In A Hat in Time, in the game’s “Death Wish” mode, if you attempt to activate Peace and Tranquility, (which makes the level easier), you’re greeted with a screen of a dancing Hat Kid, in which one of the first lines that appears is “No one is around to help.” This is a reference to an internet meme starring Bob, which utilizes an old community-created gif, and an error screen from Pocket Camp, for when there’s no more friends to ask to help you enter Shovelstrike Quarry.

Original video by JerryTerry.

I was going to wait to post this tomorrow and work on commissions today instead, but my whole house is sick with a mystery fever, and I need a pick-me-up. 

I’ve never done a prom scene, but this was a lot of fun for all the lighting and depth of field effects. Someone mentioned in a reblog that they like seeing the process, so at some point, I’ll put up the various layers of this so folks can see how it came together. 

“It was brave. It was brave and selfless and clever. That’s who you are, Simon. And I’m not going to get bored with you." 

- Epilogue, Carry On by @rainbowrowell

“You know how Batman has Robin? Spider-Man has Harrison.” - Tom Holland about Harrison Osterfield.


Although it looks like a panel painting, this object is actually the upper cover of an Unidentified Himalayan Manuscript that dates from 14th Century. The wooden cover has two distinct sides with a detailed painting of twelve dancing goddesses on one side, and gilded carvings on the other. Although we do not know from exactly where it came, it is likely that it was housed in a library like this one, in the main monastery of Gyantse Monastery, Tsang, Tibet.

The smooth, painted side of the manuscript cover with its delicate painting would actually face inwards, towards the manuscript’s pages. The fact that it was not exposed to the outside may be why the painting is in such good condition while the other, carved side that faces outwards has lost much of its paint and gilding.

In modern times, the smooth surface of the cover had been coated with a layer of wax-like material. This coating was thick in some areas, like areas of paint loss, and thinner in others. Because of its tacky texture the coating had attracted dust and fibers. Matte in some areas and shiny in others, the coating detracted from the intricate details of the composition.

The goal of the conservation treatment therefore, was to remove the dirty, uneven coating without affecting the paint layers. Two techniques helped determine how this could be done in a safe and even manner. First, a small sample was taken to create a cross section that could be analyzed under magnification in different types of light. This showed how many layers the painting was composed of and the coatings on top of them. Removing the topmost layer, the layer that looks clear/bluish in the UV photo micrograph, above the brighter white layer, was made the priority. 

This was the layer that had attracted the disfiguring dust and once removed with the a cotton swab it appears yellow/brown.

Next, once treatment had begun, an ultraviolet reflected photograph (UVR) was taken to show where this layer had been removed. 

In the UVR photograph, the remaining coating shows up darker and can be seen on the right side of the panel. This type of photography will help us to determine that the coating is removed evenly and completely.

Posted by Sasha Drosdick