palaeopedia: “ The Pacific bigfin Squid, Magnapinna pacifica (1998) Phylum : Mollusca Class : Cephalopoda Order : Teuthida Suborder : Oegopsina Family : Magnapinnidae Genus : Magnapinna Species : M. pacifica • Status deficient • 6 m long (size) •...
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palaeopedia:

The Pacific bigfin Squid, Magnapinna pacifica (1998)

Phylum : Mollusca
Class : Cephalopoda
Order : Teuthida
Suborder : Oegopsina
Family : Magnapinnidae
Genus : Magnapinna
Species : M. pacifica

  • Status deficient
  • 6 m long (size)
  • Northern Pacific ocean (map)

Magnapinna pacifica is a species of bigfin squid known only from three immature specimens; two caught at a depth of less than 300 m and one from a fish stomach. M. pacifica is the type species of the genus Magnapinna. It is characterised primarily by its proximal tentacles, which are wider than adjacent arms and bear numerous suckers.

(via nevertoomanyspiders)

Source: palaeopedia

October 8: World Octopus Day

isthatdaytoday:

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October 8 is World Octopus Day

Octopus facts:

Studies have shown that octopuses learn easily, including learning by observation of another octopus.
They can solve problems, as when they remove a plug or unscrew a lid to get prey from a container.

They are the first invertebrates to be seen using tools, such as using coconut shells to hide from potential predators and using rocks and jets of water in a way that could be classified as tool use. 

Common octopuses will collect crustacean shells and other objects to construct fortresses, or “gardens,” around their lairs. Other octopuses carry shells for protection. 

They have been found to play with a ‘toy’ and to have individual responses and individual temperaments, with some scientists believing they have individual personalities.
All octopuses are venomous, but only the small blue-ringed octopuses are known to be deadly to humans.
notthatkindofnormalstuff: “ Migas Location | Distribution: Africa The migas is said to be a huge, freshwater-dwelling octopus that comes from African folklore. The migas dwells in swamps and deep lakes, and is said to have more tentacles than a...
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notthatkindofnormalstuff: “ Migas Location | Distribution: Africa The migas is said to be a huge, freshwater-dwelling octopus that comes from African folklore. The migas dwells in swamps and deep lakes, and is said to have more tentacles than a...
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notthatkindofnormalstuff:

Migas

Location | Distribution: Africa

The migas is said to be a huge, freshwater-dwelling octopus that comes from African folklore.

The migas dwells in swamps and deep lakes, and is said to have more tentacles than a regular octopus, ranging from twenty, to almost a hundred.
Even if they dwell in such conditions, they have the ability to squeeze through the tightest of spaces, like normal octopuses, and hide in very shallow lakes.

They say that anything it will come in contact with will instantly become its target, and the migas will tear its victim to shreds.

nocturnenebula: “ You have no idea how long this problem plagued me but now I’ve found out how to fix it!! Just so you know, Manga Studio and Clip Studio Paint are the same program, Manga Studio is just a repackaged edition with different (or worse)...
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nocturnenebula: “ You have no idea how long this problem plagued me but now I’ve found out how to fix it!! Just so you know, Manga Studio and Clip Studio Paint are the same program, Manga Studio is just a repackaged edition with different (or worse)...
Zoom Info
nocturnenebula: “ You have no idea how long this problem plagued me but now I’ve found out how to fix it!! Just so you know, Manga Studio and Clip Studio Paint are the same program, Manga Studio is just a repackaged edition with different (or worse)...
Zoom Info
nocturnenebula: “ You have no idea how long this problem plagued me but now I’ve found out how to fix it!! Just so you know, Manga Studio and Clip Studio Paint are the same program, Manga Studio is just a repackaged edition with different (or worse)...
Zoom Info

nocturnenebula:

You have no idea how long this problem plagued me but now I’ve found out how to fix it!! Just so you know, Manga Studio and Clip Studio Paint are the same program, Manga Studio is just a repackaged edition with different (or worse) translations and it’s missing a shit ton of screentones. I own both unfortunately.

[Further Resources] | [The Font I Used For This] |  [LZW Compression Explained]

(via voremeseymour-deactivated201606)

Source: nocturnenebula

How to Repair a Marimo

marimomichi:

In the keeping of marimos, you will occasionally have accidents. Whether, the marimo ball was accidentally dropped during the process of care or the ball split on it’s own during the process of growth. Here is a no frill approach to repairing a marimo ball.

First, you need to get all the supplies together. You’ll need the marimo in question, some string, and a pair of sharp scissors. 

image

Second, take the marimo and prod the split back together. So, that the crack is sealed over. Cut a long piece of string for wrapping and tie in around the marimo ball. 

image

Start the wrapping by going the opposite of the first loop. When you reached to the other end, wrap around the string a couple of times. When you reach the top, repeat the same action, until the wrapping resembles a pumpkin. 

image

Wash the marimo thoroughly, so that it can begin the healing process. Also, wash the container the marimo is in. 

image

Put the marimo back into the jar, and fill it with clean cool water. It is imperative, that the water is cool and clean until the crack seals. While, it is healing you might notice the water had turn green that is just the primordial ooze that the marimo releases to speed the healing. If that is happening, let your marimo sit in the green water for a couple of day.

image

Care instructions for a healing marimo remains the same, change water every few days to a week. Wash the marimo thoroughly every two weeks to a month. 

(via )

Source: marimomichi

Making Comics Master Link List!

faitherinhicks:

faitherinhicks:

Hey guys, I’m getting a lot of asks about the same things, mostly questions about how to make comics, how to “break into comics” (haha, oh dear), working with publishers, that kind of thing. I’ve done some blogging on many of the subjects, so instead of repeatedly replying in private with links to those posts, I’m going to do a master post thingie with links to all my blogging about how I work. Hopefully some of you will find some helpful nuggets in there! I remember when I first started trying to transition into making comics for a living, and there wasn’t much information about that online. I spent a lot of time wailing about it on a locked livejournal. XD But anyway, I hope my blogs help a wee bit.

Disclaimer: these blog posts are all based on my own personal experiences as a cartoonist, and the advice therein might not work for everyone. The most awesome thing about comics is that there is no one way to make them, nor is there one direct route into becoming a full-time cartoonist. The more pro cartoonists I meet, the more it drives home how different our methods and origin stories are. 

Anyway, here you are! (With all of these, scroll past the placeholder image at the top of the post.)

1) How I make my comics, start to finish (traditional penciling)

1A) How I make my comics start to finish, now with digital penciling!

2) Finding the art tools that are right for you.

3) Working with collaborators.

4) Acting in comics. 

5) The financial reality of a full time cartoonist. 

6) Making a successful graphic novel pitch. 

7) Adapting a prose novel to comics, part 1.

8) Adapting a prose novel to comics, part 2.

9) Very simple tips for drawing a comic that will be published.

10) Working with editors from a cartoonist’s perspective.

10) b) Working with editors from an editor’s perspective (by my First Second editor, Calista Brill).

11) On “Drawing Styles.”

12) Dealing with discouragement (this is probably the most popular thing I’ve ever written XD).

13) On Comic Conventions. 

14) On Being a Pro and Finishing that Comic When You Don’t Want To

15) How I Write My Comics

Okay, I think that’s it! Whew! The remainder of the Friends With Boys blogging archive is here. It has some other bloggings that aren’t advice-related (mostly ramblings about comics I like), if you’re interested. If you have any other comic-related subjects you’d like me to blog about, feel free to drop a suggestion in the ask box.

I hope this was helpful. Share and enjoy! 

Updated 08/12/15

I added some of the more recent blogging I’ve done on making comics to my Making Comics Master Link List (1A, 14, & 15), and tossed a couple of dead links. If there is a comic making related question you’d like to see me write about, drop a question in my ask box. 

(via mizax)

Source: faitherinhicks

The significance of plot without conflict

stilleatingoranges:

In the West, plot is commonly thought to revolve around conflict: a confrontation between two or more elements, in which one ultimately dominates the other. The standard three- and five-act plot structures—which permeate Western media—have conflict written into their very foundations. A “problem” appears near the end of the first act; and, in the second act, the conflict generated by this problem takes center stage. Conflict is used to create reader involvement even by many post-modern writers, whose work otherwise defies traditional structure.

The necessity of conflict is preached as a kind of dogma by contemporary writers’ workshops and Internet “guides” to writing. A plot without conflict is considered dull; some even go so far as to call it impossible. This has influenced not only fiction, but writing in general—arguably even philosophy. Yet, is there any truth to this belief? Does plot necessarily hinge on conflict? No. Such claims are a product of the West’s insularity. For countless centuries, Chinese and Japanese writers have used a plot structure that does not have conflict “built in”, so to speak. Rather, it relies on exposition and contrast to generate interest. This structure is known as kishōtenketsu.

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