Heroes & Villains The DC Animated Universe - Paper Cut-Out Portraits and Profiles
Inque
Not much is known of the origins of the shapeshifting mercenary and saboteur known as Inque. How she came to possess her metahuman abilities remains unknown. Her form is composed of a dark, ink-like substance that is entirely malleable. This allowed her to alter her shape at will, forms her limbs into sharpened weapons, slip easily through cracks and slide across surfaces at great speeds. Her one vulnerability appeared to be water, which caused her to become defuse and lose her ability to maintain structural integrity. Although water was not lethal for Inque and she has been able to re-manifest her form once dried.
Inque was hired by Derrick Powers during a time in which Wayne/Powers was competing with Foxteca over a highly lucrative governmental contract. Powers tasked Inque with sabotaging Foxteca facilities so to ensure his company landed the contract. Bruce Wayne investigated the matter and assigned Batman (Terry McGinnis) to stand guard over the additional Foxteca plants in the case that the saboteur were to strike again. This indeed occurred yet Batman was unprepared for an altercation with someone as formidable as Inque and she easily evaded capture in their initial altercation.
Learning that Batman was once more meddling in his affairs, Derrick Powers tasked Inque with assassinating him and any accomplice he might be working with. Sneaking into the Batmobile, Inque accompanied Batman back to the Batcave before attacking him. Transforming into a torrent of ink, she nearly succeeded in suffocating Batman but was stopped by Bruce Wayne (who used an old Gray Ghost costume to hide his identity). Bruce ultimately utilized Mr. Freeze’s freeze gun to incapacitate Inque whereupon she was delivered to the authorities. Without the services of his saboteur, Powers lost out on the contract to Foxteca.
Inque would return on subsequent occasions to battle Batman. Some time thereafter, the mutagenic substance that bestowed Inque her abilities began to break down making it difficult to maintain a physical form. She turned to her estranged daughter, Deanna Clay, for aid. She had Deanna steal a mutagenic compound from Gotham Genetics that could stabilize her condition. Deanna went through with this, but cut the compound with a solvent as part of a plan to kill her mother and pilfer her savings. Inque discovered her daughter’s betrayal too late. Starting to dissolve, she attacked Deanna yet Batman arrived in time to save her. Together they watched Inque seemingly melt into nothingness.
Actress Shannon Kenny provided the voice for the villain with Inque first appearing in the third episode of the first season of Batman Beyond, ‘Black Out.’
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todays herbarium story: new fucking way of dating things to confuse future archivists. someone wrote 66-1-3 as the date on a specimen. obviously i assumed 66 was the year and either the day was January 3rd or March 1st. put “1966” for the year in the file, marked as needing confirmation.
anyway one of the historical archivists went back and used the guys name to figure out about what month he confirmed it? and it was fucking 1866. the guy who cataloged it died in 1920.
i inadvertently handled a specimen thats older literally everyone i know and love and my only thought was mild irritation because it was dated weird.
we still dont know if it was found in January or March.
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How to Create Paper Cut-Out Reliefs: Tips and Techniques for Beginners
Back again with another lil' series of 2D wall relief paper cut-out forms. Both of the pieces below follow the same process and technique. Im really happy with the process and outcomes. Im working on animating them as we speak. I'll add them to this post later. My paintings inspire my drawings, and my drawings are inspired by those same forms found in my paintings. It makes sense that every so often I want to make those forms "pop out" and off the surface of a flat plane. Alas, it all starts with a quick sketch. See below, just a series of light loose free flowing lines take the lead, forward ->
Here we have a dude posing for a profile style portrait. Most likely, this is inspired by the NYC B-Boys from the years 1983 - 87ish. Either way, it's nostalgia for me. Once the sketch feels good, I'll break out the paper and x-acto knife. I keep telling myself that one day Ill work with another material other than paper for these works, perhaps wood or metal.. It will happen, I can foresee it for sure, hang in there. Im using a white bristol paper for the cut outs, I believe it is the vellum type and not the glossy, but either or will work just fine. I love to cut paper and the whole medium of paper art in general.
Paper cut-outs, also known as paper cutting or Kirigami, is a traditional art form that involves cutting shapes and designs out of paper. The history of paper cutting can be traced back to ancient China and Japan, where it was practiced as a folk art. The Chinese and Japanese would create intricate designs, often featuring animals, plants, and mythical creatures, and use them as decorations for festivals and special occasions. I always loved it and have felt inspired by these pieces.
Using the sketch above, I apply the "map" of the shapes and forms that I see. Sometimes I redraw those forms on the paper that I will cut out, and sometimes I just "draw" with the x-acto knife to recreate the forms. Sometimes, it's a combination of both of those techniques. There is also a series of "out-take / byproduct" cut outs that do not make the final piece, those can be saved and used for the next piece, obviously!
I layer the forms on top of each other to compose the arrangement as a whole, its fun to watch it all come together, in the next phase, you will need some kind of durable tape or you can make little paper forms that can be pasted to both sides of the forms as they stack, this will create the gauge and depth of the piece once it is placed onto the wall.
This is the final composition above, I love it! I used a roll of duct tape to make small cylinder forms that connect the pieces together, the piece as a whole comes "off of the surface of the wall" by about 1.5 - 2" inches - you can play with this a bit but keep in mind, the tape makes the piece heavier and it will want to comply with gravity :)
I hung the piece (also temporarily adhered via the same duct tape) for the photoshoot and to also get a good look at how it will function on the wall. I have an old painted fire place in my studio that is a great surface for hanging things, I love the contrast of textures between the bricks and the paper, as you know, the shadows will be super cool to see too.
Once I had the whole piece constructed I took a few pictures of it. I immediately wanted a clean vector line drawing of the whole character. I brought the photo into adobe Fresco and used a vector brush to draw this lovely variation. This is how my brain works, I switch paths because I know they are really pipelines to the "next thing" that I will push this to, so forward we go.
Then, it was light source and photo shoot time. Im not really happy with these picture as traditional "photographs" as I know I can do a much better job, but, as a series of "sketches" for a planned photo shoot, these will really help to make those plans a reality. I love neon colored lights. I have a bunch of them from various places and spaces that I found on the internet. Amazon has a great selection of flashlights with various colored light options. Get a few and play around with how the light can effect your work and the shadows that it creates. This is where the depth and gauge of your pieces play a role. The photos below are also a part of the same session, which all took place over a few days.
Here is another variation with a different character.. What do you think? Shall I make more?
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I love your artwork so much! Your colors are so vibrant and none of the white speckles in the paper ever shows, its so impressive and I really dig it! I was wondering if you use any sort of blending medium? Like baby oil or anything? Either way, I really enjoy looking at your artwork and I'm always excited to see whatever you'll make next
I use a colorless blender (prismacolor, which is wax-based so baby oil probably wouldnt work) but my scanner is also rly bad about picking up white specks in a way photographing the art with my phone isnt, so I usually have to do some digital editing to get rid of them as well.
I do this by duplicating the layer, setting the one on top to "darken," and using the mixer brush to blend out the white spots + just use the eyedropper tool to select the color of that area (needs to be a slightly lighter shade of it) and color over the white spots with the brush tool
i edited a small bit of the original scan to show what i mean
original:
with the edited layer:
heres how it looks set to normal instead of darken, I used both the mixing brush and regular brush just to demo it
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Profiles in Villainy
Dr. Doofenshmirtz
Doctor Heinz Doofenshmirtz (better known as Dr. Doofenshmirtz, or simply Doofenshmirtz) is an evil scientist hailing from the country of Drusselstein. He is the head of Doofenshmirtz Evil Incorporated, and he tends not to be evil in the traditional sense, but rather overly dramatic, eccentric and generally clueless. His usual lair is an office building that he apparently owns, though he's worked from other locations when necessary for his plans.
Doofenshmirtz attempts to wreak generally "evil" havoc and assert his rule across the entire Tri-State Area. Despite true dedication to this mission, nearly all of his schemes have been thwarted by his nemesis Perry the Platypus. Doofenshmirtz has become so accustomed to this dynamic that he tends to feel empty or even upset on those few occasions where Perry does not stand in his way.
The cad is voiced by Dan Povenmire and first appeared in the debut episode of Phineas and Ferb, airing on August 17th, 2007.
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