I was thinking about Claire keane’s rapunzel from the concept art and one of the earlier versions of Flynn 🤒

Promo art for Tangled by Glen Keane

I painted this Rapunzel notebook a little while ago! It was meant to be a “simple” design... but I can never do “simple.” I used paint markers, looked at a ton of Claire Keane and Rapunzel’s Tangled Adventure reference, and did a looooot of sketching to bring this journal to life. And I couldn’t be happier with the result! Read below the cut for my process!

1. I started with some thumbnails in my sketchbook. I had a couple of composition ideas and sketched them out before deciding on a design.

2. After painting the entire cover purple, I sketched out Rapunzel and the sun with a water-based marker. Since it was water-based, I could easily wipe the sketch away with a damp towel. I used an oil-based metallic marker to paint in the sun. 

3. Time to paint Rapunzel! I used paint markers and acrylic paints for her. I also had a full-size sketch I could use to test out the plant designs I wanted around her.

4. After the first coat of paint was dry, I went over it again to make the colors more vibrant. I also added different tones of yellow and orange to Rapunzel’s hair.

5. I had some ideas for designs around her and in her hair, so I took the painting into Procreate to sketch out some ideas. It was a great way to see what the final painting could look like. I was also able to “workshop” a design until I was ready to actually paint it.

6. Once I settled on a design, I went back to painting by starting with the birds and Pascal. I looked up a lot of Claire Keane reference to keep the birds in the style I wanted.

7. I sketched in the flowers with water-based markers. Just like with my base sketch for Rapunzel and the sun, the water-based markers allowed me to “erase” anything I didn’t want without damaging the rest of the paint. Once the flowers were painted, I used some markers to touch them up and add some detail. I also painted in the stars and extra lanterns.

8. After Rapunzel had dried, I used paint markers again to write “Plus est en vous” on the inside. It’s a phrase often repeated in the animated series, and was the sort of “motto” of the original film (according to Glen Keane). It means “There is more in you” in French.

9. All done!!! This is one of my favorite art projects I’ve ever done.

Ripper Street (2012-2016) Season 1, Episode 5: "The Weight of One Man's Heart"

10 years since... RIPPER STREET "The Weight of One Man's Heart" Written by Toby Finlay. Directed by Colm McCarthy. Original air date: 27 January 2013 (insp.)

New Shameless Sketch

So, while I haven't been able to think of something new to write, I figured I'd sketch some of my favorite scenes from what I have already written. Keep my mind occupied with some type of distraction, right? Yeah? Ah well, it's what I did anyway.

From Something like a Spiral Chapter Nine: Give Me Two.

For anybody who would like context, the scene in question is below the cut:

The scene kept replaying in her head. If she could have just focused, acted faster… That damn haze kept her attention limited. She hadn't been able to fully shake it since the operation, and she couldn't help but blame it now. Would she have been able to save those other women if she didn’t help Mark before? But what would that make her if she left Mark to die without trying?

She sighed; they were irrelevant questions, and exhausting ones at that. She would have never predicted either event. Still, it ate at her. What if?

But even more important than ‘what’ was ‘how’. How was she even able to do that type of procedure? Nobody expected it to work, least of all her. And why was it such a drain? Then there was that fight… that was a whole separate conundrum. Once autopilot hit, she jumped into everything like riding a damn bike. What was in her head that she didn't know… Who was she?

Pondering her life took a backseat as she heard footsteps approaching.

"Hey, how're ya holding up, Giggles?"

She gave Glen a 'what do you think' look before going back to staring up at the stars. She felt him take a seat next to her and found she was glad for his company.

"Yeah, well, I guess that's to be expected."

He passed his vape over to her, and they sat there for a bit in silence, passing the object between them. Neither really knew where to begin. After another quick puff, she looked over and it was clear he was still affected by everything. Sure, he might not have the same ghosts as she did, as others had, but he was haunted in his own way. It was impossible to leave that incident without taking away some demons.

Thought drifted back to him during it all. He was out of his element, trying to hide the hints of fear as they stood there watching the darkness in humanity take hold. But despite it, he still managed to pull her from the fray. He kept her safe. And probably unknown to him, he brought her back from wherever she went in her mind, if only momentarily.

"Thanks for, uh… back there..." Words escaped her, and the inadequacy of what she was trying to convey became irritating. Another puff taken, she handed him back his pen.

His response was a simple nod followed by, "of course." Silence with Glen always felt foreign, but not entirely unwelcome. He looked up at the sky as well, taking a hit for himself.

"If we’re being honest, I think we both know where his aim was heading." She returned a nod to confirm. More words wanted to come, but her communication skills were not doing what she willed them to tonight. All thoughts were coming in at once, and jammed together before she could speak them out loud.

Should she feel sorry? Guilty? The asshole killed Mark. Was going to kill Glen. There was no way she was about to let that happen. But something came over her. That knife slid in with no second thought; his wrist caught just in time. And watching his eyes begin to fade… Then with the other one. That knife hitting the exact spot to cause his gun to drop. Unlike the surgery, these movements felt natural, familiar, and happened without any real thought.

Glen must have sensed her mind drifting, and he jumped back in. "Hey, ah hell, I didn’t mean for you to go back there. We both know what happened. But if you, y'know, you didn't do what you did, I don't know that I'd be here, so, if thanks are in order..."

She placed her hand on top of his and gave a short squeeze.

"Of course." His phrase repeated back; staple mimicry.

She looked up at him, but saw a puzzled look instead of his usual smirk. Puzzled with a hint of something else. She was reminded of his expression the night after her nightmare. After she lost her composure and gave into the comfort he offered. It was the same look she had caught briefly on odd occasions after, never fully understanding until he turned his hand over to hold hers.

Self doubt, insecurity, it blinded her. But recognition now sent an electric buzz coursing through her, tingling that hit her stomach and spread outward.

"You know, when I was explaining the beginnings of our new society, I naturally thought 'the two' in that scenario would be you and East Texas. That's one of the problems with my theories, really; been known to get the details off sometimes. If I've read this all correctly, that is..."

She nodded, “Yeah, I'm apparently an open book…"

The resulting smile brought a distinct twinkle to his eyes. Brought a new warmth to his smile. She lost herself in it, never realizing she was leaning forward until she felt the soft brush of his lips against hers. Felt a welcome rush inside her. The kiss was sweet. Gentle. Yet it held a hidden intensity reflecting a desire on both ends. Her hand went up to the side of his face, trailing along his beard, into his hair, while his own hand went around her back, keeping her close.

The moment was both forever and mere seconds. Long enough to feel a warmth she didn't realize she was missing.

Averting her gaze, a short breathy laugh that couldn’t be contained burst out. Her feelings were known, to her and everybody around her if the conversation with Fran was any indication. But she never guessed it was reciprocated. "I'm sorry. I would have said something, I just, I wasn't sure if you would feel… I mean..." Her mouth was agape, words failing to come out, and she ended up capping the thought with a sigh, slumping forward before continuing on. "I’m just problematic is all. With the whole…" a motion was made to her head, “I'm broken…”

She registered his soft laugh, which contained much more mirth than hers, and she couldn't help but look over to return his smile.

"Well, I'd say broken seems a bit harsh. Your taste in men is certainly questionable, but..." He let out another light chuckle, and she returned in kind. "You are quite the puzzle, Giggles. And, I wouldn’t necessarily say that's problematic . I actually enjoy a good puzzle, myself.” As his hand placed itself on top hers once more, his face took on a serious note. “No, no, no. As long as you’re okay with this... I am, well, believe I might have a few years on you."

She smiled back and shook her head, "Eh, that seems kinda trivial, doesn't it?"

A comfortable silence fell between them before she gave his hand another squeeze. "We should probably head back. Not looking to cause concern. Don't need any more of that today."

He nodded in agreement and she followed up with another quick kiss before hopping down from the truck. Standing next to her, his arm around her waist, Glen pulled her close, and side by side they returned to the fire.

Found this drawing Glen Keane did for me during “Tangled”. He was trying to convey to me the intensity of the moment. Sure love that Glen. Learned so much form him during our time together ~Hyrum Osmond

"WIVES AND DAUGHTERS" (1999) Review

"WIVES AND DAUGHTERS" (1999) Review Twenty-three years have passed since the BBC first aired "WIVES AND DAUGHTERS", the 1999 adaptation of Elizabeth Gaskell’s 1865 novel. And despite the passage of time, it has a sterling reputation as one of the best adaptations of a literary source in recent years.

Adapted by Andrew Davies and directed by Nicholas Renton, "WIVES AND DAUGHTERS" told the story of Molly Gibson, the young daughter of a local village doctor during the last decade of the Georgian era. The four-part miniseries struck me as Molly’s coming-of-age story. She and her widowed father lived an idyllic life until two things occurred. One, her father married a woman she disliked, a former governess named Hyacinth “Claire” Kirkpatrick. And two, Molly fell in love with one Roger Hamley, the science-minded younger son of a local squire. If Dr. Gibson had his way, Molly would have never experienced any coming-of-age. But after one of his apprentices became romantically interested in her, he became determined to keep her in a state of perpetual adolescence. But his actions merely ensured that he would fail. First, he arranged for Molly to become the companion to Mrs. Hamley, the sickly wife of the squire. This gave Molly the opportunity to form an emotional attachment to the Hamley, befriend and fall in love with younger son, Roger. Then Dr. Gibson committed another act that defeated his purpose. He married former governess Hyacinth Kirkpatrick in order to provide Molly with a stepmother. This action backfired, since Molly never warmed up to the selfish and socially ambitious older woman. However, she did befriend the new Mrs. Gibson’s rebellious and more worldly and daughter, Cynthia Kirkpatrick. Not only did both Kirkpatrick women managed to disrupt the Gibson household, but Molly’s relationship with Cynthia would open her eyes to a great deal more about relationships and life in general – both the good and bad. Other subplots abounded in ”WIVES AND DAUGHTERS”. Molly had a first-hand look into the conflict between the loveable, yet impatient and slightly selfish Squire Hamley and his more genteel older son, Osbourne. At first, the Hamleys seemed to regard Osbourne as the key to the family’s return to its former glory. But Osbourne’s scholastic troubles and excessive spending (for a secret French wife for whom he provided a private household) ended up disappointing Squire Hamley. Instead, he transferred his hopes to his younger and more studious son, Roger; who seemed to be on the verge of making a name for himself as a naturalist in Britain’s scientific community. Another subplot centered on Cynthia Kirkpatrick. The French-educated and very beautiful young woman seemed to have struck both the Gibson family and the village of Hollingford with the force of a whirlwind. Cynthia projected a sexuality and worldliness that attracted nearly every male around her – including Roger Hamley. Unfortunately for Molly, Mrs. Gibson’s plans for her daughter included an ambitious marriage to the older Hamley sibling, Osbourne. But when the intensely pragmatic woman discovered that the older Hamley sibling’s health was in a precarious state, she encouraged Cynthia to set her sights on Roger. And considering his feelings for her, Cynthia had no trouble in achieving her mother’s goals with an engagement. Cynthia also had a secret that eventually affected Molly. Five years before, she had become secretly engaged to Lord Cumnor’s land agent, Mr. Preston. The latter’s insistence on a wedding date and Molly’s involvement on Cynthia’s behalf led the doctor’s daughter to become a target of village gossip. Not only is Gaskell’s novel considered a masterpiece by literary critics, but this 1999 adaptation turned out to be highly regarded by television critics and viewers, as well. Some critics consider it to be the best adaptation of a Gaskell novel. Other critics believe it might be a toss-up between ”WIVES AND DAUGHTERS” and the 2007 miniseries, ”CRANFORD”. The 1999 miniseries certainly won its share of television awards. And if I must be honest, those awards were well-deserved. ”WIVES AND DAUGHTERS” provided a complex and in-depth peek into an English village society during the last decade of the Georgian era through the eyes of Molly Gibson. I must admit that I have rarely come across a movie or television series set during the 1820s or the 1830s. And I would certainly consider ”WIVES AND DAUGHTERS” among the best. Screenwriter Andrew Davies and director Nicholas Renton did a marvelous job in drawing the audience into Molly’s world. The setting and story of ”WIVES AND DAUGHTERS” - or at least most of them – seemed to perfectly represent this precarious stage in Britain’s history in which the country found itself balanced between the static world of the Georgian period and the social and scientific upheavals that ushered in the Victorian Age. Davies and Renton manifested this in Molly’s coming-of-age story, which included her father’s reluctance to allow her to develop into an adult and her relationship with Cynthia. The screenwriter and the director also manifested this precarious stage in the relationship between Squire Hamley and his two sons – Obsbourne and Roger. As for the latter, many believe that Gaskell based his character on her distant cousin, the naturalist Charles Darwin who became a prominent figure in the Victorian Age’s scientific community. Davies and Renton also did an excellent job of exploring the in-depth emotions of familial and romantic love in ”WIVES AND DAUGHTERS” also explored the in-depth emotions of familial and romantic love. Molly’s close relationship with her father – fully explored in Episode One – eventually grew weaker due to Dr.Gibson’s attempts to keep her close and at an adolescent stage. I found it interesting that although Squire Hamley grew to adore Molly, he made it clear to the doctor that he would never consider her – the daughter of a country doctor – as a suitable wife for either of his sons. Yet, Roger Osborne ended up married to a young French woman beneath his social station, and Roger eventually became engaged to Dr. Gibson’s step-daughter, Cynthia and married to Molly by the end of the series. Already, Victorian Britain’s social upheavals – at least in ”WIVES AND DAUGHTERS” - had began to rear its head. Cynthia’s love life, which turned out to be the best plotline in the story – also turned Molly’s life upside-down and forced her onto the path of adulthood. The miniseries’ greatest virtue turned out to be the collection of complex supporting characters that gave ”WIVES AND DAUGHTERS” its energy and drive. For me, this was especially true of five characters - Hyacinth Kirkpatrick Gibson (Francesca Annis), Squire Hamley (Michael Gambon), Osborne Hamley (Tom Hollander), Mr. Preston (Iain Glen) and Cynthia Kirkpatrick (Keeley Hawes). When the miniseries focused upon these characters, I found myself fascinated by the story. Each character struck me as so complex that it seemed a pity that none of them was the main character. Michael Gambon won both a BAFTA TV Award and a Royal Television Society Award for his portrayal of the likeable, yet socially rigid and selfish landowner, who seemed determined to return his family to its former glory, via one or both of his sons. I must admit that Squire Hamley was truly a fascinating and complex character. Although I liked him a lot, there were times I could have happily strangle him for viewing his sons as instruments for his familial ambitions and inability to truly understand them at times. Francesca Annis earned a nomination for her portrayal of the self-absorbed and social climbing Hyacinth Kirkpatrick Gibson. One would, at first, be inclined to label Hyacinth as an “evil” stepmother. But Annis’ performance made it clear that Hyacinth was not at all one-dimensional. She also managed to inject a good deal of pathos into her character, allowing one to understand that some of Hyacinth’s behavior stemmed from a sense of survival for herself and her family, due to years spent in the social wasteland as a governess and underpaid schoolteacher. Tom Hollander gave a very affecting and sympathetic performance as the poetic Osborne Hamley, the squire’s elder son who constantly disappointed his father. From other articles and reviews of ”WIVES AND DAUGHTERS”, many tend to view Osborne as a weak and self-involved man. I never got that impression from Hollander’s complex portrayal. Instead, I saw a man whose only real weakness was an inability to admit to his father that he had made a socially inacceptable marriage. It was this weakness that led to scholastic problems at the university and monetary problems. Iain Glen’s Mr. Preston seemed to be the villain of the story – at least on a superficial level. His Mr. Preston tried to coerce Cynthia into honoring her promise to marry him after five years. Superficially, Glen portrayed Mr. Preston as a smug and slightly arrogant man, who seemed obsessed with Cynthia. However, thanks to his complex performance, he revealed to audiences that Mr. Preston had been nothing more than a victim of Cynthia’s capricious and selfish behavior. As for Cynthia, Keely Hawes gave a delicious performance as Molly’s sexy and very likeable stepsister. What I found interesting about Hawes’ Cynthia is that the character possessed a talent for avoiding responsibility for her actions, along with an inability for returning love . . . yet, seems quite capable of winning the affections of everyone around her. Except for Dr. Gibson. The rest of the cast included Bill Paterson, who gave a charming, yet complex performance as Dr. Gibson; along with Barbara Flynn and Deborah Findlay as the Misses Brownings, and Rosamund Pike as Lady Harriet Cumnor, who all gave solid performances. Justine Waddell did a good job in carrying the four-part miniseries and making Molly Gibson a very likeable leading character. Yet, there were times when Waddell’s Molly came across as a bit too ideal for my tastes. Aside from her quick temper, she seemed to lack any real personal flaws. One could name her naivety as a flaw. But that particular state of mind is something the average human being will always experience during his or her lifetime. Overall, Molly was . . . nice, but not what I would call an interesting lead character. Her reaction to her father’s new marriage and her involvement with Cynthia’s problems with Mr. Preston seemed to be the only times I truly found her interesting. I certainly could not say the same about Squire Hamley’s younger son, Roger. In fact, I did not find him interesting at all. To me, Roger was simply a BORING character. Perhaps Anthony Howell was not at fault and did all he could with the role. The actor certainly portrayed Roger as a likeable and compassionate man. But the character was just boring. If I had been Gaskell or even Davies, I would have portrayed Roger as a more complex and interesting character. Or allow Molly to fall in love with a more interesting character. Alas, neither happened. Roger’s only flaw seemed to be a habit of falling in love with women on a superficial level. Due to Molly’s idealistic personality and Roger’s dull one, I found their romance very unsatisfying. Renton handled their blossoming friendship rather nicely in Episode One. However, Roger took one look at Cynthia in Episode Two and immediately fell in love. Worse, he left England for Africa after proposing marriage to her. Roger did not return to Hollingford until past the middle of Episode Four. This left Renton and Davies at least a half hour or so to develop Roger’s romance with Molly and get them married. And how did he fall in love with her? Roger took one look at Molly wearing a sophisticated ball gown and hairstyle (courtesy of Lady Harriet) and fell in love. Ironically, he fell in love with Molly in the same manner he had fallen in love with Cynthia. That did not bode well with me. Many have praised Davies for providing a memorable ending to Gaskell’s story, considering that she died of a heart attack before completing the novel’s last chapter. I would have found it romantic myself, if I had not found the couple’s romance rushed and unsatisfying. I realize that ”WIVES AND DAUGHTERS” is not solely about Molly and Roger’s romance. I also realize that the romance was nothing more than one of the story’s subplots. But that does not excuse what I saw as a poorly dramatized romance that began and ended on a hasty note. I also found the miniseries’ early sequence – Molly’s first meeting with her future stepmother at Lord Cumnor’s estate – somewhat unnecessary. I can only assume that this sequence was supposed to establish Hyacinth Kirkpatrick’s selfish nature and Molly’s dislike of her. Yet, by the time the series ended, I had the feeling that the impact of Molly’s relationship with her stepmother did not seem as strong as I had earlier believed it would, while watching Episode One. Most of Molly's problems seemed to be centered around Cynthia's relationships with both Roger and Mr. Preston. Thankfully, ”WIVES AND DAUGHTERS” has more to offer than just an interesting tale and excellent performances. Production designer Gerry Scott did a solid job in bringing the late Georgian Era back to life in a small, English village. And if I must be honest, I adore Deirdre Clancy’s costumes. I found them colorful and strongly reminiscent of the late 1820s and early 1830s. Cinematographer Fred Tammes did justice to the miniseries’ early 19th century setting. He made Hollingsford look like a very colorful place to live and southern Africa very exotic, yet desolate. I wish I could say that I found "WIVES AND DAUGHTERS" to be a complete delight. But due to a leading female character that I found too idealistic and her unsatisfying romance with a very dull character in the miniseries’ last quarter, I cannot make that claim. And as I had stated earlier, I found the early sequence featuring Molly's first meeting with her future stepmother a bit unnecessary. But the virtues far outweighed the flaws. "WIVES AND DAUGHTERS" conveyed an interesting coming-of-age story, thanks to the leading character’s interactions with some well-written supporting characters. It also provided viewers with a tantalizing look into the changing social mores of Britain, as it prepared to transcend from the Georgian Era to the Victorian Age.

Here’s a preview of “Expensive Stuffing,” a story by Ian Flynn and Steven Butler from World of Betty and Veronica Jumbo Comics Digest #125, which arrives in stores Dec. 14.

Concept art by Dan Cooper

SURF REALITY ~ Serious Pratfalls ~ June 27th, 1998

SURF REALITY ~ Serious Pratfalls ~ June 27th, 1998

June 27th, 1998 Notes on this show presented at Surf Reality from producer/founder Robert Prichard. Jeff Eyres, Host 1) Rev. Hank AKA Hank Flynn 2) Margaret Trigg, Margaret starred in an ABC sitcom in 1996 called Aliens in The Family which was ABC’s attempt to get on NBC’s 3rd Rock From The Sun train. Margaret used to rent Surf for showcases so that her industry connections could see her…

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Ripper Street (2012-2016) Season 1, Episode 5: "The Weight of One Man's Heart"

Another Supplemental Fanfiction Drawing::

So, I should be writing the upcoming Chapter for Just Keep Diving Down. It's November, everybody else is writing. But my brain is just going 'Nope, No.' much like Eddie faced with Upside Down insanity. So I did another sketch for a previous chapter instead.

Chapter Twenty Seven: Time Heals Some Wounds

(Spoilers - Should that be a concern)

This chapter starts with a six-month time jump, and I may end up going back here and writing single shot scenes once the main story is complete, because Lloyd learning magic.... I can just picture him accidentally destroying so much shit in their home.

Using my story taglist: @anths-girl, @raith-way, @ocs-supporting-ocs, @chickensarentcheap

If you want added or removed, please let me know!

what sort of books do you read/recommend? i'm sick of booktok recommendations.

well your first problem is going on booktok in the first place, lol. i tend to prefer psychological horrors and darker sci-fi but i will read any genre as long as it's characters going through turmoil + i love books that leave me feeling unsettled. i posted some recs here last year, but i've read more since then! here's some more i recommend:

kindred by octavia e butler

blindsight by peter watts

sharp objects by gillian flynn

the pleasures of the damned by charles bukowski

engine summer by john crawley

sylvia plath poetry collections

the butterfly garden by dot hutchison

weathercock by glen duncan

a little life by hanya yanagihara

black leopard, red wolf by marlon james

jack by a.m homes

randalls round by eleanor scott