just realised i have a lot of suikoden fanart i did not post on tumblr, so might as well put that to my to-do list. stay tuned???

pixel skylines
Sweet Seals For You, Always

blake kathryn

Origami Around
Mike Driver
One Nice Bug Per Day

Kaledo Art

titsay
KIROKAZE

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let's talk about Bridgerton tea, my ask is open
will byers stan first human second
Aqua Utopia|海の底で記憶を紡ぐ
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Discoholic 🪩

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wallacepolsom
"I'm Dorothy Gale from Kansas"
Today's Document

#extradirty
seen from United States

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@catteries
just realised i have a lot of suikoden fanart i did not post on tumblr, so might as well put that to my to-do list. stay tuned???
I feel like I need to share this because idk if Europeans are familiar with the presence of Aldi in the US, but at least especially in my area they’ve been growing a lot recently. Like Aldi bought out some local failing grocery chains where I live (Louisiana) and have opened Aldis in all these somewhat rural communities and small towns, which for the record I’m fine with
But as a result of this they are advertising a lot more in my area and also in many cases, the people in these areas have never been confronted with Aldi or any European grocery store. So the ads that Aldi is pushing out to its new US customer base feature a cowboy shopping at Aldi who is explaining to new Aldi customers how Aldi works. Like this cowboy is explaining you gotta put a quarter in the shopping cart and why there are very little name brands. A cowboy is how they want to reach their American customer base. They gave us a cowboy
Here he is, the Aldi Cowboy
Timestamp October 2019
commemorative art i did when i finished my first three houses playthrough.
Timestamp October 2019
return to Karaya
The way that most of Conan Doyle’s Sherlock Holmes stories’ most horrible villains are rich dudes that are abusive to women, in a time such as the 1880’s, compels me.
There’s a whole subset of Sherlock Holmes stories that could be labeled Asshole Guys Try to Control Women’s Money.
Yup, there’s a huge number of times where Sherlock Holmes is the ONLY person to take a young woman’s complaint or worry seriously and finds out someone is up to some serious evil. Holmes also shows a lot of compassion and empathy with the victims over and over again. (This is why I find “Secretly a woman” or “Trans” Holmes headcanons much more convincing than “sociopath” Holmes.)
I am never going to shut up about how much I specifically love The Adventure of The Copper Beeches because it is literally Sherlock Holmes listening to a young lady he does not know except as a potential client, agreeing with her that a potential job she has interviewed for that she thinks is SUPER SKETCHY is, indeed, sketchy as fuck and when she says she’s probably gonna take the job anyways because the money is good and she needs it going “OKAY I GUESS but for the love of god please write to us so we know you’re okay we will literally drop everything and jump on a train if you want us to”.
The job turns out to indeed be sketchy as fuck, she writes to them, Holmes and Watson drop everything and jump on a train when she asks them to. I read this story for the first time when I was twelve and it made a HUGE impression.
This is also the basis for a lot of speculation about Holmes’ family life. The idea that he has been a victim of abuse, or his mother was abused (or even murdered by his father.) There’s definitely SOMETHING that makes him very aware of how dangerous isolated families can be, and the dark things that can happen behind closed doors. Plus, of course, the motivation to devote himself to stopping crime. And yes, so much of it is of the personal type.
dude see this is one aspect of the original books i NEVER understand why modern remakes (cough cough) don’t go all in on. Like, in the 21th c we HAVE all the dumb forensic shit that made Victorian Holmes stand out, but we STILL DON’T HAVE uh….you know, compassion for women and minorities, or the willingness to believe them, adequate community support for domestic violence or hate crimes, etc. etc. which you’d think is exactly where a renegade consulting detective would come in handy. A good modern day Sherlock Holmes remake, instead of trying to convince us that Holmes is some super genius for being better than fingerprint analysis or whatever, could have him just be…a good person who helps out people the police can’t and won’t help. There you go. That’s how to write a relevant modern Holmes.
One thing that annoys me is how much the BBC version of Sherlock (and the fandom around it) focus on police cases or cold cases. In the stories, Holmes’ bread and butter cases had fuck-all to do with the police and in a few stories, he actively works around/against them, or outright lies to them. Of the many, many things I wish that show had done differently, this is one is particularly obnoxious since it’s such a gimme.
There were very few actual murder cases in the Canon, and Holmes handled them either one of two ways:
Option one: The murder victim was innocent while the killer was an abusive bastard, see Speckled Band. Conclusion, arrest and have the killer charged (Or in the case of Speckled Band, indirectly murder him yourself then shrug and go home)
Option two: The victim was murdered to protect someone that the victim was abusing, or for vengeance, see Boscombe Valley, Devil’s Foot, Abbey Grange. Conclusion, Oops, I don’t know who the killer is, I am suddenly incompetent, oh look a pheasant.
#my favorite murder in holmes canon#is when they straight up witness a lady murder her blackmailer#do nothing except destroy his other blackmail material#and then straight up lie to lestrade about it#sherlock holmes#more of this in modern adaptations pls (via @cactusspatz )
Let’s not forget the time Holmes helps a young woman who’s being catfished by her own stepfather to steal her inheritance, and when the villain sneers that the law can’t touch him, Holmes grabs a horsewhip out of sheerest chivalry.
So, the most canon-accurate iteration of Sherlock Holmes in the last few decades is actually Benoit Blanc….
I think it’s also important to note, and complicates our ideas about what the highly patriarchal/misogynistic society of 19th century England looked like, that these stories SOLD
they were POPULAR
the Victorians LIKED reading about women who won out over shitty men in their lives, even when that plotline reaffirmed a woman’s power and agency or put an active sexist in his place (ie Irene Adler besting Holmes)
which is fascinating in light of. you know. [gestures broadly at all of Victorian gender dynamics, laws, etc.]
So yes, Benoit Blanc is the best modern Sherlock.
Timestamp July 2019
it can't be a spoiler since almost nobody played it, but sure, i'll tag it as spoilers
Timestamp July 2019
Timestamp July 2019
a misadventure
Timestamp July 2019
Some main characters in The Headcanon.
Timestamp July 2019
with the power of hindsight, adult!cecile just vibes like seiba i'm so sorry
cockneytrice always makes me laugh
Timestamp July 2019
Timestamp July 2019
I no longer remember the context for this one, or where the outfit design was from... ah well
waitwaitwait how does this perspective drawing stuff work
Okay, fair warning: I just picked up this thing like a few hours ago, my hands are rattling, my muses are excited and I’m so glad I went to Krenz aka cushart’s little seminar where he spoke extensively (in a language I haven’t practiced in a long time. aka not english) about the importance of “grounding” a character in order to make them realistic and believable.
The seminar was great because I actually… didn’t understand any of the perspective tutorial that I’ve read off the internet before this? The seminar was basically like a missing link for me, so I hope that I can share that in this long post.
So be prepared for long post!
Based on the seminar, he said the biggest issue with character posture and design he has seen many people do is that it’s based on assumptions and conjectures. Most of us absorb posture, dynamism and foreshortening by looking at other people’s works and imitating/recreating them (myself also being a big offender in this). Basically, he’s saying that there should be a structured approach for you to get into posing a character in your art /while/ allowing you to blend the character into a background seamlessly. He used a chunk of Mandarin jargon that I’m unfortunately unfamiliar with, nor am I familiar with the phrases in english, so take my phrasing with a word of salt:
1) Find/make/use a 16-square box.
Boring, I know.
2) Stretch it to your liking to determine the most important plane your character will be interacting with.
I used this plane because it’s an extreme example of how the grid can be used. Here’s an example of a sketch I did earlier with the 16-square grid being utilised as a normal 45 degree floor plan:
Anyway, back to my blank example, the angle of the 16-square will be mainly determined by your camera angle! The one I did is for a wall. The grid is mainly there to help you project the shapes of the object you want to draw! To help illustrate things, here’s an example of a L-shaped sofa or whatever leaning against the “wall” of perspective grid:
The lecturer basically said that it’s the easiest to draw the character/pose/object out in a side-view first, so that you can identify the position of each of the prominent points when you translate it into the 3D/grid plane. His explanation was borderline mathlike and was going into the area of geometry, which I’m not very good at. But basically, it’s about finding out how much “space” each part of your drawn object can take up, much like drawing geometrical shapes in maths class!
3) Draw a side-view of the pose you want.
Top left you can see I scribbled out the side-view of a horrible excuse of a pose. The most important things you have to find out is the angles and planes of note from the pose. Mr. Krenz mentioned equating the notable planes as an unfolded surfaces of a cardboard box; you can tilt at certain points, but it has identifiable angles, which is important for you to determine the angles of your torso, legs, etc and helps solidify your perspective angles when you draw em.
For the pose I drew, the points of note are: the head is leaned towards the “wall”, and the hand goes straight down; but notice how the back is curved and the butt is not close to the wall. This is important.
You’ll also notice that I drew a horrible excuse of a box projected out of the four squares in the 16-square grid. This is the important part! There’s actually some maths shenanigans as to the proportion of the box and how it relates to your anatomy, but I think the safest way to go is to assume a box projected out of 4 squares is equivalent to a torso. so that box = the size of one torso. that means everything from above the hip in the pose should fit into the box.
Remember how I harped on the position of the butt and hands and the angles? This one is for the next step:
4) Draw in basic spheres and shapes. Ignore anatomy for now.
If you see each part of the body as shapes (spheres, squares, rectangles), it’s easier to plot them out in relation to the angle of the perspective grid. Over here, you can see that the shapes are drawn in correspondence with the perspectives. I won’t cover much on this part, mostly because there’s already a hundred other perspective-box-shaped-how-to-translate-to-human tutorials out there that explains it a great deal better than I do. The vital point to take out of this part is that you must plot according to the position of each key point– the back curve, the hand angle, etc onto the geometric shapes when drawn. The box should help you out in this I hope.
5) Finally! Fleshing it out!
Yep. This is also where anatomy fixing happens, if you see the need.
Notice how the angle of the lad’s mantle, vambraces, shin guards, etc corresponds to the geometric shapes scribbled out earlier. This step becomes immensely easier with practice, but basically the gist is that the geometry lines help you determine the direction of the clothes and stuff you have to flesh out.
6) Not necessary, but put in shadows and shading to help solidify the scene.
I thinned out the scribbles here and dabbed on a dark color to immediately portray that the kid’s hiding in the shadow of some doorway. See, immediately there’s a background! And he does look like he’s sitting there and no immediate worries of how the anatomy or angles of things out of place, because the 16-square has already determined it for you beforehand.
Conclusion!?
I think the important part is that personally, this is easier for me to get into instead of looking purely at theories of horizon lines, vanishing points, etc because honestly, it is very difficult to see those if you’re drawing character-oriented pieces. While this technique is not foolproof and is actually more complicated (read: there’s actual math shenanigans in it that i didn’t get into), I think this is a good starting point for artists of any level to start training their eye to see in order to make characters better blend into the backgrounds.
Hope this helped and sorry for the length!
as I commemorate 10k notes on this post, I just want to say that I’m glad my first viral post on tumblr is not a shitpost.
since this is also over 10 years old, gonna reblog this too!