of ~26-28 inches. He IS available for comms, dm for info.

Pattern: Crafty Intentions

Eyes: FrazzledOwlBoutique on etsy

[iraprince]

TIME FOR A PROCESS POST let's talk abt getting from this (client sketch - which, btw, i know other artists have talked about this plenty, but i LOOOOOOVE a client sketch as early direction on a commission. LOVE it)

to this!

at first we didn't know if the title was going to go across the desk, or over the central figure (emara's) head against the back wall. so there was a 1st version where we were favoring a higher title, then we started favoring the desk so we scrapped the clutter + centered it more

i used clip studio's 3D models (particularly for the chair, guard, + weapon crates) and perspective rulers to help with laying everything out at this stage, tho i abandoned the 3D pretty early on bc it's a bit too clunky for me. maybe i'll find it quicker to use w more practice!

(the rest under the cut!)

once the basic layout was approved, i threw together a value study to explain how in the final image all the clutter of the bg detail would be unified and pushed back. lately i find myself thinking abt value earlier + earlier in the process; planning ahead saves me a lot of time!

i fiddled with starting to refine things digitally, but then i got A BRAND NEW LIGHTBOX delivered in the mail with perfect timing (lmao) so i just ended up printing off the digital sketch, finalizing in pencil, + scanning back in

then comes five billion different steps of locking in values, again. i did everything greyscale first, but i didn't worry abt getting things super polished at this stage bc i knew color would factor in a lot to later decisions

this is the point at which presenting these wips "step by step" is kind of misleading; i didn't do these stages one at a time, but rather had a BUNCH of different lighting/shading layers that i kept toggling on and off as i worked to make sure everything was coming along well.

(to get some of these caps i actually went into the main file again and turned a bunch of stuff on/off just for the sake of getting specific examples, because actually when i was actively working on it there was rarely a point where i was actually working on something with "all lighting turned off and just the shading on," or anything like that; but i AM interested in showing what effects different lighting/shading changes had on the base colors, even if i wasn't really making these changes in a rigid order.)

i.e., just for the sake of interest, here's how the flat colors look without those adjustments!! but i honestly never looked at it like this on its own for long...i had all the shading/lighting turned off so i could see what i was doing while flatting, but i was constantly checking back and forth.

then tones added on top (which were actually just two copies of the tone folders in the above posts, set to linear burn and overlay) -

which makes it get HORRIFYINGLY dark, but that's when we go in and add a bunch of lighting adjustments.

the most obvious lighting change above is the big burst of hot pink light from the corner, but there was also some masked overlay + burn layers to pop out the guard + emara and make sure they were pulled out from the bg. if this were a standalone illustration, i maybe would have let the bg (and all that painstakingly drawn detail..........) stand out a little more, but a cover functions differently, and i wanted to make sure the eye goes to the title first. that means sacrificing bg detail even if it looks sick lol

then final touches! a lot of my very last touches are things that are close to invisible; gradient maps on very low opacity, noise, a little bit of scribbling on upper layers. the typesetting was all by the client, except for the lettering for "emara king's," which i did myself!

finally, here's a comparison of ⬅where i left off one night close to the deadline thinking "it's probably done, but i'll sleep on it just in case," then all the adjustments i made the next day with fresh eyes.➡ and that's it!!! phew!!! that's how i make a cover!

[zegas]

I've been dreaming of a Joe Kubert collection featuring his Golden Age Hawkman work for a minute. Very little of it has been reprinted here & there, and good luck finding/affording the original issues. 

Imagine my surprise and sheer delight to discover this 70s fanzine-looking square bound index of Golden Age Joe Kubert comics. The store's sticker described the contents as "surprisingly good reprints" ...and at a glance they were. Even if the reprints weren't great, I probably would've bought this thing for the novelty anyway. Something didn't seem right when I cracked it open, though, the stuff looked a little wobbly, a little off. And yet, it still looked complete. I couldn't figure out what was wrong about it.

Then I read the introduction and couldn't believe what the catch was. I had to read it twice to make sure I understood it correctly. The author, Al Dellinges, had *redrawn* every piece in this book. Dellinges was an obsessive list-making human Xerox machine. I'm not sure what his process was (did he lightbox the original comics or just eyeball it... and what about the lettering??) but he must've owned or had access to all of the Kubert comics from the era. This might be an interesting exercise for a page or two. But 120 pages? That is an unprecedented level of mania. I can appreciate the intense devotion to the subject, trying to catalog all of that delicate data - the brush lines, the style development, the stories -  before it's all completely erased from existence. Dellinges' mission is beautiful, in a way, and it's completely bonkers.

Look closer, dear reader, there's a catalogue page at the end of this book. That means there are more of these types of books. Was this a normal thing back in '78? Joe Kubert was apparently impressed enough with this project that he had Dellinges help out with some TOR material (to what degree, I'm not sure; Dellinges ultimately never really worked in comics.)

As it stands, I'm charmed and confused by this strange artifact. It's like an amateur cover band re-recording an established band's earlier rarities note for note. But hey, I got a Golden Age Joe Kubert book after all. 

[ghw-archive]

A women dressed for a bullfight stands in a doorway. Spain, August 1924. Photo by Jules Gervais-Courtellemont for the National Geographic.

[searchsystem]

Orbyt Studio / Supply.Family / Standing Lightbox (01) / Mockup / 2023

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[shopsystem]

Orbyt Studio / Supply.Family / Standing Lightbox (01) / Mockup / 2021

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[fourseasonsfigs]

Goodbye Jianghu

As you can tell from the title, these figs represent some of the last moments of filming for Word of Honor for Gong Jun and Zhang Zhehan.

The inspiration for and the name of this set comes from Zhang Zhehan's Weibo post from March 23, 2021, marking the airing of the final episode of Word of Honor. His post is simply titled, Goodbye Jianghu:

It's such a beautiful picture of Zhehan - walking back in his white immortal A-Xu robes.

I had this picture in mind as the matching photo inspiration of Gong Jun, white haired and ethereal looking:

...but when I went to upload it, this clearly isn't it, after all. Did the fig maker just make a complementary fig to Zhehan's picture? I have no idea? I searched through every pic in my Behind the Scenes photo folder, and I could not come up with a pic that matched this fig. Let me know if you know!

On a side note, I recently bought a little lighted box to take pictures in, so I wouldn't be quite so dependent on the few daylight hours in my photography area. I tried it out with these figs, and we'll see how it goes.

Hmm, there's quite a bit of texture in the backdrop, isn't there? Well, we'll keep going!

Yes, those are some little tears welling up in Zhehan's eyes. Like Zhou Zishu, he is also tough on the outside but soft at heart!

I really, really love that Gong Jun's hand is tucked behind his back in his signature pose. Also, his big chunky white hair bangs are fantastically modeled here.

These figs stand up beautifully. So much so that I didn't put them on stands at all, which is extremely rare for my figs, if only because I like them to generally have a uniform look. But, in this case, I wanted to preserve Zhehan's pose just like this.

The robes help quite a bit in keeping them standing tall.

The slight motion modeled into these figs is great. Not overdone, just enough to make it interesting.

The little hands are adorable.

Aww, this is the clearest shot of the tears in Zhehan's eyes! Don't cry, little fig.

Here's a non-box background set of photos for contrast. In retrospect I probably should have picked a non-white clothed set of figs to try this out, since they're all slightly blending into (whichever) background. The LED light of the photo box is a little golden tinted, I see.

I really like how fig Gong Jun is very correctly wearing his black pants with this costume. I love this level of detail!

You can see them a little better here. Sorry for the reflection of the background underneath their hair, I have no idea how that happened! I see I definitely need to replace this little backdrop in the lightbox.

Zhehan's face is just so sweet in this set!

I love A-Xu's little married hair bun. Both of their hairstyles in the epilogue are A+ for sure.

The art on the boxes are very, very cute. We have the background with Zhehan's Weibo post and what I imagine is the background on the green-screen mountaintop from Gong Jun's pose for this fig. I'll keep looking around for it!

Material: PVC

Fig Count: 518

Scene Count: 36

Rating: 后会有期 - I'm sure we'll meet again someday

[link to the Master Post Index]

[leachltd]

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[beardedmrbean]

https://amp.theguardian.com/film/2024/jan/07/im-never-bored-willem-dafoe-on-art-yoga-and-alpacas

You seen this?

Submitted by @ulysseus

I have not, this looks incredible though.

Willem Dafoe is in his apartment in New York, where he is watched over by two works of art. Behind him is an oil painting of his father, a prop created for a film, which required “dynastic portraits” of his relatives. “I liked my father fine, so, there he is.” We are talking on Zoom and he spins the camera round. “But look, even better! Here’s the counterpoint. Do you see that?” To the side of him is a large, lightbox photograph of his friend and occasional collaborator, the artist Marina Abramović, standing priest-like over a naked body adorned with organs. “Anyway, you get the idea,” he says.

Dafoe is less the kind of actor who wants to discuss his three-hour morning workout routine and more the type who will get stuck into the bigger stuff. We are here to talk about Poor Things, the stunning new Yorgos Lanthimos film, based on the novel by Alasdair Gray. Dafoe stars as a reclusive genius scientist named Godwin Baxter – God, for short – who creates life in the form of Emma Stone’s Bella. It is a gorgeous, thrilling adventure and it could be the film to earn Dafoe, who slaps on heavy prosthetics to play God, his fifth Oscar nomination. His first was for Platoon, in 1987, and he has been working solidly, voraciously even, since 1980, making more than 150 films in five decades, with every interesting director in the business, from David Lynch to Wes Anderson, from Werner Herzog to Paul Schrader and Martin Scorsese.

what a lad, gonna have to sit and digest the rest of the article in a bit, thank you for sending it my way

[changes]

Tuesday, April 25th, 2023

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