this is purely experimental

Incredulity // Jughead Smut

Summary: Fred Andrews is the single parent of twins. He walks in on his daughter with her girlfriend in the middle of sex. Following that breakup you got together with your brothers best friend whom doesn’t have experience in sex so you teach your boyfriend. Guess your not the only twin in a forbidden relationship…only one is legal.

Characters: Jughead x Andrews!Reader, Betty x Reader, Kevin Keller, Archie Andrews (mentioned) and Fred Andrews

Words: 3237

Disclaimer: I do not own Riverdale or the characters. I do not own the Comics either. Jughead is NOT asexual in his.

Warnings: Swearing, underage drinking, smut, former same sex relationship,

Author: Caitsy

Tagging: At the bottom

A/N Originally this was going to be a Veronica fic but apparently my subconscious was needy for Jughead.

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Jokes were always made about the Andrews twins, Archie was the boy that got hit by the puberty bus during the summer before sophomore year. You however had came out of the awkward phase a lot early than your twin brother, it was the end of middle school when you hit puberty in the most graceful way.

While Archie incredibly straight, you were bisexual with no real preference to be honest. Nobody believed that you were bisexual, especially your dad because he had never seen you look at a female before. Fred Andrews got a rude awakening when he walked in on Betty Cooper going down on his freshmen aged daughter. Next the whole town found out about the relationship, minus the sexual side, with the knowledge that Betty had been crushing on you. It was purely fun for you and experimental for her so it didn’t cause any problems when she discovered she was only into guys and actually liked your twin. You guys continued to be best friends.

It was amusing when your father walked in on Betty and you because he fumbled through the safe sex talk. He didn’t know much about safe sex between females but he tried his best even if both of you were embarrassed beyond belief. He was happy however that you wouldn’t become the parental nightmare of pregnant teenager.

It was the last day of summer that he caught you with your boyfriend in bed together and getting the shock of his life for the second time. Jughead and you had gotten together at the very end of freshman year. Nobody, even Archie whom knew everything about you, knew about it because there was no real reason that they needed to know. You were a slut by any means, you only had had sex with Betty so you didn’t care if someone found out that Jughead and you were together. The only thing was that you hadn’t gone that far yet.

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Will finally broke down after all of those days being kept in solitary by the Pines twins for the town’s own entertainment and their little toy
He tried to get advice from his brother Bill, but it had been too late, he’s already been vanquished. So what’s there left to do? It’s not like anyone cared to help him anyway..
This is also lowkey based off of @boomsheikas-art-blog’s Human weirdmageddon Bill

anonymous asked:

Hi! I was just wondering which are your brush settings for Sai. I love all of your art. Keep it up!! Thank you :)

Hi there! First, thank you so much, I’m glad you like my stuff ! Second, I’m a pure experimentator with brush settings and change them from time to time. Apart from standard AirBrush (light effects), Brush (color base) and Marker (shadows) I use this bunch of brushes I adore.
Sorry for bad quality.

1. That’s my Sketch Bro

2. My Precious Twins (hard&soft mixing)

3. My  Flat Babe (i really like flat brushes)

Starlight and Shadows

They didn’t meet in any extraordinary way, the man with no shadow and the girl with a star tattoo, but Dark remembers it so perfectly, each little detail, that it often comes crashing back to him in a dream that leaves him gasping for breath upon waking. Like now.

He throws off his sheets and gets up, pacing around his bedroom in the dead of night. He doesn’t like this restless feeling fizzing inside of him, so he wanders into his office where his piano gleams so softly in the light of the full moon coming in through his wall of windows. With a click, the little lamp that illumines his sheet music flickers to life and casts a golden glow over the black and white keys.

Dark used to think that the world was black and white, but that was before he met her.

He starts to play, nothing off the sheet music before him but rather something inside of him that’s just begging to come out, starting at his chest and tearing through his arms and fingers and out through the keys. It’s not what one would consider a love song, but it’s as close to one as Dark could ever write.

She had a flower tucked behind her ear, and she was angry, arms moving around violently with every word and eyes absolutely ablaze. And he was so shocked because she was angry at him, and there wasn’t a thing he could do to stop her. He didn’t anger strangers often. It was more in his nature to charm than to provoke, but he always liked to test the limits of what his powers could get him out of. So he’d kissed her.

It wasn’t meant to be a romantic thing. It was purely experimental, but she was quite livid, understandably of course. Dark remembered thinking that he wanted to do it again before she slapped him, and after that, he thought that he might lose his temper. Then he noticed the tattoo.

It wasn’t anything special, just a little black star on her neck that could easily go unnoticed, but for whatever reason, his attention latched onto it. And he realized with no little amount of shock that it wasn’t a tattoo at all but rather what might be considered a birthmark among figments, a mark carried no matter their form and a sign of a truly powerful being.

Dark apologized. Whether it was a genuine apology or not is unimportant, but Dark bowed slightly and walked away.

He found her again a few months later, that same black tattoo taunting him. She was laughing this time, head thrown back in a fake giggle that seemed so real that even he was almost convinced. But Dark, being who he is, could see the tension in her muscles, the way that she was coiled and ready to strike at any moment. So, he inserted himself into the situation, stepping between her and the rather large man who was trying to force her into following him outside. Dark charmed him into buying the entire place drinks and turned around to find the young woman gone.

They crossed paths a few more times after that, always very touch-and-go. She never told him her name, and he never told her his. Instead, she became Starlight, his enigmatic match. She could outwit him at every turn, curl a finger through her hair and have him dazed, or, heaven forbid, kiss him and have him forget his name entirely.

Names are such cheap, tacky things anyway.

And then… Dark’s fingers seize up, curled there in claws but unable to move. Her face hovers in the mirror of his mind for a moment before he hurries it away with more music.

And then, he lost her.

It was another unextraordinary night of smiling their way out of trouble when they’d been cornered by another group of figments. They were there for her. Dark knew all along she was trouble, and she carried it around with her like a cloud hanging over her head. But he’d hoped it wouldn’t come to this.

He wasn’t as powerful then. Unable to fight back, he could only take the punishment in hopes that she’d have time to pull another one of her disappearing acts. But she didn’t abandon him. She stayed and fought alongside him until he heard this horrible sound, strangled and quick as someone cut her throat.

Through with what they’d come to accomplish, they left Dark to watch her die. Not enough people remembered her to keep her from fading, and Dark could do nothing but say his name for her over and over again like a magic word that might make it all go away. “Starlight, my starlight, don’t leave me.”

There wasn’t even a body. Once she faded, that was it, and Dark couldn’t even find the stains of her blood that ought to be all over him. Somehow that made it so much worse as he went crawling back to the other Egos, never telling them how he’d gotten his injuries.

But he isn’t weak anymore, and if he could do it again, this time he’d be able to save her. But he’s given too much, and he doubts that she’d even recognize him now, the shadow he’s become to pay the price for not being strong enough. His humanity is gone, the part of him that loved her, all traded away for the power to make sure he never has to watch another figment fade.

The song ends abruptly because that’s how life ends sometimes, and Dark gets up. The sun is rising now, orange and golden and getting in his eyes, and he has business to attend to.

luna lovegood would 100% be the mother who makes the wackiest experimental recipes like spicy pea puree casserole or seaweed crumble doughnuts until the scamander twins take survival cooking lessons from the hogwarts house-elves and start making more traditional/tasty food at home (with a creative flair of course–they are half lovegood, after all)

Pulling back, he yanked down the material of my pants until they were pooled the floor for me to step out of, cold air meeting my core and my back arching, body rolling into his as his arm fastened around my waist, holding me tightly to him. “Mitch, do something.” I begged, voice pleading as I ground down into his leg in search of friction and he observed the build up of my saliva on the tip of his gun, a wicked smirk pulling at his lips as he dragged it down my chest, trailing it along the bare skin on my hips and pressing the ice-cold tip against my clit teasingly.

“Want to try something hot, doll.” He informed me, voice muffling as he buried his face in my neck, biting, sucking and licking but being careful not to leave any marks. I simply nodded, his other hand coming to hold onto my thigh as I hitched it up around his waist, his body pressing against mine and pressing the air from me, constricted me and only turning me on further.

My fingers clawed at the material in his back as the round tip of the gun pushed into me. It was only an inch or so along the barrel, but the coolness had me shuddering, the slightly rough design of the bumpy grip scraping delicately at my walls as he twisted it experimentally and the pure filthiness of it had me moaning wantonly as he fucked me with the asset. His eyes were raw and dark as he watched me, licking and biting over his now swollen and chapped lips and he looked completely mesmerised.

I shouted angrily as he pulled the device away, my walls clenching and fluttering at the sudden emptiness and loss of stimulus, hips gyrating against his leg again in search of completion and he grinned as his lips clashed with mine. “Doll. That was the hottest fucking thing. Those were some pretty little noises you were making, think you can make them again for me on my cock this time? Huh? Think you can do it a little louder, maybe scream them and my name for me. Nobody can hear you down here, doll. It’s soundproof.”

That was all the convincing I needed, my nails digging crescent moon shapes into his neck as I gripped him, both legs wrapping around his waist as he yanked down the cargo pants he was wearing, stroking over himself before lining up.

“Be a good girl and scream for me, doll.”

a little bit ago I was experimenting with different song styles and ended up writing this song.
not too sure on whether I like this or not, but hey why not share it anyways, it’s not too horrible.
so here’s my purely experimental unofficial recent original; a little love song called ‘north star’

Made with SoundCloud

anonymous asked:

What traditional drawing tools/supplies do you use?

OHHH~!!! (O    w O) thank you for asking! i’ve used pretty much everything and anything over the years… but i’ve definitely narrowed it down to just a handful of favourite items in recent years! <3

1) zebra M-301 .5 mechanical pencil - i LOVE this pencil (7O   A O)7 i love, love, LOVE IT! i’m sad when i can’t draw with it. i don’t use any better or cooler led inside than your standard .5 mechanical pencil led you get from Staples, but i just love how narrow and sturdy it is. the metal body of this pencil and the hard grip surface make it my all-time fav!

2) prismacolor premier fine line markers - i have use SO MANY expensive fine-line pens over my lifetime… UGG! and i’ve mostly hated all of them. very few of them held their line size over a long period of time or gave me the kind of true-black i was looking for. BUT OH BABY!!! i adore my prismacolor pens! they aren’t the most expensive and they don’t even seem that fancy, really! but the pen tips hold their shape great and the black is VERY black! i have yet to have a pen tip spread on me ~ something my very expensive copic pens did ALL THE DAMN TIME!!! my three go-to sizes are .005, .01, and .05!

3) staedtler mars plastic 526 60 eraser - has every artist owned this eraser? LOL! it’s THE BEST ERASER in my opinion! but!!!! i work exclusively in cheep, standard, HB mechanical pencil led! i can’t say what it’s like for other pencil types. but if you’re a mechanical pencil fan like me~ it’s THE BOMB!!! stupid cheep, available anywhere, and IT NEVER SMUDGES! at least, it never has for me! it also doesn’t ruin the shade of black pen lines as much as other erasers i’ve used. you’ll still lose maybe 10-15% of your blackness when you erase over it, but as long as the ink is dry i’ve never had a problem with smudging.

4) canson universal sketch book - i’ve had so many types of sketch books over the years… good gawd! and honestly… i mostly draw on computer paper these days because i draw SO MUCH that it’s a waste of sketch books! BUT! when i DO want to use a sketch book, my favourite is the basic canson one! the paper is pretty bright (i personally hate working on yellowish or greyish paper) and the tooth of the paper is pretty low. i don’t like a lot of texture because, again, i work entirely in mechanical pencil - so i don’t want a bumpy surface. it also takes ink well and is heavy enough not to bleed through for most uses. (though i always work with a backer paper anyway!) 

5) kneadable eraser - i don’t have a favourite brand yet of kneadable eraser… but i will say this… I CAN’T DRAW WITHOUT IT!!! my process is 100% dependent on having a kneadable eraser!!!!! if you’ve never used on before - F’n go out and try it! OMMMGGGG~!!!! I LOVE IT SO MUUUCCCHHH!!! for anyone who’s never used one, a kneadable eraser is… just that! it’s squishy and stretchable and soft! (you have to keep it in a box or package at all times when you’re not using it! else it becomes filthy and useless!!!) you can shape it however you need! for me though… i use it to “layer” my work! after i finish a basic sketch i use it to remove 90% of the drawing’s opacity by “sponging” away the pencil lines! this makes cleaning up the sketch SUPER EASY!!! then i can remove 90% of THAT version (thus pretty much fully eliminating the basic sketch) and cleaning it up again and again until i’m happy! then i take away most of the pencil layer again before i ink! making it ULTRA easy to see my lines! (too bad it doesn’t help me draw them back in in ink better! LOL!)

anddddd… that’s it!!! (O    w O) anything else i use is purely experimental, i am no longer a traditional artist… i made the switch over to digital too long ago… (T  w T) i don’t really know what i’m doing by hand anymore! it’s too frustrating not to be able to cut and paste, size and rotate things! i was never a perfect artist and drawing by hand makes it even more obvious! THOUGH!!! (-^   O ^-) i’ve been getting more and more comfortable since i broke my tablet like a month ago now! hahaha! as usual~ practice, practice, practice is what it’s all about! no two ways about it! LOL!

in fact! i just bought that sketch book in the photos a couple days ago~ and i’ve been braking it in with a piece of my newest OTP!!! (oO   w Oo) the hiatus has left plenty of time for games! and by “games” plural ~ i mean “game” singular… AKA… Persona 5 (no spoilers please!) (=   w =) hehhehe~ (MC) Akira / Yusuke ~ aka shukita is my jam (T   w T) omgggg… misunderstood criminal boy and soft artist boy… oh goodness… MY HEART!!!! WELL! (O     v O) there will be a bit more traditional work to come before i get a new tablet~ so thank you very much to everybody who’s hung in there with me! i can’t wait to be back in action! (T   w T) <3 *feeble but loving hugs to you all*

(this question is also from many days ago~ (oO AOo) and again, i’m so sorry! the Tumblr app didn’t send me any alerts about new mail! i’m going to check more diligently myself until my hiatus is over when i get a new drawing tablet!)

6

Mindgame (2004) - dir. by Masaaki Yuasa

One of my favorite films in any medium, it hits just the right spot between art house experimentation and pure entertainment. My choice for uplifting movie when I’m kinda down.

This beautiful images come from the Masaaki Yuasa: Sketchbook for Animation Projects book.

“Home remedies” - h.s. Part 7

Part 1 / Part 2 / Part 3 / Part 4 / Part 5 / Part 6

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“Life, if anything, is nothing more than a series of moments captured frame for frame as our eyes take in those around us and impact us monumentally,” Harry said, attempting to not sound like he was reading from a card but you knew he totally hadn’t memorized the whole speech completely. You couldn’t help but smirk as you leaned back in your seat and just let it happen.

He’d been keeping the speech a secret from you for weeks. You knew he was presenting and you’d come to terms with that, but you had been nervous for whatever flowery declaration of love he may attempt to pepper into the whole thing. But he was doing a pretty good job, and so far you weren’t as embarrassed as you thought you’d be. 

“That’s why photography is so important though, right?” Harry continued, “Because we have so many moments during the day that cause so many different emotions, that we oftentimes look over the most important ones. I know, that with two kids, the little moments can sometimes go unnoticed. But that’s what photography does for us - it allows us to ponder and remember on those little moments that may have passed up by, that make us feel something we didn’t know we possessed, and to help us give thanks for the moments we’ve cherished with others.”

Okay, so maybe now you were crying a little bit, but you weren’t going to let the small tears show as you continued to slouch slightly in your chair, your arms crossed lazily over your stomach as you attempted to act as cool as a cucumber. 

Internally though, you were freaking out.

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youtube

tried a storyboard type thing? bye.

The Poetic Cinema of Terrence Malick

Malick’s goal as a filmmaker is to educate the human eye to see like his camera does. If our habits of vision are characterized by ambition, skepticism and greed, Malick inspires us with the virtues of patience, appreciation and awe. He offers not new facts or arguments but persuasive images of the world as if filtered through such virtues. - Jon Baskin

Terrence Malick was studying philosophy at Harvard, specializing in Heidegger, Kierkegaard, and Wittgenstein, when he decided to abandon his academic career in order to pursue filmmaking at the American Film Institute, enrolling alongside David Lynch and Paul Schrader. Bringing both philosophy and art together, Malick’s films portray to the spectator a poetic but human way of seeing, as if his interest in film demanded that he strengthen his cinematic sensibilities with his knowledge of philosophy. They also prove to be important studies in the art of cinema.

Journey through the cinematic works of Terrence Malick and get inspired by masterful filmmaking with The Screen Poetry of Terrence Malick and the makings of To the Wonder, The Tree of Life, and more!

Working with Terrence Malick: To the Wonder

In this series of behind the scenes videos, we get an insightful view of Terrence Malick’s approach to filmmaking. Despite his absence in the videos (of course!) his touch is felt throughout the series as actors Olga Kurylenko, Ben Affleck, Rachel McAdams, and Javier Bardem, and producers Sarah Green and Nicolas Gonda and others share their perspectives on how it is to work with the filmmaker and his free-flowing style to making wondrous films.

The Making of The Tree of Life

The Tree of Life is an enrapturing experimentation in pure cinema, and the 28+ minute The Making of The Tree of Life is as captivating. The presentation offers a portrayal of each stage in the process of making The Tree of Life and includes interviews with Christopher Nolan, David Fincher, Brad Pitt, Jessica Chastain, and other collaborators who give a more personal look into the film.

Shooting Days of Heaven with Terrence Malick

Terrence Malick’s Days of Heaven is one of the most stunning films ever. Its cinematography led to an award from the Academy of Motion Picture Arts and Sciences, and the honors the film received extends to Best Director at the Cannes Film Festival 1979 and its selection into the National Film Registry in 2007 by the United States National Film Preservation Board. The fascination and admiration that rises with Malick continues today, and so a look into the shooting of his celebrated Days of Heaven is one to remember.

In Search of Terrence Malick

In Search of Terrence Malick explores the career of Terrence Malick from his first feature film, Badlands, to his second made five years later, Days of Heaven. “Terry’s films are both, they’re very different, but they both for me were very lyrical…poetry, visual poetry,” says Sissy Spacek who played the memorable role of Holly in Badlands. Her co-star Martin Sheen, playing Kit, adds, “When you look at a Malick frame, something happens to you, and it takes your breath away. You say, ‘My God, Haven’t I dreamt that?’” Both actors are spot on…In this 15 minute viewing, we learn a lot about what goes behind a Malick film.

SHOW ME YOUR RECORD COLLECTION!

The Vinyl of the Day is ‘Saturday Night Live’, a compilation album of SNL skits starring the Not Ready For Prime Time Players, 1976. 

The record is a great collection of skits from the very first season, featuring all the original casts performing many of the characters and bits that made them famous, and illustrating just how raw, different, and revolutionary the show was with it’s absolute refusal to play it safe, with hard-R rated dialogue, extremely adult situations, joking about recreational drug abuse, and using humor to confront and expose racial tensions - such as the skit with Richard Pryor as a job applicant being given a word association test, which quickly breaks down into dueling racial insults including the word ‘n****r’, out loud and angrily on network television!

When SNL first came on, it was the ‘punk rock’ of television, taking no prisoners and accepting no boundaries. Nothing like it had EVER been done on television before (especially for the old Three Network days), and even though many of the skits fell flat, it didn’t matter because it was pure experimentation, and the skits that did succeed were spectacular and culture-changing. The show was real ‘event viewing’ for the younger audience at the time - even though everyone expected them to be out for the evening. And remember, there was no such thing as ‘time shift’ viewing then - home VCRs weren’t even around yet! But SNL was too important not to see.

This album is set up just like a show, with an opening monologue by Lily Tomlin, guest appearances by stars like Paul Simon, Richard Pryor, and Peter Boyle (performing ‘Dueling Brandos’ with John Belushi), and a long selection of Weekend Update stories - there’s no musical guest though, it’s all about the comedy since it’s just 41 minutes long. It’s a great time capsule back to the very beginning of what has been an institution for decades now. 

Here’s the entire album for you, hope you enjoy it. 

In-depth: BSA’s prototypes

During World War II, Birmingham Small Arms produced a number of experimental weapons that were submitted to the Ordnance Board for testing. None were successful, but each is interesting in its own right. BSA had a reputation for good quality but their products were also more expensive than some of their competitors as a result. They were also unafraid of innovation, as this post will detail.

In May 1938, BSA was commissioned by the Ordnance Board to produce a prototype of a design sent to them by Dinely & Dowding. The design was the work of Pal de Kiraly, a Hungarian engineer. BSA, in conjunction with Kiraly, produced a batch of prototypes at the cost of £5 a unit and sent them to the Ordnance Board for testing. There were two versions: a long-barreled one and a short-barreled one. It was chambered in 9x25mm Mauser and had a magazine size of 40 rounds. The large magazine size gave Dinely the idea of a pivoting magazine housing, which Kiraly agreed upon, although this feature was not incorporated on the initial prototypes.


The BSA-Kiraly prototype. Reportedly an excellent weapon, although very few were made. It served as the basis for the Hungarian 43M submachine gun.


The trigger mechanism of the weapon was one of the most complex ever produced. It used a flywheel mechanism to keep the fire rate low. Wrapped around the flywheel was a strip of steel tape connected to a spring. When the bolt moved backwards, it would strike the flywheel, which would rotate and then be returned to its original position by the spring. When it reached its original position, the bolt was released and flew forward. Kiraly was open to simplifying the mechanism to reduce production costs.


Detail of the BSA-Kiraly’s trigger mechanism.


The BSA-Kiraly prototypes were tested and it found to be a quality weapon that performed very well. Despite this, the Ordnance Board did not investigate it any further. They showed little interest in submachine guns until the British Army’s experiences at Dunkirk in 1940.


This submachine gun designed by Mark Dinely was considered before WWII by the Ordnance Board. Ultimately it was not developed any further.


Another BSA design that the Ordnance Board showed early interest in was an SMLE conversion. This was actually designed in 1916 by Mr. N. Howell and manufactured by BSA but it was not until 1940 that the weapon was considered as an anti-aircraft gun for the Home Guard. Despite this, it was never actually issued.


The Howell rifle. It had a gas tube to allow for automatic fire. Though cheap to produce, it was not very practical.


Detail view of the Howell rifle.


The Ordnance Board approached Birmingham Small Arms to design a replacement for the Bren gun in the event that RSAF Enfield was bombed by the Germans and production of the Bren consequently ceased. Fortunately this never happened, but a prototype was produced as an emergency precaution. Designed by Harry Faulkoner, the chief designer at BSA, the BESAL was a bare-bones machine gun that cost very little to manufacture. It had a rectangular breech block that did not tilt like the Bren. The return spring, located under the barrel, was compressed when the breech block was carried backwards by the piston. The weapon was fed through Bren magazines and was cocked exactly like the Bren.

A Mk.2 model was also made which had a modified cocking system that would be re-used in a later BSA design, the BESA machine gun. The BESAL Mk.2 was cocked by sliding the pistol grip forward, which would engage the piston, and then pulling it back, which would retract the piston with it.


The BESAL Mk.I was designed as a stop-gap weapon, as is evident from this picture. It used Bren magazines.


The BESAL Mk.2 took design cues from Czech weapons, specifically the ZB Vz.60. Like the Mk.I, it never saw military use.


The BESAL was tested and by all accounts performed well considering the cheap cost. The Ordnance Board seriously considered it for a Bren substitute, but the need never arose. When the BESA was designed, the BESAL’s name was changed to simply the Faulkoner machine gun to avoid confusion.

In late 1942, BSA designed a new submachine gun on request of the Special Operations Executive. It was designed by Mr. Norman and took its name from Welwyn, where the SOE were situated. On February 24th 1943 the Ordnance Board were made aware of the Welgun and wanted to test it.


Commissioned by the SOE, the Welgun looked conventional but internally was anything but. The stock folded over the top.


The Welgun was cocked by a pulling back a milled groove that was fitted around the bolt, which had two forward extensions that ran along the barrel connected together by a ring that formed the housing of the return spring. The return spring was wrapped around the barrel and compressed when the weapon was cocked. The firing pin was retracted by a spring and operated by a plunger which protruded from the bolt face. When the bolt closed the firing pin was pushed forward as the plunger retracted back into the bolt. The safety system was also unusual. It consisted of a lever-and-hook mechanism that would prevent the bolt from moving when it was closed. If safety was applied when the bolt was cocked then the hook would hold the bolt back.

The Welgun was tested at Pendine in February 1943 against the Patchett and the Sten Mk.IVA, with the Sten Mk.II and the Lanchester Mk.I being used as test controls. Three Welguns were used and they exhibited the best accuracy of the weapons tested. However, they could not sustain cold temperature tests. Further trials in September and October 1943 saw the Welgun perform poorly and interest in the design had diminished. Of all the weapons offered, was considered the lowest-priority submachine gun by the Ordnance Board. No further development took place.

Another weapon designed by Mr. Norman for the SOE was the self-titled Norm carbine. It shared some similarities to the Welgun in terms of design and incorporated a pistol-like milled slide for cocking. The ergonomics were bizarre. The foregrip protruded horizontally to the right of the muzzle. The user was supposed to grip it with their left hand whilst their arm passed underneath the barrel. A heat guard was fitted to the underside of the barrel to prevent it from burning the firer’s forearm. The stock could be folded inwards but not vertically. The butt stock ran through a hollow tube fixed to the bottom of the pistol grip. There are no records of the weapon being used.


The Norm Mk.I. Similar to the Welgun, the Norm carbine was purely experimental and never considered for military use.


Also in 1943, BSA made a prototype of an Australian design. It was made at the request of a Mr. Andrews and was not commissioned by the Ordnance Board. The resultant weapon was very unusual. It consisted of a very short and wide rectangular body which internally contained two return springs mounted on rods that ran through the bolt to two ports above and below the barrel. It had no conventional stock but instead a dummy magazine well fixed to the rear that the user could slot a spare magazine into. The spare magazine could act as a rudimentary stock although this was very uncomfortable and it was liable to fall out.

Despite being a private venture, the BSA-Andrews was trialed at Pendine on October 5th 1943 against the Welgun, the Patchett, the Sten Mk.IVB, the Austen, and the Owen. The Andrews was criticized for its uncomfortable ergonomics and there was no military interest in the weapon.


The BSA-Andrews. Very uncomfortable to hold and awkward to operate.


Towards the end of the war, BSA developed a new submachine gun that was first demonstrated on April 12th 1945 at Enfield. The weapon tested was the first version which would later be known as the Mk.I. It was a unique weapon of which there are scarcely any similar designs that came before or after it. Instead of a conventional cocking slot, it had a large plastic sleeve that wrapped around the barrel and acted as the fore grip. This sleeve was pumped forward to cock the weapon. Four Mk.Is were tested and fired 950 rounds each without any major issues. It was tested again throughout October and the conclusion drawn from these tests was that it was a promising design. The Ordnance Board showed considerable interest.


The BSA Mk.I, designed in 1944. It is shown here mid-cocking. The fore end would be pulled back to fully cock the weapon.


The BSA Mk.I, exhibiting the compact design. Note the folding magazine housing and straight magazine. These were ditched in the Mk.II.


It was not until June 1947 that military trials would commence. The BSA by this point had been improved as the Mk.II, which had curved magazines and a redesigned cocking sleeve. The new Mk.II was tested against the MCEM-3. It fired at 530rpm but was slightly over the weight specified by the General Staff Specifications. Nevertheless, it was favored over the MCEM-3. Afterwards it was tested against the Australian MCEM-1 designed by Major Eric Hall and once again came out favorable.

Full trials took place at Pendine in September 1947. The BSA Mk.II was tested against the Patchett Mk.II, the MCEM-3, and the Australian MCEM-1. Two Sten Mk.Vs were used as test controls. The BSA came out best and the Ordnance Board ordered 100 units, but BSA only managed to manufacture 6 since production costs were so high.


The BSA Mk.II. The cocking sleeve had been redesigned and the magazine was now curved. It was designed in 1947, not 1949 as is sometimes said.


By 1951, further trials were scheduled to take place, but the General Staff Specifications were updated and now demanded that the weapons submitted have bayonet fittings. This was not previously a requirement and both the BSA Mk.I and Mk.II models were completely incompatible with a bayonet. This presented a big problem for BSA, who could not realistically produce bayonet fittings without completely redesigning the fore end. But to do so would also mean redesigning the cocking sleeve. The resultant model was known as the Mk.III and was tested against the Patchett Mk.II, the Australian MCEM-2, and the Madsen M50 in May. The redesigned cocking sleeve of the Mk.III proved unreliable and too stiff, and the weapon failed a sand test. The Madsen and the Patchett came out the best and the Army decided that it was most likely to adopt the Patchett. BSA felt that the new General Staff Specifications had sabotaged their chances and demanded a retrial, which the Ordnance Board reluctantly agreed to. The retrial took place in 1952 and the Madsen came out best. The BSA design was rejected and the Army would officially adopt the Patchett gun in 1953.


The BSA Mk.III. The trigger had been redesigned and the barrel now protruded from the cocking sleeve to allow a bayonet to be fitted.


BSA also developed experimental rifles for rifle trials that took place after World War II. Their main dog in the fight was their 28P rifle, which was chambered for the new .280 caliber. It was designed by Claude Perry. The Ordnance Board preferred the more modern designs that were coming from RSAF Enfield and the 28P was not considered high-priority. During trials in 1950, the 28P’s breech exploded. It was rejected in favor of Enfield’s EM-2, with a very limited production run.


Experimental BSA bullpup rifle developed in 1946.


Having failed to secure a military contract, BSA focused on motorcycle design until it was bought out in 1973.