Les Amis + the Solar System

Enjolras is Sol, the Sun, trapping the planets in his gravity; the body that provides them both daylight and warmth. But it’s dangerous–a star determines the fates of its planets, and a light that burns so fiercely can’t burn forever.

Grantaire is Mercury, the smallest planet and nearest to the Sun, named for the god of messengers. When facing Sol, the planet warms, reaching over 400 degrees Celsius. When turned away, the already-barren surface becomes cold and dark; dropping below -170. Though it is so close to us on Earth, much about it remains a mystery.

Jehan is Venus, the hottest planet, named for the goddess of love and beauty. It is unique in its movements, rotating in the opposite direction of the other planets. The brightest object in our sky apart from the Sun, poets and songwriters alike, for centuries, have been calling Venus the ‘morning star’ and ‘evening star’.  

Feuilly is Earth, the ideal planet, and our home. Earth is favoured by Sol, being the only planet in the narrow range of distances from the star that allows life to exist. It’s not the biggest planet, nor the warmest, nor the one with the largest moon, but its averageness itself made it perfect.

Bahorel is Mars, named for the god of war for of its reddish glow. Though on first glance Mars seems unforgiving and cold, with a closer look, it was found to be the most conductive to life. The names of the rovers landed on it seem to reflect the essence of the planet itself–’Spirit’ and ‘Opportunity’.

Courfeyrac is Jupiter, the largest planet, nearly a star in its own right for the number of moons it has trapped in its orbit due to its immense gravity. It was named for the god of thunder, fittingly so–the storm in the massive red spot on its surface has been raging for centuries. 

Combeferre is Saturn, often considered the solar system’s ‘jewel’ for the rings that made it a source of scientific fascination since its discovery. The strength of its gravitational influence is bested only by that of Jupiter and the Sun. It was (most aptly) named for the god of agriculture and liberation. 

Bossuet is Uranus, named for the god of the sky, and the planet that expanded the celestial horizons of humankind–the first to have been discovered with a telescope, while the previous five were known since antiquity (though first mistaken for a comet). The planet orbits perpendicular to the rest, most likely due to a collision with a planet that knocked it on its side. 

Joly is Neptune, named for the god of the sea for its vivid blue colour. It is often mentioned in the same vein as Uranus due to their shared characteristics (similarities in size, colour, composition) and is like the former in that it was discovered. Its discovery was special–a collaborative effort in which the planet was mathematically predicted before it was seen.

Marius is Pluto, a dwarf planet named for the god of the underworld, whose true planetary status is still debated by many. In any case, it orbits Sol like all the rest, though on a different plane. Pluto has a moon, Charon, who we may see as Cosette–the two objects are tidally locked, the same face permanently turned toward each other.

millienery  asked:

Hey marcia:) sorry to bother but I needed to ask...How do you establish commission prices?Lately I've been thinking of opening them myself but I don't really know how much it is okay to charge? I know it's supposed to be according to the amount of time taken per drawing,among other things. I'm not sure anyone would be interested, so I'm afraid it won't work, but at the same time I feel like I should just go for it(?)Like, I dont have the courage to start.. Thanks for reading this♡have a nice day

Hi! I’ll be happy to help :)

Honestly, this topic is one of the hardest and the most subjective things in the semi-private sector of art industry. Basically, you’re forced to ask yourself “how much is my work actually worth in the terms of money?” and this can be tricky. Obviously, no one wants to underprice their art and bring themselves down but overpricing will discourage the potential clients - achieving equilibrium is necessary. And difficult.

Here are some things to consider:

  • How long have you been drawing?
    If you’re rather an inexperienced artist/commisionee, you shouldn’t go for relatively high prices. One of the functions of price is informing the client of the quality of the service they can expect from you and the brand value. A new shop selling shoes cannot charge as much as Nike, you get the idea.

  • What is the service you can provide?
    In other words, what can you really draw? People will come to you demanding different things: their  OCs, favourite ships, fursonas etc. and you gotta know what you are able to draw. If someone wanted a dragon in a forest, you can’t just not announce that “you don’t know how to draw trees in perspective” by the end of the commission process! This goes back to experience - the less confident you are about your skills the less you should charge.

  • How long does it take you to make one piece?
    Usually, the longer you draw the more you can charge for a picture, but! Remember that time taking accidents such as “I cant get this hand right, I drew it 5 times and it still does not look ok” don’t count! That would be the effect of your lack of experience rather than you making the piece more detailed. We’re talking about a theoretically smooth process here.

  • How much time are you willing to spend on a particular commission?
    This is a little bit different from the previous point. The questions asks: how much time are you willing to spend to satisfy your client fully? Are you willing to make several value sketches? Colour compositions? How many times will you go back and redraw something because the client informed you they didn’t like it?
    The more you’re ready to do for your client the more you can charge. However, remember!! Each sketch/idea has to be of the same quality!! You can’t suddenly stop caring halfway through or decide that “this composition sucks, the client won’t choose it anyway, so I can half-ass it”
    You don’t get to decide that, the client does.

  • How much would you spend on your own art?
    Be honest and do not be greedy. You’re only starting and since art is surely your hobby, low prices will not hurt at the time being. First, you have to dip your toe in the water and decide if it’s okay, then make changes and eventually rise prices.

  • Check prices of other artists! 
    You gotta know what your competition is serving :) This should be your starting point, but!! Take as a reference several people with relatively similar art styles/experience to yours, and again, be honest with yourself. Adjust these prices to the criteria I mentioned above.

Additional commission related tips:

  • be as informative and neutral as you can be during the commission process; you can throw in suggestions but never any uncomfortable opinions
  • remember that it is you who has to put effort into pleasing the client,
  • it is not the client’s obligation to jump around you,
  • you can refuse to draw something, moreover, you can refuse the whole service if the client is eg. acting shady,
  • in your commission info state your contact, price info, way of paying and when it happens (before/middle/after work), how the commissioning process looks, how much time it takes, your preferences/info about your abilities (not necessary) and what you expect from the client,
  • the more information you provide the more confident the client will feel, it rises the chances of them commissioning you
  • be professional, be serious; surprise surprise - it is your job! :)

I think that’s all, hope I covered the topic fully and it helped! Now go rock the art industry <3


The final frontier of the Frontier Fields

The NASA/ESA Hubble Telescope has peered across six billion light years of space to resolve extremely faint features of the galaxy cluster Abell 370 that have not been seen before. Imaged here in stunning detail, Abell 370 is part of the Frontier Fields programme which uses massive galaxy clusters to study the mysteries of dark matter and the very early Universe.

Six billion light-years away in the constellation Cetus (the Sea Monster), Abell 370 is made up of hundreds of galaxies [1]. Already in the mid-1980s higher-resolution images of the cluster showed that the giant luminous arc in the lower left of the image was not a curious structure within the cluster, but rather an astrophysical phenomenon: the gravitationally lensed image of a galaxy twice as far away as the cluster itself. Hubble helped show that this arc is composed of two distorted images of an ordinary spiral galaxy that just happens to lie behind the cluster.

Abell 370’s enormous gravitational influence warps the shape of spacetime around it, causing the light of background galaxies to spread out along multiple paths and appear both distorted and magnified. The effect can be seen as a series of streaks and arcs curving around the centre of the image. Massive galaxy clusters can therefore act like natural telescopes, giving astronomers a close-up view of the very distant galaxies behind the cluster — a glimpse of the Universe in its infancy, only a few hundred million years after the Big Bang.

This image of Abell 370 was captured as part of the Frontier Fields programme, which used a whopping 630 hours of Hubble observing time, over 560 orbits of the Earth. Six clusters of galaxies were imaged in exquisite detail, including Abell 370 which was the very last one to be finished. An earlier image of this object — using less observation time and therefore not recording such faint detail — was published in 2009.

During the cluster observations, Hubble also looked at six “parallel fields”, regions near the galaxy clusters which were imaged with the same exposure times as the clusters themselves. Each cluster and parallel field were imaged in infrared light by the Wide Field Camera 3 (WFC3), and in visible light by the Advanced Camera for Surveys (ACS).

The Frontier Fields programme produced the deepest observations ever made of galaxy clusters and the magnified galaxies behind them. These observations are helping astronomers understand how stars and galaxies emerged out of the dark ages of the Universe, when space was dark, opaque, and filled with hydrogen.

Studying massive galaxy clusters like Abell 370 also helps with measuring the distribution of normal matter and dark matter within such clusters [heic1506]. By studying its lensing properties, astronomers have determined that Abell 370 contains two large, separate clumps of dark matter, contributing to the evidence that this massive galaxy cluster is actually the result of two smaller clusters merging together.

Now that the observations for the Frontier Fields programme are complete, astronomers can use the full dataset to explore the clusters, their gravitational lensing effects and the magnified galaxies from the early Universe in full detail.

[1] Galaxy clusters are the most massive structures in the Universe that are held together by gravity, generally thought to have formed when smaller groups of galaxies smashed into each other in ever-bigger cosmic collisions. Such clusters can contain up to 1000 galaxies, along with hot intergalactic gas that often shines brightly at X-ray wavelengths, all bound together primarily by the gravity of dark matter.

TOP IMAGE….With the final observation of the distant galaxy cluster Abell 370 — some five billion light-years away — the Frontier Fields program came to an end. Abell 370 is one of the very first galaxy clusters in which astronomers observed the phenomenon of gravitational lensing, the warping of spacetime by the cluster’s gravitational field that distorts the light from galaxies lying far behind it. This manifests as arcs and streaks in the picture, which are the stretched images of background galaxies. Credit: NASA, ESA/Hubble, HST Frontier Fields

CENTRE IMAGE….While one eye of Hubble was observing its main target, the massive galaxy cluster Abell 370, the second eye — another instrument — was looking at a part of the sky right next to the cluster. Although not as spectacular as the light-bending clusters, these parallel fields are as deep as the main images and can even compete with the famous Hubble Deep Field as regards depth. They are therefore a valuable tool for studying the evolution of galaxies from the early epochs of the Universe until today. Credit: NASA, ESA/Hubble, HST Frontier Fields

LOWER IMAGE….This image is a colour composite made from exposures from the Digitized Sky Survey 2 (DSS2). The field of view is approximately 2.2 x 2.2 degrees. Credit: NASA, ESA and Digitized Sky Survey 2. Acknowledgment: Davide De Martin.

BOTTOM IMAGE….This image of Abell 370 was released in 2009. Compared to the new image, which contains more observation time, less structures are visible and faint objects have disappeared — the new image has increased the depth of the image dramatically, clearly showing the benefit of additional observation time. A direct comparison between both images can be seen here. Credit: ESA/Hubble

watercolor tips and tricks

some tips and tricks that have seriously helped me in excelling at watercolour

1. PAPER WEIGHT. for the love of god do not use any paper under 110-120 lbs to paint with watercolour, a very VERY wet medium that will soak clean through the paper if it’s not thick enough (most paper pads sold at craft stores have the weight listed on them. printer paper is around 20 lbs, sketch pads will be about 60 lbs, IDEAL watercolour paper 140 lbs+). i use only 140 lb paper for my serious watercolour works. canson and strathmore are my favourite brands

2. there’s no need to have very expensive watercolour paints, but it is important to use something better than crayola. my dad gave me a 24-pan windsor&newton watercolour set when i was 8 and these are still the paints i use today (i was a very careful child, but i never even had to replace my paint pans after almost 10 years either, so this brand, while super expensive, lasts and earns my gold star.) some other cheaper options are: x and x

3. if you’re going to be using watercolours, prepare to use WATER. so many people forget this, but it’s so important to realise this media is meant to look translucent, so you should see the paper through the paint. if you can’t see it, then you’re using the paints as if they’re gouache or acrylics, so try using more water and work with lighter colours.



quite overused in watercolour but it’s so freaking cool it can be pardoned. *remember for all of these effects, you have to use lots of water with the paint for it to work!


you have to be very careful here because the second image can turn into the first if you use too much alcohol and it soaks through the water and paint gets in the spot, so be sure to experiment plenty before using this!!

but yeah you can use whatever clear alcohol you can find and it does p much the same thing


okay while the darker skin tones are more easily achievable with browns and additional yellows/blues/reds to bring out the undertone, light skintones are hard as hell to make with watercolour because it’s hard to even think of what to mix. think no more!

YELLOW OCHRE + ANY PURPLE = perfect skintone you can play around with. adding more of yellow or purple will give you either cool or warm skin tones you can build up on and layer until they’re the proper value. remember to use purple/cool shadows with skin in compositions with normal lighting!


and finally to repeat my previous post, use PAYNE’S GREY instead of black for a richer, darker colour in your painting. don’t use black unless your entire composition has warm colours, but even then, try to use a very dark brown instead of black.


finally, it’s very important to mention this: never use the white watercolour they sometimes give you. EVER. EVER. dilute your paint with water instead to get a lighter value, or else you’re not using watercolour to its full extent (which is something you might struggle with if you’re used to using acrylics or oil)

that’s all i can think of at the top of my head, but if you have any questions or need further brand recommendations etc, feel free to message me!

lemonnelson  asked:

What is your advice for a new Tumblr artist? PS your art is amazing!

Oh but thank you!!! dude I really not an experienced guy but I’ll try to answer the best I can, those are personal opinions so they may be wrong;

In my opinion there are two main points on which someone who wants to be a tumblr artist should focus: improve as an artist and improve as a blog manager;

to improve as an artist my advices are just a few and you could be disappointed

that’s really everything, if you want you can focus on just an aspect of drawing (such as torso anatomy, colouring, composition), drawing it just to evaluate your knowledge about it, then study it, and I really mean it, study it as much as you can, with books, visual references and tutorials, and then, when you are sure you did your best you should try drawing it without any reference, like, a lot, the last step is being satisfied with your improvement (or either being frustrated, welcome to the club) and start again with something else.

to be a good blog manager you should provide four things to the fans:

-regular art posting: if you can you should post a drawing every two days pretty much, if it’s coloured it’s definetly better;

-interesting answers: when you get to answer questions you should add extra content, such as a drawing (just like i’m doing now) or at the very least an intresting and an appropriated gift;

-appropriate content: if your objective is to be just an artist i’d recommend you to stay out of hot topics as much as you can (such as politics), and since some people are more sensible then others you’d better beware of NSFW in the description if you draw it and then tag the posts propely, as well as spoilers.

-carpe diem!: if you intention is to draw fan-art I’d recommend you to post work related to the present plot of the show, and maybe find the most appropriate time to post drawing based on which country’s audience you would like to reach.

that’s all folks!

p.s: good luck to you and to every one who is willing to share with the world their art and every content creator, you really are the lifeblood of the show!!!

p.s.s: sorry for the awful english, forgive me pls

mememaster32  asked:

How long have you been drawing? Because I love your art so much, and I'm working on my art but I'm not sure how to improve, have you got any tips? X

Thank you! :D I’ve been drawing digitally about 3-4 years according to my documentation haha
Personally I think that (and is just my o p i n i o n)  I improved the most when I stopped drawing solo anime stuff and focused more on real life and traditional art and when I discovered american cartoons (gravity falls etc). Drawing with different tools in different styles made me more flexible and pushed my skills forward. Anime is good for starters but,,,,, how far,,,,, will it get us,,,, fam,,,
Also I started learning art at home, like actually sat my ass down and read stuff about colours, composition and such. And of course it all comes down to practice! Draw as much as you can! :D

1.6k celebration: art requests now open!!

thank you @phanperra for making this banner for me<3

so we somehow reached 1.6k, holy crap this is so much for me, and thank you for supporting and appreciating me. the only thing i can do for you is make better art for you guys, keep on improving and creating.


  • mbf me (i actually won’t know if you do it on anon but pleasee)
  • reblog this post 
  • send in an ask suggesting 
    1. digital or traditional art
    2. content (composition, art style, colour theme, etc)
    3. palette; expression; pose challenge
    4. character/ person

*I’ve been considering this for so long and i still haven’t found the perfect timing to do this, so i’m going to post this now. Considering april is my exam month, i may not be very active here soon. Please put up with the time required and don’t expect i can do yours quickly. This is the first time i do this and idk what to expect. The art request will be open for long, unless this flops.

Hubble photographs grand design spiral galaxy M81

The sharpest image ever taken of the large “grand design” spiral galaxy M81 is being released today at the American Astronomical Society Meeting in Honolulu, Hawaii.
A spiral-shaped system of stars, dust, and gas clouds, the galaxy’s arms wind all the way down into the nucleus. Though the galaxy is located 11.6 million light-years away, the Hubble Space Telescope’s view is so sharp that it can resolve individual stars, along with open star clusters, globular star clusters, and even glowing regions of fluorescent gas. The Hubble data was taken with the Advanced Camera for Surveys in 2004 through 2006. This colour composite was assembled from images taken in blue, visible, and infrared light.

Credit: NASA, ESA and the Hubble Heritage Team STScI/AURA). Acknowledgment: A. Zezas and J. Huchra (Harvard-Smithsonian Center for Astrophysics)

Les amis + the solar system 

9/10 - Joly + Neptune 

Joly is Neptune, named for the god of the sea for its vivid blue colour. It is often mentioned in the same vein as Uranus due to their shared characteristics (similarities in size, colour, composition) and is like the former in that it was discovered. Its discovery was special–a collaborative effort in which the planet was mathematically predicted before it was seen. - @grantairelibere

gazpins  asked:

In regards to the example of your practice work from the previous ask you answered, do you have some sort of reference or study resource you use for that? I find that I get frustrated if I try to pose limbs and figures and draw them from my mind. Any tips? Thanks.

I dont have a specific resource. A lot of that practice work was taken from a number of different reference studies ive stumbled upon. (If you’re gonna do studies out of other’s studies, make sure at least they arent just outline drawings. you’re trying to understand the shape and volume. Its often recommended to use photo references instead)

 There’s also a plenty of timed life drawing videos on youtube, you may want to check that out as it’ll help with actual quick gesture drawing. I also keep a folder with hundreds of my favourite works from other artists so i can study their poses/style/colouring/composition. If you want nice nsfw-specific tutorials, I’ve seen Doxy has a few of them in their FA, tho you may only want to check them once you’ve got a nice grasp of realistic anatomy. 

Good luck!

an appreciation post for giffers

‘cause the writers in fandom get a lot of love and that’s wonderful and exactly what they deserve but my god, more needs to be said about those who:

• are largely self-taught in a field that really doesn’t exist outside of fandom
• pour over episodes and movies again and again and again looking for that perfect moment
• take on the agonizingly tedious task of screencapping every millisecond of that moment or fight with a video editing program to clip it
• deal with the intricate details of getting the framerate right so that an eternally-looping action looks natural to the human eye
• spending hours upon hours upon hours wrestling with photoshop, arguably one of the least user-friendly programs out there, just to get it cropped and coloured right
• the sheer amount of composition and colour theory involved???? is insane???????????
• and then once you get it coloured right, you gotta make sacrifices to every god in the universe to get it down to the right file size, often sacrificing the very thing you loved most about that gif to do so
• the emotional distress that comes with all of the above????

like. i feel like sometimes people who don’t know better assume that we just capture video and spit it out onto the internet. no. every gifset you’ve seen on here is the product of innumerable hours/days/months/years committed to learning and growing in this ridiculously technical skill, and then applying several more hours to put out something that “my god, i should know how to do this by now”.  

so thank you, giffers. i see you. i love you. 

(may the lossiness be ever in your favour.) 

Venus in the 2nd House - Love Frost 

The world is colour, composition, and cake batter with Venus in the second. Life is full of treasure particles and objects of sensual delight - from the curves of her lover to the breath of daisies. The individual has a tremendous capacity for accumulating sparkling inner wealth, a jeweled kingdom within, a sanctuary of adornments and creature comforts. There is a manifestation magic with Venus in the second, like the individual can visualise something and then experience it, hold it, feel it, in living reality. Venus in the second people are seduced by sound, spices, dance, and the beauty of human form. There will be a great appreciation and aptitude with finances. But Venus can indulge and self satisfy.  The individual may spend a too much, all whilst knowing the cost of everything and the value of nothing. There tends to be a distinct cool and elegant personal style. A great vision for design makes her a walking art gallery.

Dane Rudhyar remarks that the second house Venus person is a fruition of their  collective, ancestral, or social background. Venus in the second is materialistic, in every sense of the world. There is a deep enchantment with form and figures, skin on silk, wealth, furnishings, and decore. But there is also a powerful appreciation for materials of the natural world - the dance clouds make in the sky as they part, the feeling of grass squeal under her feet, the sensation of natural honey dripping down her throat, the delight of sitting under a tree and feeling it to be her throne. There may be obsession with appearance when Venus is in the second. She may be the type who adorns her wrist in bangles, douses her cheeks in blush, and paints on the finest red lipstick, all whilst sampling the latest products and beauty detoxes. She walks like a crystal and laughs like Aphrodite, and Venus is at home in the second house, so with an open door the clam shell is open and dripping with strawberry icing sugar and mango kisses. Love makes the individual feel like she is in heaven, rolling with the rays of the sun and the sparkle of the stars.

There is a state of pure bliss when the individual can express her artistic flairs and profound creative expression. Creative talents may be used to make money. Pleasure seeking behavior is high and the need to self gratify commands much of her life. Spending money is one of her favorite past times, although this can reap havoc on her bank balance and relationships. Venus in the second knows how to build a paradise inside. Much of the individual’s self worth will be a reflection of her successful relationships and love situation. There tends to be a mind with Venus in the second that can artistically sketch and turn words into spectacular displays of art and human movement. Maybe there is also a pleasant and saccharine speaking or singing voice, a vibration that seems wrapped in milk and fairy floss. She revels in spoiling her loved ones and showering her favorite people in the best money can buy. The way she designs life is captivating, magnificent, and a true sensory rapture. She is like the frost on the icicle of a carved snowflake, the extra mocha in your coffee, the glorious sound of every musical note, a cupcake candle, the child of a thousand suns and moons. The broken capillaries on her chest form constellations, she is the artistic showcase of all the heavens and the earth, she is the most precious thing you have ever seen, her beauty is truly priceless.


artist:Lady Sybile