Sussex Puritans made heavy use of hortatory names such as Be-courteous Cole (in the Parish of Pevensey), Safely-on-high Snat (Uckfield), Fight-the-good-fight-of-faith White (Ewhurst), Small-hope Biggs (Rye), Humiliation Scratcher (Westham), Kill-sin Pemble (also Westham), and Mortifie Hicks (Hailsham). A classic example was an unfortunate young woman named ffly fornication Bull, of Hailsham, Sussex, who was made pregnant in the shop of a yeoman improbably called Goodman Woodman.
—  David Hackett Fischer, Albion’s Seed, p.97. I think I need documentary evidence that “Goodman Woodman” was his real name, and not the 17thC Sussex equivalent of “Bigus Dickus"… ;-)

anonymous asked:

hmm i actually like your color choices! if i had a complaint it's that the faces you draw can seem a tad flat, and that a lot of the characters look slightly similar? all of your characters are very beautiful, like they could be models. i'd like to see you draw characters with "flaws" to make them unique, like i'd be curious what a character with a big nose looks like in your style, or an uneven face, maybe being/appearing overweight, etc. i haven't seen all of your art tho so maybe you have :d

oooh i certainly do agree that the faces look flat, that’s for sure, that’s one thing i certainly need to practice on. The differences between characters is a bit of a complicated issue in my opinion however, so I’ll give a detailed answer if you don’t mind! Keep in mind i’m not going to dismiss your opinion, i just want to explain myself here (or rather, my theory?) to explain exactly what about the faces i’m really struggling with. Hopefully this will also give others, artists and not artists alike, an insight of those who might have the challenges as me, because it’s easy to say ‘more variation’ but it’s different to practice it. Thank you for your critique, by the way! (And your compliment!)

I spend a lot of time thinking about what makes a character look different from each other, even when they look alike as proven by my study of Lucis:

(if you can read my awful handwriting)

I thoroughly think about details such as hairline, eyebrows, eyes, ear shape, lenght and thickness of neck, shoulder width, fat and muscle mass, height etc. I do admit that i struggle a lot with noses but even with them i try (i admit that bigger noses would look adorable in my style, but i can never for the life of me get them to look right. I need more practice no doubt). There’s posture and expressions. I even think about how round their skulls are, how their cheekbones look and the size of their jaw and chins. I also admit i keep the lips very simple unless they’re specifically thin or thick, which I then try to empathize. There’s the nails, body hair and teeth, too. Just to show you:

(left to right: Faustus, Idrao, Biggs Boots)

Faustus: Small, flat skull. Upturned, narrow, downcast eyes. Thin, highly placed and arched brows. Widow’s peak. Shorter than the two. Straight, thin ears. Straight, sharp nose. Thin lips. Short but thick eyelashes. Killer cheekbones, clear jawline, long, smooth neck. Straight posture, smaller shoulders (his coat makes the illusion of them being broader). A very small, thin body type with little to no muscle. Perfect skin. Filed down teeth. (He’s the man who has a lot of features like Lucis, but I also hella struggle with drawing his face in general, so this picture wasn’t a complete success ((this whole picture in general wasn’t, since it was done quickly. But it’s still a pretty good example.)). There’s also worth mentioning that their race isn’t human and they will have some similar features, same with Idrao and other characters.)

Idrao: Round skull. Narrow but very open, lively eyes. Thick, straight but angled brows (up) closer to his eyes. A more protruding but less sharp nose than faustus. Stronger jawline, wider chin. Wider ears, more tilted to the side. Wider mouth, especially when smiling. Relaxed, looming posture, wider shoulders and more muscle mass, but lean body. Somewhat square hairline. A more muscular neck. Big, sharp teeth. Some dark circles around the eyes.

Biggs: Extremely tall and broad. Big head, thick neck, broad shoulders, extremely muscular with a thicker chest. Strong, wide jawline, wide chin. Rounder, a bit flatter nose. Thin lips, wide smile. Lines near cheek area. Eyes are on a even level. Thick, but small and stubby eyebrows. Round hairline. Wide, hooded eyes, far set, with some crows feeet. Flat ears. Relaxed but a very present and strong posture. 

etc etc.

Or if you compare Rowena and Yvette, I’m sure you can see the differences there too (even if the dresses slightly hide how their bodies really look but the faces are a bit more clear):

Girls are oddly easy for me to draw. I can do much more variation with girls than I can with guys, and despite me drawing a lot of men over the years, it’s still something I’m in the process of learning. Especially bodies, I feel like I’ve just gotten a decent grasp of male anatomy. But still, by simply looking at details, such as the eyes, I can see a lot of variation, even when I grayscale the pictures:

I think my issue is that I’m using an old drawing method that I need to go over again. Basically, I have a core face shape that I build on. When I used to do full, paint-over colouring, this is so much easier to work with, because I could change the shapes as I went. Basically, the very shape of the skull was the same, which becomes more obvious when I sketch! And lately I’ve become more terms with my sketches and try to work with what I have instead of painting over it and erasing the stylistic choices that I like. (remember when I said “i think it’s because i’ve improved my style and learned new things, but with that change and knowledge a few ‘rules’ changed as well” ?)

 I think that’s my main issue face-wise. I don’t like to draw realistically, I’ve tried that out and I wasn’t comfortable. Neither do I like to draw in western cartoon style, or ‘moe’ anime. This kind of leaves me on my own in trying to improve. Which takes time, I’m afraid, because it’s one thing at the time.

However, I must say that I personally love drawing beautiful characters! Even when they have flaws, like Edward and Lyka:

– even then I love to draw them beautiful. That’s likely not going to change, to be quite honest. I like a touch of grace to my art, even if the character is a hairy beast of a man. Magic 80s shoujo sparkle on everyone.

So I wouldn’t say my characters aren’t variated or unique. I need more practice with body types, but I don’t only need to practice faces more, but re-study it entirely because it’s been bugging me as well lately. I’ll find a way around it one day!

Jaÿ-Z, photographed in the original Roc-A-Fella Records offices on John Street in Manhattan, by Atsuko Tanaka on March 5, 1996. Tanaka shot Cashmere Brown ahead of the release of his classic debut Reasonable Doubt

Above him is a framed photograph of Tony “Scarface” Montana, as well as one of Hov and his friend and frequent collaborator Abdul Malik Abbott. They were captured on the set of the “In My Lifetime” video in St. Thomas in 1995. Abbott directed the majority of Jigga’s early music videos, as well as Roc-A-Fella’s street musical Streets is Watching and their hood classic State Property.

In early-‘96 Jaÿ, Dame Dash, and Kareem “Biggs” Burke rented a small office space in a low-rent part of Lower Manhattan. Adjacent to the financial district, this section was one of the dreariest parts of the busiest city in the world. “I don’t mind being down here in this area, because this is just a starting point for us,” Jaÿ asserted in an interview when asked why they would even consider putting themselves in this gloomy, God-forsaken part of town. “I like being away from everybody right now, because I can get all my stuff together, then I can move uptown with all those other niggas when everything’s straight. No sense in spending a whole lot of money on office space and moving employees round if your product isn’t bringing in any money yet—that’s a mistake executives make. I used my money to get this label off the ground and that was the right decision, ya know?”

Random Headcanon: What Biggs knew

So, according to supplementary canon, Biggs visited Luke on Tatooine just before ditching the Empire. They have a talk, and then Biggs says farewell—tells Luke that he’s going off to join the Rebellion.

This was the same day as the Tantive IV’s capture.


Biggs comes in with four other guys–his friend, who is the reason they got to the Rebel contact in the first place, and three other new recruits. They’re sent first to a constantly-mobile cell of the fleet, whose main purpose is to induct new soldiers and pilots. (It’s a lot harder for spies who are new recruits to get anything useful when it’s a small, ever moving section of the fleet.)

It’s maybe the second day after their arrival. They have their identifications, and their uniforms, and have gone through the first round of testing and screening, determining (at least preliminarily) that they aren’t Imperial spies. They’re gathered in one of the training rooms, lined up shoulder-to-shoulder for inspection and their first debriefing.

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