character material

4

Yes my commission info has to be 4 pages long

If you’re interested, feel free to contact me via my tumblr (asks, instant messaging, all works!)

With the exception of tarot cards and fake screenshots, all additional characters are full price.

I only accept payment via paypal.  I will send you an invoice after I send you an approved sketch.

Stuff I will draw:

  • Nudity
  • Mild gore/violence
  • Body horror
  • OCs
  • Canon characters
  • NSFW material (on a case-by-case basis)

Stuff I will not draw:

  • Sexualized depictions of underage characters
  • Guro
  • Most animals
  • Hyper-detailed armor/robots
  • Anything dickish and unnecessarily mean.
  • Large-scale projects

I have the right to decline any project.

Even if you can’t spare the money, I appreciate a reblog <3

All 5 slots are open as of now

Good Omens: a gentle reminder

Your headcanon is your headcanon. The characters in your mind are what they are, and nobody is trying to take them away from you. Think of the Good Omens TV series as a stage play: for six full hours, actors are going to be portraying the roles of Crowley and Aziraphale, Shadwell and Madame Tracy, Newt and Anathema, Adam, Pepper, Wensleydale and Brian and the rest. Will they look like the people in your head? The ones you’ve been drawing and writing about and imagining for (in some cases) almost 30 years?

Probably not. Which is fine.

The people in your head and your drawings are still there, and still real and still true. I’ve seen drawings of hundreds of different Aziraphales over the years, all with different faces and body-shapes, different hair and skin, and would never have thought to tell anyone who drew or loved them that that wasn’t what Aziraphale looked like. (And a couple of years after we wrote it, I was amused to realise that the Aziraphale in my head looked nothing like the  Aziraphale in Terry’s head.) I’ve loved every instance of Good Omens Cosplay I’ve seen, and in no case did I ever think anyone was doing it wrong: they were all Aziraphales and Crowleys, and it was always a delight.

Good Omens has been unillustrated for 27 years, which means that each of you gets to make up your own look for the characters, your own backstories, your own ideas about how they will behave.

The TV version is being made with love and with faithfulness to the story. It’s got material and characters in it that Terry and I had discussed over the years, (some of it from what we would have done it there had been a sequel). Writing it has taken up the greater part of my last three years. You might like it – I really hope you will – but you don’t have to. You can start watching it, decide that you prefer the thing in your head, and stop watching it. (I never saw the last Lord of the Rings movie, because I liked the thing in my head too much.)

Remember we are making this with love.

And that your own personal headCrowleys and headAziraphales and headFourHorsemen and headThem and headHastur and headLigur and headSisterMary and all the rest are yours, and safe, and nobody is ever going to take them away from you.

hey remember how Sofia Coppola’s film The Beguiled–a film set in the South during the Civil War that removes all of the black characters from the source material and only references slavery to say “the slaves left” because Coppola openly didn’t feel like addressing the evil of antebellum South–was filmed in the same house as Lemonade?

remember how Elle Fanning and Kirsten Dunst took a picture sitting in the same chair as Beyonce and Serena and captioned it “#lemonade” despite the fact that the film they were making is basically the opposite of lemonade in every way?

  • Bi character is only stated to be bi by the creators outside of the canon source: "That doesn't count at all, they should have at least mentioned it in the source material!"
  • Bi character is said to be bi within the source material: "That doesn't count, because it was only mentioned!"
  • Bi character's sexuality is an important part of their character: "Here we go again with the thinking mlm and wlw's lives revolve around their sexualities, ugh!"
  • Bi character has a love interest of the opposite gender: "So they're basically straight, the creators just want Woke Points™."
  • Bi character has a love interest of the same gender: "So they're basically gay, like nice try but bi people are still underrepresented and this isn't representation."
  • Bi character has more than one love interest: "Classic stereotyping bi people as promiscuous, god!"
  • Bi character literally exists in media at all: "This is somehow bad and problematic!!"

Aozaki Touko    型月まとめ by  黒衛門

※Permission to reprint this was given by the artist. Please do not repost without the artist’s permission. If you liked this fanwork, do take the time to rate and bookmark the original work.

[Please do not repost, edit or remove credits]

STRUGGLES OF SHIPPING A RAREPAIR

Sometimes when you sail too far into the fandom, you’ll encounter what most shippers couldn’t perceive as a normal ship. This painfully breathtaking vessel is called a RARESHIP

1. Other shippers just couldn’t get why you’re digging it

Originally posted by yourreactiongifs

2 Sometimes their reactions are too uncouthy.

3. Even when you have persuaded them to just try reading a great fic or two, their reactions are just like:

4. There’s not enough fangirling material so you’re treating every one you found like precious gem

5. You’ve hit that Kudos button for the gazillionth time already on an AO3 fanfiction featuring your rareship. There are only, like, 5 of them.

6. You asked the author in a tumblr prompt to write another fanfiction featuring your rareship, for every possible kink you could think of

 7. You remember every single interaction of the two characters in the canon material, no matter how minuscule it was 

 8. Digging through Pixiv for fanarts 

 9. You have no other choice but to learn Japanese to understand the doujinshis that no scanslator team could possibly pick up 

do you ever think about how Problematic™ your early teen ships would have been if tumblr existed back then? like. jesus. kids these days: you have no idea how great it was to enjoy, for example, violent possession/manipulative bodysharing hard dubcon in peace. thirteen year old me needed space to be freaky.

10

After I came out of Slumdog [Millionaire] I went on and did a film that was not well received at all. The budget of Slumdog was like the budget of the craft services of this movie and I completely felt overwhelmed by the experience. I felt like I wasn’t being heard, and you know that idea of artistry or feeling connected to the character or the material, that was really scary for me, and that’s really when I learned the power of “No”. The idea of saying “No”. ‘Cause I was eighteen or something and I was just like, “Okay, I get it”. There’s millions of adults telling you what to do, what to do, “You should do this, it’s great”.

I don’t know if you guys have ever seen this, but I know that you like Hoseok so… lmao This image brings ideas hahaha I hope this can be an inspiration! @war-of-hormoan @dailydoseofdia @seokvie @tayegi

Yuri on Ice interview translation - CREA 2017/03 (p34-35)

Second part of the YOI interviews featured on CREA. As for the one with Kubo, more than “interviews” they are like “mini articles” that incorporate what the interviewed people said. The interviews are with Kenji Miyamoto (choreographer), Eiji Abiko & Junpei Tatenaka (figure skating animators), Yuuko Sagiri (original costume designer), Keisuke Tominaga (music producer).

Random note: thanks to this magazine I was finally able to know that Sagiri’s name is “Yuuko”. When I translated her interview on Pash I did lots of research but wasn’t able to find out the pronunciation so I used Yuiko because that was what came out searching for the name alone, but now it’s confirmed that it’s Yuuko so as soon as I have time I’ll edit that interview to fix it. I swear all magazines should be obliged to provide the pronunciation of names, because sometimes it’s really hard to find out how the kanji are pronounced when it’s not famous people with Wikipedia pages and such…

By the way, the issue of Pash coming out today (Feb. 10th) has an article I was really looking forward to (the second part of Kubo’s detailed commentary on each episode), so I’ll probably spend the night translating it when I get home from work. Also because I want to post it before the YOI all night event on Saturday (I’m going to the live viewing).

***If you wish to share this translation please do it by reblogging or posting a link to it***

***Re-translating into other languages is ok but please mention that this post is the source***


The reality as expressed by 5 people who created “Yuri on Ice”

Reality #2: Choreography x Kenji Miyamoto
“The footage taken with the camcorder was the key to create realistic and powerful anime scenes”

Profile: From Hyogo prefecture. After retiring from competitive ice dance in 2006 he started working as a choreographer and commentator. With director Sayo Yamamoto’s “ENDLESS NIGHT” for the first time he was involved in creating figure skating choreographies for an anime.

The choreographies for all characters’ programs were created by choreographer Kenji Miyamoto. He created them integrating the music with the information he received from director Yamamoto and Kubo regarding the characters and their programs. What was different than usual is that the songs for the FS were 4 minutes long instead of 4:30 minutes.
“In the anime characters need less strokes to speed up, so it’s possible to use less ‘transitions’, the movements connecting different techniques. I cut down on those and made the programs more compact.”
Miyamoto was filmed with 4 fixed cameras and 2 portable camcorders as he danced all the programs, then the footage was edited into a multiframe video based on which the animated figure skating scenes were created.
“I believe that the footage taken with the portable camcorder, that filmed me up close, is what made it possible to create realistic and powerful tournament scenes.”
After watching the finished anime, Miyamoto commented that the characters’ monologues during their performances are realistic.
“When you are performing lots of things are whirling around inside your head. In my case it wasn’t words but still pictures, like photographs. I was happy that they expressed the athletes’ feelings.”


Reality #3: Animation x Junpei Tatenaka & Eiji Abiko
“The performances look realistic thanks to Miyamoto-sensei’s choreographies”

Profile: Animators working for the anime production company MAPPA. Specialized in sports and action scenes. They both created animation for director Sayo Yamamoto’s “ENDLESS NIGHT”.

Animation of the figure skating scenes was created by action specialists Junpei Tatenaka and Eiji Abiko. “It’s the first time that we digitally create 2D pictures after deciding the camerawork. It was very difficult because we had to figure out how to do everything”.
Tatenaka, who was already a fan of figure skating, says: “For the moments I believed to be the ‘highlights’ of a performance I would add 1-2 extra stills. This way, I was able to draw out a little what in the live footage only lasted an instant.” They actually made jumps much higher than they are in real life.
“While being aware that real skaters wouldn’t jump that high, I still wanted the scenes to be striking, therefore I was always looking for a good balance between realism and what could be allowed in animation.” (Abiko)
They both agree that Miyamoto’s choreography footage was the most important factor that allowed them to create realistic performance scenes.
“When there was a key point in the music, Miyamoto-sensei would pose with all of his body creating a beautiful line, from his fingertips to the tips of his toes. It was very easy to draw.” (Tatenaka)


Reality #4: Costumes x Yuuko Sagiri
“I think the only difference is that there were no budget restrictions (LOL)”

Profile: Ballroom dancing costume designer working for the ballet & dance supplies maker Chacott. She has designed figure skating costumes for athletes such as Nobunari Oda and Akiko Suzuki.

Yuuko Sagiri, designer of the athletes’ costumes, created the designs giving importance to functionality that would improve a skater’s performance and to elements that would make the character’s personality stand out, just like she does for real costumes. She chose materials, cuttings and decorations that would actually be employed in costumes used for real performances.
“Normally I objectively watch an athlete’s past performances to understand their level and what kind of movements they are skilled at, and this is then reflected in the design. This time I based the design on the characters’ setting materials, the information I received from the director and the choreography footage by Miyamoto-sensei. I think the only difference is that there were no budget restrictions (LOL).”
Regarding Yuuri’s costume, she mentions that she wanted to reflect the fact that he is psychologically weak and gains weight easily.
“I added shining decorations on his chest so that his face would look bright even when he is tense. The cuts on the waist are to make him look slim.”
Actually, she also designed a costume for Yurio’s exhibition. Sagiri said that she created the design thinking of what “Yurio would really want to wear”. We’d definitely like to see him skate with that costume!


Reality #5: Music x Keisuke Tominaga
“I added melody to the beautiful lyrics that is ‘Yuri on Ice’”

Profile: From Kanagawa prefecture. Music producer. He founded PIANO INC. in 2012 and is the current representative director. His main works include the Pocari Sweat 2016 commercial “Kimi no Yume wa, Boku no Yume.”, the TV anime “Zankyou no Terror”, etc.

When creating the music for this show, music producer Keisuke Tominaga constantly asked himself whether it was music you could dance to.
“I would move my hands, feet, my whole body, sometimes even checking the rhythm like a conductor or a dancer. Figure skating has many elements that resemble ballet, so to express the elegant movements of the body I used many tunes in triple time like waltz and bolero.”
Most of the classical and orchestra tracks were created by Taku Matsushiba, while the vocal tracks and modern band songs by Tarou Umebayashi. They worked on the music as a team, always communicating with each other.
“The world created by Kubo-san and director Yamamoto was like realistic and beautiful ‘lyrics’, and I feel that our role was to create a ‘melody’ for those lyrics. In fact, when I joined together Yuuri’s FS song “Yuri on ICE” and Victor’s recorded voice for the first time, the lines sounded just like the words of a song, and I can’t describe how moved I was. I believe that this strong, deep expression that you would not be able to obtain with music alone is what realistically affects the viewers.”


Bonus in case you haven’t seen it already: Sagiri’s design for Yurio’s exhibition program.

okay. okay i can’t just start this and not talk about my expectations from tv!lyra
i usually try not to have expectations of any kind (see my approach to doctor who) but it’s impossible when it comes to my all time favorite female character
so, @bbc - 

  • give me a lyra who’s wild
  • give me a lyra who’s got torn, worn hand me down clothes and dirty knees and bruises and scratches all over
  • give me a lyra with twigs in her hair and stars in her eyes
  • give me a rude lyra, a lyra who yells, a lyra who doesn’t (and frankly, can’t) hide her emotions
  • give me a leader lyra, give me a decisive and arrogant lyra
  • give me a lyra who lies without hesitation, who lies like she’s been doing it all her life because she has, give me a deceiving and cunning 11 year old child
  • give me a lyra who’s still CHILDISH as hell, who looks up to the adults she admires like they’re magic, who bluntly acts like she can blend into societies she admires with varying degrees of success (mrs. coulter’s lifestyle, the gyptians, bolvanger - depends on how hard she’s trying to lie and whether she’s just trying to have fun or actually lying for her life)
  • give me lyra’s and pan relationship - something deeper than anything else
  • yet give me a lyra who seems so different from her daemon - from responsible, planner, voice of reason pan who always has to look out for her
  • YET give me lyra and pan who are children and play together and laugh together and act as the one whole being that they are
  • give me the lyra who drove jordan scholars mad
  • give me lyra who lad gangs of street urchins into wars
  • give me lyra who earned the respect and admiration of iorek byrnison, lee scoresby and serafina pekkala (two of which are monarchs)
  • give me lyra goddamn silvertongue