Kinjō Shirasu. It's been ten years since you brought him in.
Even if he doesn't have a place to go, I can't believe you're
letting someone whose background you don't know stay with you.
He's a survivor of the group of murderers, the Fūma clan you know.
sometimes i think hey i should tag people and then i don’t do it because i can’t think of a tag
People have written a lot of touchy-feely pieces on this subject but I thought I’d get right to the heart of the matter
Cuddle weather? Fuck that. It’s hickey season. You can hide anything behind a large scarf.
Dragon recap time!!! Still over at kurozaya.
I bought some more dragons!!!! Now I have a dragon of each breed, and I feel really good about it.
Leveled up Helli, Luei and Meiju to lvl25 following the guide. Also I’ve been working on some descriptions for the dragons and stuff. I fully write them when the dragons are adults tho. So far I’ve got Helli and Luei done. I wrote some rough draft on Meiju, Teek, Eira, Hrikk and Hlem’s profiles too.
I got some more familiars! Not just some, actually, more like a bajillion. Thanks Coliseum.
Also the eggs hatched! I got super lucky and my hatchlings have decent! I’m gonna gene scroll the fuck out of them, though.. Named’em Glen and Garreth.
I have a total of 17 dragons and 26 bestiary entries.
That’s pretty much it I guess? I also bought some more apparel in the auction house Helli, Luei, Meiju, Teek and Eira, but ya. I also got an Accent for when Niiley’s gonna be an adult. (dances) A super pretty one, even!
250 ways to say ‘went’
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what if shinies were considered bad in the wild since it meant they will get killed easier, which would explain why there are so hard to find…
WHO GAVE YOU THE FUCKING RIGHT
DISCLAIMER: I was going to make this “how to draw archery”, but that would probably have taken the rest of my life. This is all stuff I’ve learned from practicing archery in the past, and the tips I’ve given should translate to many, if not all styles of archery. If you take issue with any of the information given here please contact me, as I’m aware I’m not an expert!
Okay, I’ve seen too many bad drawings of archery online. Most of the time I can overlook it, but I’ve made this guide to address drawings where a) the character would hurt/maim themselves if they shot like that, or b) if you tried to shoot like that, the arrow would just make a sad trajectory to the ground, the aerodynamic equivalent of a “WAH-WAH” on a trumpet.
With this in mind:
POINT ONE: WHY IS YOUR ARM LIKE THAT
If successful archery is about one thing, it is about consistency - being able to make your body take exactly the same stance over and over and over again. Your body is a key part of the weapon, and just as you wouldn’t want a gun that had components that wobbled and shifted, you don’t want your body to.
With this in mind, characters shooting, particularly at full draw (this is when the arm pulling the string is stretched all the way back), should have the arm that is holding the bow straight. Not locked - I’ll get into that - but straight. A straight arm is easy to replicate - a bent arm could be at a different angle each time. Simple as that.
POINT TWO: DON’T SHOOT YOUR TIT OFF
See this diagram
the dotted line is the path the string will take. The string is extremely tight - it has to be for the bow to work. It will therefore move extremely fast. Do you want any part of your body to be in the way of that.
if you have any part of your body (elbows and breasts/pectoral muscles tend to be the worst offenders) in the line of the string, they will get hit. And this will hurt. A LOT. Google “archery bruise” to see how. Yikes. Furthermore, if your arm or chest gets in the way, it’ll knock the arrow off course, and in addition to having sliced your nipple off you’ll have missed your shot too. So KEEP STUFF OUT OF THE PATH OF THE STRING.
side note: this is where the myth of amazons chopping their boobs off came from. Also, why archers sometimes wear chest-guards - this looks like a one-cupped unisex bra. Stylish. Also why archers often wear protective gear called a bracer. This goes on the tender inside of the arm and wrist that might get clipped by the string, not the outside that is nowhere near it.
POINT THREE: WHAT ARE YOU DOING WITH YOUR FINGERS STOP THAT
Okay I keep seeing this
Having the fingers clasping the arrow like this makes it highly likely that the pressure from them will send the arrow off-course.
Many modern bows have an arrow rest so you needn’t rest the arrow on your hand at all. If that isn’t the case, it works better to rest the arrow on the first knuckle of the index finger (where it meets the hand). If it’s just being used as a platform, the finger shouldn’t be able to exert enough pressure to make the shot go all over the place. Also you won’t end up shredding your fingers with the fletchings.
Talking of that…
POINT FOUR: DON’T SLICE YOUR FINGERS OFF
remember what I said earlier about how incredibly taut bowstrings are
imagine pulling that back with your soft fleshy fingers
it is basically like cheesewire through…soft fleshy fingers.
Use protection. Illustrated below are the tab and archery glove, or just go to google or something, stop the madness.
POINT FIVE: PHYSICS DOESN’T WORK LIKE THAT
A strung bow is taut. The body of the bow is pulled by the (very tight) string, making a D shape. An unstrung bow will be straighter.
The tension in the string means a string should always be a straight line. If the bow is drawn, it’s two straight lines.
If there is any curve in the string, the arrow will probably fall limply to the floor.
ALSO. When the string is drawn back, it exerts more pressure on the bow, creating that really exaggerated curve. This is where the power comes from. (I think. I am not physics). Basically, if you’re drawing a character at full draw, the string should be straight and the bow should be curved. If the opposite is true something very wrong has happened and you should be sad.
OKAY! I hope this has been helpful, if you have any questions or concerns let me know. And if in doubt, doctor google will help you - look at olympic or professional archers, and see how they’re standing and how their bows behave.
GOOD LUCK DRAWING!
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Cinnamon Ground Dove (Gallicolumba rufigula)
Also known as the golden-heart dove, red throated ground-dove or the golden-heart pigeon, Gallicolumba rufigula is a species of ground dove that is distributed throughout Indonesia, Papua New Guinea and West Papua. Like other ground doves G. rufigula lives most of its live on the ground forages mainly in the leaf litter for fallen fruits and seeds.
First Tutorial Published from our Summer Extravaganza!
Tutorial: Translating Realism to Stylization
You can watch the entire tutorial right now, right HERE.
First, a little background reading. You might want to familiarize yourself with my previous post on how this sort of thing works in a general sense:
Ok, you’ve read that? Good. Let’s talk about the specifics of what the rest of these do:
Bump Map vs Normal Map
Bump Maps and Normal Maps are actually very similar - in fact, a bump map is a type of normal map. They both store height information about the surface they’re mapping, but the data they store is different. Bump maps store this data in terms of height directly - relative distance from the base of the polygon it’s on. Normal maps store the normals of the surfaces - the direction that the surface is facing. This can be used to calculate other things in addition to the sort of lighting involved, because the normal of the polygon being mapped might actually be facing in a different direction than the normal of the fake surface that the normal map is trying to simulate.
If you look closely, you can see how the shapes on the right look a little different from an angular sense, especially on the bottom two. That’s the directional data stored in the normal map coming into play.
Bump maps and Normal maps differ in that Normal maps require a lot more calculation. Bump maps can be created by hand, but you need some sort of tool to generate your normal maps for you, or else you run the risk of them not functioning properly.
Specular Maps are used to calculate something else entirely. Rather than trying to simulate height, what a specular map does is simulate reflectivity. Imagine a chunk of coal. It is dull, it is pithy, it is dirty, and it doesn’t reflect light very well. Now compare that to something made of chrome. You can see your face in it. The “texture” (as in the way it looks, rather than the image painted onto the surface) of these two materials can be simulated with a specular map applied to your polygon. Here’s an example of the same model with changes just to the specular map:
See how it looks so different in each image? Now imagine being able to use this to add other texture or detail. You could, for example, create a visual of a frosted glass with a detailed logo on it just by messing with the spec map.
Ambient Occlusion Maps
The final type of map you asked about is the Ambient Occlusion (or AO) map. Ambient Occlusion calculates how easily ambient light will reach that particular part. The inside of an opaque plastic tube, for example, will tend to be more dull and less bright than the inside of a frosted glass tube of the same dimensions, which will be different than a clear glass tube. This will tend to make things with crevices and cracks stand out more when doing lighting calculations, much moreso than a simple normal or bump map. Here’s an example of an AO map at work:
There’s an overall increased amount of darkness with the ambient occlusion on, but you can see it specifically concentrated around where the crevices and deep wrinkles are on this model’s face. Those areas are harder for ambient light to get into, since the general topography of the face is less conducive to letting light get in. Hence, we get ambient occlusion.
As you can see, there are a lot of really interesting tricks that programmers have invented in order to get more and more things that artists can tweak in order to create the specific visuals they are looking for. These sorts of techniques aren’t only necessarily useful for hyper-realistic looks either - imagine a game with sort of the stylized visuals or post-production of films like 300 or Sin City, except done on the fly. It does come with the drawback that adding all of these things also increases the amount of work that needs to be done for each thing (the ability to use an AO map means that now you need someone to create AO maps for everything), but it does empower artists to create objects of steadily increasing graphical fidelity.