frontier style


Rustic knives & gear .

 I have the following ready for immediate sale as long as you are over 18 years old and that these are legal to own in your country .

 Please do not contact me here but please email at the email bellow for prices and availability .

 Custom knives , sheaths and gear from

One of the complaints I hear from people who have beef with Steven Universe is how the art style fluctuates from time to time based on whoever was working on the storyboards for a particular scene.

I personally have no problem with this because I grew up on shows like Digimon and Naruto, where the quality of animation and art style fluctuated per episode that as a kid I perceived as normal and even had pet names for the different art styles.

“Oooh this episode has the Awesome Animation.”

“Oh hey it’s the Ugly Art!”

“It’s the Spastic-looking Animation!”

“Oh, this episode has the Generic style, like from the first episode.”

This is from having different animation teams working on each individual episode. Some did half-assed uninspired work, some did amazing looking animation with dynamic angles and an attractive art style, and some did half-assed animation because they put more effort into having a good looking art style.

Japanese anime is not the only one to do this, this is a thing that extends into western cartoons as well. Animaniacs, Tiny Toon Adventures, and any other Warner Bros cartoons from the 90s-early 2000s, did this as well. But rather than having different studios per episode, it was done in scenes. So one episode could have both fantastic fluid animation in one scene, and half-assed stilted animation in the next scene.

So yeah, I personally don’t take issue with Steven Universe having a fluctuating art style. The lack of character model sheets and then saying they want to leave character height “up to interpretation” is valid to call them out on, that is a really weak excuse, but having fluctuating art styles being a distraction/annoyance, I’m gonna have to disagree with that.


So here’s that hawk mask that I recently finished off , its a basic friction fit sheath .

Made from 4.5 mm wet formed veg tan leather which was then distressed on the workshop floor .

 Old copper was then shaped and hammered into place , then drilled and  riveted with copper saddlery rivets before being aged with brass black .

 The leather was then double dyed dark brown and then light for an aged effect before being rubbed back with wire wool for a scuffed effect.

Custom knives , sheaths and gear from

Diana Shepard

“So, Diana, eh? That’s an unusual name.”

He regrets the words almost the very second they leave his lips. Mostly because it’s an unbelievably stupid, pointless thing to say.

After everything that had happened over the last few days: her becoming a spectre, being given the ship, the captain stepping aside, the troubling recording about these ‘Reapers’… There was probably a limitless supply of intelligent, insightful things he could have said to her.

But no, of course, he chooses to make an inane comment about her name.

He expects a sarcastic comment in reply, or maybe an eye-roll, but instead she surprises him.

The corner of her mouth lifts ever so slightly, she takes a bite of the tasteless nutritional goop the Alliance sends for all its biotic soldiers, and then actually answers him.

He supposes he’s going to have to get used to her surprising him.

Keep reading


Sunday Tomes and Tea!

I’m doing some research on how to plan a garden using frontier-style techniques, like scheduling via the moon cycles. Includes some great notes on how to forage as well. I don’t really have a plot of land to do this in yet, so I’m researching for the next installment of Good, Clean Dirt. But you can bet that when I finally have a place for a garden I will be trying some of this out. 

Breakfast consists of honey-wildberry jam on an english muffin and coffee. 


Rustic wet formed veg- tan leather sheath for my Compact Clip point knife .

 Distressed on the workshop floor , double brown sponge dyed for an aged effect and then fully stonewashed . Hammered copper saddlery rivets and brass kydex eyelets . 

Sheath can be carried vertical or horizontal scout carry via a tek -lock or by belt loop extender .

 Available now .

 Custom knives , sheaths and gear from

tari101190  asked:

Every time I see your art I can't help but be reminded a bit of Darwyn Cooke honestly. It would be great to see you tackle some form of all encompassing "DC The Next Frontier" style story covering the bridge between the Silver Age and the Bronze Age of the DC Universe in the '70s & '80's. With things like the introduction of the more diverse Justice League members, and Teen Titans graduating to the Titans, etc.

Uhhhhhhhhhhhhhhhh do I get to draw the Outsiders?

Then I’m in.


A visit to hell in Bernardo wing

Nick Pron, The Toronto Star, June 21, 2005

The sliding steel gate into hell opened slowly, and reluctantly I stepped into the closed world that is Paul Bernardo’s home, and will be for the rest of his life.
Moments later, I was looking into the eyes of Canada’s most notorious criminal. My heart filled with rage over what he had done. I had the overwhelming urge to scream at him.

While his former wife, Karla Homolka, will be a free woman in a few weeks — albeit hounded by the media — Bernardo will live out his life caged in a cell about the size of a walk-in closet.
How I came to be inside the Kingston Penitentiary that day is a story on its own.

A few days earlier, I had been out drinking with some buddies when one of them leaned over and whispered: “Would you like to see Paul Bernardo?”
“Of course,” I replied, “but he’s in jail.”
“It can be arranged,” said my friend.
The next morning I was standing at the front door of Kingston Penitentiary, on the shore of Lake Ontario. I had written about the institution many times, but had never been inside. That was about to change.
The door clanged shut behind me as I walked into the facility that was home to the country’s worst criminals. There was not a wisp of fresh air inside the walls.
My tour took me first to the open range. As I craned my neck upwards and gawked at the rows of cells, I noticed that the receivers on the pay phones at the end of each floor were all off the hook. I was told that, if you wanted to use the phone, you first had to ask for permission from the inmate who controlled that particular floor. This was prison culture. But Bernardo would never be part of that closed society.

“Our guest of honour has his own special area,” said my guide.

It was the ground floor wing for the worst of the worst, the sexual offenders who had to be housed by themselves for their own safety. Plexiglas across the bars in this area of the prison prevented other inmates from hurling objects at them. In prison culture, men who rape and kill children are considered the lowest of the low. Injuring them would be a badge of honour.
The gate to the “Bernardo Wing” suddenly opened and I stepped inside, albeit hesitantly.

The air inside was pungent with the rancid smell of caged men who are seldom allowed out of their cells.

As the gate clanged shut behind me, an inmate in the first cell jerked bolt upright from his bunk, pressing his face tight against the bars. His face was chalk white, his eyes wide as saucers, his gaze not of this world.

He stared at me, at times grinning, drool seeping from a corner of his mouth.
Opposite the cells was a bank of small television screens, two guards monitoring the activity in each cell via a closed circuit camera.

Extending upward from the floor and arching over the guards was a Plexiglas shield that ran the length of the range.
“Why the shield?” I naively inquired.

Just then, a stream of yellowish liquid came hurtling from one of the cells. “Duck,” yelled my guide.
I dove for cover as the urine hit the shield and trickled harmlessly to the floor.

“That’s why,” said my guide, somewhat amused as I picked myself off the deck and looked upward at yet another white face peering down at me from the second row, grinning, his front teeth missing.

The shield was dotted with urine stains, spit, feces. Then came a second volley of yellow fluid. The two guards seated at the screens never even looked up. Such was life in this special section.

One of the inmates started yelling. “Forty-seven,” he screamed. “Forty-seven,” over and over again. His screams cut through the deathly silence of the range. My temples began throbbing in pain.

And then I saw him. A chill ran through my body.

Paul Bernardo, probably this country’s most despised killer, was standing at the front of his second floor cell, glancing down at the wary visitor in the prison’s most restricted zone.

Our eyes locked. His appearance was shocking. Gone was the smirk, the cockiness that was Bernardo’s trademark. He was heavier, his features blowsy, his face white. The man who terrorized women for years in Scarborough, the monster who killed two teenagers in St. Catharines, the villain who stalked potential prey in Orlando, Fla., was safely behind bars. Hopefully forever.

At his trial, I sat three rows directly behind Bernardo in courtroom 6-1 on University Ave. Although I work the court beat, for years afterwards I couldn’t bring myself to even venture into that courtroom for fear it would rekindle memories of that gruesome trial.

Even though he was shackled and watched closely by several guards during the trial, he still had that trademark smirk, that cocky attitude that somehow he was going to talk his way out of a lifetime sentence behind bars.

As his four-month trial dragged on in 1995 I began fantasizing about hurting the man who had hurt so many people. In my daydream, I would vault over the benches, grab him by the neck, throw him to the floor and give him a punch in the mouth for each of his victims. For good measure, I would throw in a couple of extra blows for myself.

Was I losing it, I wondered. The Star had brought in a counsellor to talk to those who were covering the trial and editing the copy. “I’m fine,” I told her. I wasn’t. One evening after court, when a group of reporters covering the trial gathered at a bar to drown our anguish in booze, I blurted out my fantasy.

To my surprise, several others had been thinking the exact same thing. Like me, they wanted their frontier-style justice. Such was the hatred for this evil creature staring down at me from his cage.

I thought about that as I looked back at him. I suddenly had the urge to yell at him, like two of his friends had done shortly after his arrest, standing outside the Metro East Detention centre and cursing at his cell.

But the words got stuck in my throat. His gaze was vacant, the cockiness long gone. My anger eased. He disappeared back into his cell. The moment passed. We continued the tour.

“People wanted him to rot in jail,” I said, and my guide finished my thought: “I think they got their wish,” he said.
“If you really want to experience what life is like right now for Mr. Bernardo,” said my guide, “you have to go inside a cell.”

We found an empty one, similar to the cage where Bernardo lives 23 hours a day, 365 days a year, getting out only for his daily bit of fresh air in a small, fenced-in compound, or showering twice a week, always watched.
The cell was tiny. If you want the same experience, step into a small walk-in closet and close the door. There was a bunk on one side, a toilet at the far end.

The cell was about three paces long, and about as wide as Bernardo’s arm span. Claustrophobia set in immediately. I felt trapped, and thought of animals in the zoo in small cages, and how horrible must be their existence.
“I’ve had enough,” I said, turning to leave, just as the bars behind me shut. “What are you doing?” I asked my guide, now my jailer, standing on the other side of freedom.
“You wanted the full experience,” he said.
“But I didn’t mean it,” I pleaded, grabbing at the bars. They didn’t budge.

I turned back into my new home. I shuddered. The throbbing in my head was now a pounding pain. A minute in a locked cage and the big, tough crime writer was on the verge of tears.

My guide fumbled through his pockets. “Oops,” he said, “I may not have the key.”
“I need to be out,” I pleaded, as he searched his pockets. He was taking his time, enjoying the moment. I was terrified.
Finally, he found the key and I was freed.

My total time in captivity: a minute, 30 seconds. I vowed never to get so close to a story again.
“Someday — not now — but someday I want you to write about your little visit to Kingston,” said my guide.

“Mr. Bernardo will live, grow old and die in there. He’ll have plenty of time to think about his crimes. The public should know that each and every day for the rest of his life will not be pleasant.”

The door to the prison shut behind us. I had my freedom. Bernardo never would.He was declared a dangerous offender, which allows the authorities to sentence him indefinitely to jail, pending regular reviews.
“Know what?” I said to my guide. “I would rather take a needle in the arm than live like that.”

“Just be thankful,” said my guide, “that we no longer have capital punishment in this country.”


Rustic leather .

A simple veg tan leather pocket slip for one of my pimped copper Opinel mods .

The leather was distressed on the workshop floor , double sponged dyed light brown over dark brown  then rubbed back with wire wool .

Hammered / blackened copper sadlery rivets  are used to seal the welt .

Custom knives , sheaths and gear from