three dimensional shape


Sketches of my d&d character, Haili Raasniemi aka Silakka. Based on quick play character sheet from 5e (folk hero, human, fighter). He has a tattoo written in dwarven language that translates to (Baltic) herring. He doesn’t know that himself, tho.

Aesthetics before everything, the boob window stays.

CONCEPT ZERO Ferrofluid Display

Though the technical description of ferrofluid is “a stable colloidal suspension of superparamagnetic iron oxide nanoparticles,” we prefer to stick with “magnetic magic in a bottle.”

Usually confined to scientific demonstrations, in the presence of a magnetic field ferrofluid essentially goes nuts—shifting into spiky three-dimensional shapes, bouncing from one magnetic pole to the other, and being generally fascinating in every way.

anonymous asked:

fsdefkfkr im sorry if you have gotten an ask like this but how do you draw hands?? your hands in drawings are so nice

hi anon! i’m not the best person to ask about this since my hands are pretty stylized and often times drawn wonky, but i’ll try offering some structural knowledge to see if it helps ;;;

what i like to do is study the subject and look for landmarks so i can later break it down into simple shapes. 

i try to remind myself of certain details like the bump in the wrist from the radius bone, or the lengths of the fingers, and even the two joints in the phalanges that help with bending the finger.

once you’ve got an idea of how it works, you can start building it up in three-dimensional form. use simple shapes like a bucket for the palm of the hand, and cylinders that stack on top of each other to create the form in a finger. it helps a lot to look at real life references or pictures of real hands and to try and recreate it through using these simple shapes.

also, once you’ve got the hang of drawing the anatomy of a realistic hand, it’s easier to play around with the stylization aspect, such as changing the bend of a finger to look more simplified and stylized. hopefully this helps a bit ^^;

The Spectrum of Reality

There exists so little written on the mechanics of magic and the nature of reality. What literature that does exist that is open to esoteric concepts is often a mishmash of eastern ideology and misunderstood science dressed up in some new age prom dress. More helpful information is found in the staid books of contemporary physics, environmental science, and theoretical biology. But these tend to adhere to an overwhelming cynicism in regards to the beyond, despite decades of being proven incorrect.

In considering the mechanics of the actions of magic one must consider the nature of what is commonly understood to be the boundaries of reality. What is “real” and what is unreal in the minds of the worlds inhabitants. These boundaries vary based on the culture and the languages of that culture, but universally are bound by the limited scope of the human senses.

Much like we see only a portion of the total spectrum of light our perceptions of all energy and mass are limited to a very narrow field of awareness. We exist between two planes of reality much like life on earth exists in the narrow gaseous film on the exterior of the planet.

This spectrum of perceptual reality is based on evolutionary need to survive in the ecosystem of earth. Our dietary needs, and thus the senses required to fulfill those needs, are based on the specific set of variables present in our current terran ecosystem.

At the threshold of our perception exists a vast degree of energy and matter we are absolutely unaware of, much as we are unaware of the air that is all around us unless the wind blows. In that spectrum of energy and matter beyond our perception exist other forms of being. Entities that have evolved much the way we have, contained much in the way we are to the variables inherent on this planet.

Yet their bodies, if we are to use that term, are manifest in forms of matter beyond our current perceptual awareness. Their existence centered on forms of energy, wavelengths, that are outside of our normal sense of reality. It is only at the far edges of our mathematics, of our physics, that we have knowledge of these forms of matter. And in that science we are still in our infancy of understanding the nature of reality outside of the “real”.

Although the most cutting edge science is just now beginning to understand those fields of energy the common folk of earth have long known of the existence of some other at the edge of reality. We have, through evolutionary design, not totally become oblivious to those things at the edge of our conscious. Those beings and energies that manifest continuously around us but of which only a few, and often only in brief moments of focus/unfocus, are truly aware.

This was not so for mankind less than two centuries ago. It is our modern way of living, our constant focus on language (as opposed to experience) as the center of learning, that has pushed us away from nature. And in our psychological disconnection from nature we have lost the awareness of those things that exist just beyond the edge of what we call the real.

But what are those “things”? What is it that we once knew well and now only stumble upon in the rarest instances? At the corner of our eyes periphery?

Life is manifest as the organization of elements into the path of greatest energy distribution. The pools and eddies of this distribution pattern have coalesced into the forms on earth we call life. But just as evolution has limited our access to some forms of energy it has given access to other lifeforms. The bird is aware of the electromagnetic field of the earth in the way we are aware of the clouds. The dolphin perceives the underwater world as a giant 360˙ three dimensional shape, finely detailed down to moving objects within the range of the dolphins “hearing”.

Within the field of the earth there are complex patterns of energies - both known and unknown. These patterns have formed entities in the way that water and carbon have formed entities. They exist as part of the necessary pattern of energy in the universe. They evolve just as other forms of life do, though variables like reproduction, birth, and death vary with the nature of the materials they are composed from.

“Let anyone who possesses a vivid imagination and a highly-wrought nervous system, even now, in this century, with all the advantages of learning and science, go and sit among the rocks, or in the depths of the wood, and think of immortality, and all that that word really means, and by-and-by a mysterious awe will creep into the mind, and it will half believe in the possibility of seeing or meeting something - something - it knows not exactly what.” - Richard Jefferies, World’s End

How we perceive these entities is more a measure of the culture doing the perceiving than it is of the beings themselves. Our language in particular casts a mold for how we will project our socio-normative constructions onto the incoming data our senses give us about these beings.

Fairies, wights, sprites, goblin, dybbuk, trolls, kitsune, sidhe. The names we give them are a hallmark for the role they play. We project onto them our culture, and the narrative our culture has developed for what these experiences are. Those subtle beings of energy made manifest, lingering among the recesses of the natural world, receding into the last of the ancient forests as man encroaches on their spaces. We name them, and in naming them we give them power over us. Power that they may grant back to us through favor, spite and happenstance.

To fully grasp the field of energy that exists beyond the edge of our senses we must unlearn the confines of human language. We must push past the boundaries inherent in our cultural perceptions of what is real, and dictated to us by the language in which our thoughts form. Regardless of the tools and techniques we chose to overcome these limitations we must strive to break down barriers, to cross thresholds, to eliminate the boundaries of our cultural and evolutionary paradigms and to rend aside the Veil.

Shadows of Doubt

More spoopy Halloween thoughts…

What if the shadow counterparts of the Toa Mata never fully reintegrated with them? The very act of having their dark half ripped from their being  either damaged them enough that that they could never fully rejoin, or their shadow counterparts grew enough of a sense of self in the brief time they were apart that they are no longer truly a single entity together.

This could manifests itself in different ways. Such as, the Toa may see or hear their dark counterpart, and even converse with them internally or externally. Others can’t see or hear them, and they have to be cautious that they don’t do so in public. More than once, a Matoran has walked in on the Mata having an angry conversation with their reflection.

Perhaps their shadows may also literally move independently, and even split from their form, though are unable to take a three dimensional shape without the Makuta’s power feeding them. Were they more cooperative, they could serve as scouts and allies to the Toa. Instead, they remain the darkest parts of their inner selves. They constantly whisper of doubt, jealousy, and anger, and all of it directly from the Toa’s own hearts and minds.

Perhaps if the Toa are under great stress or feel great anger, their shadow selves might temporarily seize control of their bodies to carry out their darkest thoughts and urges. At times like this, only their dearest friends, especially Takanuva, can break the hold of their shadow selves and help them regain control of their bodies.

anonymous asked:

Noel is enjoying some Thai food at their favorite restaurant when something that looks like shards of mirrors pieced together into a three-dimensional humanoid shape walks up to their table. He's wearing the uniform of a waiter at the restaurant. "Hi, my name's Edward. Lindsey had to go, so I was just wondering if there's anything you need? Refill?"

“Please, and a bowl of the tom kha gai, extra spicy.” They push the glasses up their nose in a vaguely defensive gesture, leaning back away from Edward slightly. “With a side of rice.”

Appearing like a winged fairy-tale creature poised on a pedestal, this object is actually a billowing tower of cold gas and dust rising from a stellar nursery called the Eagle Nebula. The soaring tower is 9.5 light-years or about 57 trillion miles high, about twice the distance from our Sun to the next nearest star.

The starlight is responsible for illuminating the tower’s rough surface. Ghostly streamers of gas can be seen boiling off this surface, creating the haze around the structure and highlighting its three-dimensional shape. The column is silhouetted against the background glow of more distant gas.

The edge of the dark hydrogen cloud at the top of the tower is resisting erosion, in a manner similar to that of brush among a field of prairie grass that is being swept up by fire. The fire quickly burns the grass but slows down when it encounters the dense brush. In this celestial case, thick clouds of hydrogen gas and dust have survived longer than their surroundings in the face of a blast of ultraviolet light from the hot, young stars.

Inside the gaseous tower, stars may be forming. Some of those stars may have been created by dense gas collapsing under gravity. Other stars may be forming due to pressure from gas that has been heated by the neighboring hot stars.

The dominant colors in the image were produced by gas energized by the star cluster’s powerful ultraviolet light. The blue color at the top is from glowing oxygen. The red color in the lower region is from glowing hydrogen. The Eagle Nebula image was taken in November 2004 with the Advanced Camera for Surveys aboard NASA’s Hubble Space Telescope.

Object Names: Eagle Nebula, M16, NGC 6611, IC 4703

Image Type: Astronomical

Credit: NASA, ESA, and The Hubble Heritage Team (STScI/AURA)

Time And Space
Love & Rockets #49 (November 1995), Part 11

Could all of this linear order be a way of anchoring or securing Maggie as she goes through the endless chaotic events that make up her existence? Or are they meant to contrast the human figure with the flat surfaces and fixed angles of the world around us?

No idea.

Each of the above panels looks like a geometry lesson to me, the arrangement of the lines is so powerful. 

The third one reminds me of that one scene in The Shining, except a lot less creepy.

Two also’s:

First, the rear wall of the shower seems slightly tilted so that the tiles on the right are higher. Is that because the shower’s not a perfect cube (or whatever a three dimensional shape with unequal sides would be called) or because the viewer is situated at a less than central point? We do seem to be closer to the shower head than the sink.

Second, no shower curtain?

Magnificent anyway.