Most tears can be fixed with simple white (Elmer's) glue. Flatten the paper out on a clean, dry surface, printed side (or the side you want to create on) down. Press and wrinkled paper down and apply a flat weighted object (see my post about removing creases from paper if needed). Once flattened, apply thin layers of white glue to the back of the paper over the tear, letting them thoroughly dry between each application. You should only need about 2-3 applications.
If the tear is a significant size, after doing the above but before the last application of glue dries, apply a patch of white* tissue paper (the stuff often found in gift bags) or rice paper (the kind you blot your skin with, not eat), let that dry and then apply 1-2 more thin layers of glue over the patch and well beyond the edges. You can add more than 1 layer of tissue paper if repairing thicker paper.
Allow everything to thoroughly dry then add a flat weighted object significantly larger than the patched area and let sit for 24hrs.
*Colored tissue paper may bleed into the paper and stain it
To repair holes, the above works well unless it's thick paper. At that point, you can follow the above instructions but you may have a "paper pot hole" as I like to call them, on the side you want to, or already had, created something on.
For these, I will take paper of the same thickness to fill it in or build up a few layers of tissue paper and glue till it's the same thickness as the surrounding paper. However, I will recommend Mod Podge for this as that's what it was designed for. After I repair it, I'll fill in the missing art or blend it in as best as possible, and then apply a thin layer of paper seal (Mod Podge Hard Coat) to the entire piece.
As always, I hope this helps with your prop making and/or saving!
]]>Step 1: Lay the paper on a dry, flat surface and smooth it out gently. If it's printed on, place the printed side down.
Step 2: Lay a thin cotton cloth over the paper. I love quilt squares for things like this.
Step 3: Lightly mist the cloth. If you're a bit nervous about adding too much water, you can mist the cloth off on the side and then lay it on the paper.
Step 4: On the lowest setting, heat up your clothing iron and gently iron the cloth first in the same direction as the crease for a few strokes, then across the crease for a few strokes. Repeat 2-3 times while applying light pressure. Never stop moving the iron once it's on the cloth.
Step 5: Remove the cloth and apply a heavy flat weight, such as books, over the crease for 24hrs.
That should do it!
For thicker paper such as for watercolors, you can apply the water directly to the paper but always keep a cloth between the iron & the paper to keep it from scorching.
NEVER use the steam function of your iron on paper. This may result in warping and more wrinkles.
]]>Que vous souhaitiez avoir un PNJ ou un OC aveugle / malvoyant, voici quelques conseils pour en jouer un avec respect et en tenant compte de l'accessibilité.
Tout d'abord, je dois dire que ceci est écrit à partir de mon expérience personnelle et de mes réflexions sur les jeux de rôles (TTRPG) en tant que personne malvoyante / partiellement aveugle. Bien que je joue également au jeu avec d'autres personnes malvoyantes / aveugles et que je partage des éléments dont nous avons parlé, en fin de compte, tout ici est écrit de mon propre point de vue.
« Aveugle » est un terme générique que de nombreux membres de la communauté malvoyante/aveugle utilisent pour se référer à nous-mêmes, à notre communauté et à notre condition. Cela peut signifier partiellement aveugle ou complètement aveugle. Cela ne signifie cependant pas "a besoin de lunettes". « Aveugle » est spécifiquement une condition dans laquelle il n'y a aucun moyen d'améliorer davantage la vue d'une personne au-delà de ce qu'elle est actuellement. Donc, même si je porte des lunettes, je suis toujours partiellement aveugle parce que mes lunettes ne permettent pas soudainement à mon œil aveugle de voir. Heureusement, ils améliorent suffisamment mon bon œil pour que j'aie une assez bonne vue dans cet œil, quoique limitée.
« Déficience visuelle » signifie que la personne a ce que nous appelons une « vision diminuée » ou une très mauvaise vision, indépendamment des lunettes ou de la chirurgie, mais ne souffre pas nécessairement d'un véritable « manque de vue » dans l'un ou l'autre des yeux. Donc, quelqu'un qui est malvoyante a l'usage des deux yeux dans une certaine mesure et cette vue ne peut pas être améliorée au-dessus d'être légalement aveugle (20/200 ou moins après lunettes/chirurgie).
Ainsi, quelqu'un comme moi, qui est à la fois malvoyant d'un œil et presque complètement aveugle (manque de données visuelles envoyées au cerveau) de l'autre, se dit aveugle car je suis, en fait, partiellement aveugle. Cependant, j'utiliserai le terme « malvoyants » avec le grand public parce que l'hypothèse selon laquelle « aveugle » signifie uniquement manquer complètement de vue est si répandue dans notre société qu'il est plus douloureux d'utiliser aveugle que malvoyant.
Remarque : les nombres auxquels nous nous référons avec la vue (c'est-à-dire 20/20, 20/200, etc.) sont déterminés par la clarté avec laquelle nous voyons les choses à la même distance. Donc 20/20 signifie qu'une personne voit clairement les choses à 20 pieds (6 mètres) d'un objet comme tout le monde. 20/200 signifie que la personne voit quelque chose à 20 pieds d'un objet que la personne moyenne peut voir à 200 pieds ou 61 mètres (ce qui signifie que la personne doit être beaucoup plus près pour le voir clairement).
Directions : Nous utilisons souvent des directions sur une horloge pour nous donner une meilleure idée de l'endroit où les choses sont par rapport à nous. Nous sommes toujours face à 12 ou midi sur une horloge. Donc si quelque chose est à ma droite et légèrement devant moi, c'est à mes 2 heures. Si c'est directement devant moi mais légèrement à gauche, c'est à mes 11 heures. Utilisez à gauche ou à droite de la personne à qui vous parlez, pas la vôtre.
Nous avons également tendance à utiliser les mots "pas" ou "enjambées" au lieu de pieds/centimètres lorsque nous donnons des instructions, car c'est ainsi que beaucoup d'entre nous déterminent de courtes distances. Ceci est différent des pieds/centimètres car les foulées sont différentes d'une mesure réelle. Dans les TTRPG où vous devez être à une certaine distance de quelque chose pour lancer un sort ou entrer en mêlée, nous avons toujours tendance à utiliser des pas pour des raisons de familiarité, cela signifie la même chose pour les lanceurs de sorts mais cela a plus de sens pour nous pour les distances de marche.
Comment faire savoir aux joueurs aveugles/malvoyants qu’ils/elles sont les bienvenues à ma table ?
INCLUEZ LES PERSONNES AVEUGLES/MALVOYANTES DANS VOS DESCRIPTIONS DU MONDE! Point final. Si vous voulez nous faire savoir que vous êtes d'accord d’avoir des personnages aveugles/malvoyantes dans votre monde, incluez-nous dedans. Ajoutez-nous en tant que personnes dans une foule, en tant que PNJ qui mènent une vie pleine et normale, en tant qu'entraîneurs, guerriers, enseignants, agriculteurs, marchands, etc. Incluez-nous dans les mondes que vous créez tout autant que vous avez des personnes à la vue normale. Rendez-nous non essentiels à des quêtes! Simplement des gens existants dans votre monde. Avec une vie à eux.
Si vous envisagez d'ajouter un PNJ aveugle/malvoyant à l'arrière-plan d'une scène et que vous souhaitez être respectueux envers notre communauté, voici quelques conseils pour les décrire sans être offensant:
Cannes :
Les cannes ne sont pas toujours tapées sur le sol devant les gens. J'ai une balle au bout de la mienne et je la balaie devant moi pour m'aider à déterminer le changement d'élévation, les marches ou les obstacles sur mon chemin. Le tapotement n'est PAS pour « l'emplacement de l'écho » comme les gens le supposent (bien que cela puisse aider à déterminer si l'on se trouve dans un espace clos ou sur le type de surface sur laquelle nous marchons), c'est juste une forme différente d'utilisation de la canne. Certaines personnes ne touchent jamais leur canne au sol et la déplacent simplement d'un côté à l'autre devant elles. Les cannes sont aussi polyvalentes que les utilisateurs. De plus, l'apparence des cannes peut varier et nos cannes sont généralement codées par couleur pour indiquer l'état de l'utilisateur. Les cannes blanches sont destinées aux personnes totalement aveugles, tandis que les cannes rouges/blanches ou rouges/argentées signifient que la personne est malvoyante.
Nous avons également différentes cannes pour différentes choses. J'ai une canne "d'intérieur" qui est très courte et me permet de me déplacer à l'intérieur d'un bâtiment sans faire trébucher les gens. J'ai une canne "de course" que j'utilise pour faire des randonnées ou tout autre chose où je me déplace plus vite que la marche. C'est une canne beaucoup plus longue et a une pointe "guimauve" dessus. Des cannes plus longues sont beaucoup plus faciles pour un mouvement plus rapide, mais pas tellement dans des espaces plus restreints.
Chiens (ou autre animal) guides:
Un rôdeur aveugle avec un compagnon guide est un exemple parfait de la façon dont cela peut fonctionner dans les TTRPG. Les animaux guides peuvent être n'importe quel animal qui aide le personnage à naviguer dans le monde, cependant, ils n'agissent PAS comme les yeux du personnage. C'est un trope commun d'avoir un personnage aveugle "voir" à travers les yeux de leur familier et dans une certaine mesure, c'est ok si c'est fait de la même manière qu'un personnage voyant (un sorcier espionne le grand méchant à travers les yeux de son faucon familier). Là où cela commence à ne pas être correct, c'est lorsque le familier est utilisé pour remplacer la vue dans les actions quotidiennes.
Les animaux guides sont entraînés à écouter une personne et/ou sa famille immédiate. Ils doivent être formés pour apprendre ce qui est considéré comme dangereux pour leur maître et comment interagir avec eux pour leur faire connaître le niveau de danger. Une excellente vidéo à ce sujet provient de The Seeing Eye, un centre de dressage de chiens.
Une certaine saveur à ajouter à un personnage et à son animal est des signaux manuels spéciaux que seul l'animal comprend, une armure pour l'animal, ou des sorts destinés à protéger l'animal. N'utilisez JAMAIS cet animal comme intrigue et/ou pour faire souffrir le personnage. Le lien qu'une personne aveugle/malvoyante a avec cet animal est incroyablement fort et rien ne bouleversera la communauté plus rapidement que l'un d'entre eux étant blessé ou tué.
En parlant de d’intrigues…
A la recherche d'un "remède"
Toutes les personnes aveugles/malvoyantes n'auraient pas leur vision "corrigée" si elles en avaient la possibilité. Je fais partie de ces personnes. Je suis née partiellement aveugle et j'ai passé toute ma vie comme ça. Je ne considère pas cela comme un handicap. C'est juste une partie de qui je suis comme ma taille, ma peau, mes cheveux, etc. Il n'y a rien de "mauvais" avec ma vision sauf qu'elle est différente de celle de la personne moyenne et j'ai besoin d'aide pour entrer en contact avec le monde des voyants (plus de détails ci-dessous). Donc, avoir un familier qui est nos "yeux" n'est peut-être pas quelque chose que chaque personnage voudrait. Vous devez faire ce choix avec votre personnage dès le début.
Né de cette façon : lorsque vous êtes né avec une déficience visuelle ou aveugle, vous ne pouvez pas manquer ce que vous ne savez pas. Je demande aux gens : « vous manquez de voir de votre coude ? » Vous pourriez penser que c'est une question amusante parce que les gens ne voient pas de leurs coudes, mais je ne vois pas de l'un de mes yeux et je ne vois donc pas la différence.
Vivre le monde différemment : non, vous n'obtenez pas une ouïe supersonique ou la possibilité de sentir les microfibres individuelles sur un morceau de tissu, mais vous avez la possibilité de vous concentrer sur une façon différente de naviguer dans le monde. Mon ouïe est très importante pour moi car je suis toujours à l'écoute des indices environnementaux pour m'aider à déterminer où se trouvent les choses dans mon voisinage immédiat, comme les voitures, les personnes, les animaux, etc. Mais je prête également plus d'attention aux indices vocaux dans les conversations puisque je ne suis pas toujours capable de voir les expressions faciales. Je distingue assez facilement les nuances dans le ton de la voix de mes amis, même lorsqu'ils essaient de le cacher. Plus je connais quelqu'un, plus c'est facile pour moi.
En plus, il y a le monde tactile! Presque tous mes amis aveugles/malvoyants ont une "sensation tactile" préférée, quelque chose que nous aimons ressentir (le mien est du verre soufflé). C'est juste quelque chose qui fait vraiment appel à notre sens tactile et bien que les personnes voyantes normales puissent également l'avoir, je l'ai trouvé plus prédominant parmi mes amis aveugles/malvoyants. Il y a toute une expérience incroyable de sensation tactile lorsque vous ne comptez plus sur vos yeux pour vous dire à quoi devrait ressembler quelque chose.
Acceptation de soi: C'est traumatisant de perdre la vue, cela ne fait aucun doute. Ce n'est pas un ajustement facile et l'angoisse mentale que subissent les personnes qui perdent la vue est atroce. Cependant, il n'est pas rare que les personnes qui deviennent aveugles apprennent une nouvelle façon de vivre leur vie et s'y sentent assez à l'aise. Il y a une certaine acceptation de soi qui va avec, selon plusieurs personnes que je connais dans la communauté des aveugles qui ont dû faire face à une perte de vue débilitante. Comme l'un d'eux le décrit, "Il y a eu ce moment pour moi un matin, alors que j'avais déjà fini de préparer du thé et des toasts, quand j'ai réalisé que...Je l’avais fait complètement par moi-même sans y penser. Et c'était quand ce moment de clarté s'est produit que j'ai réalisé que ce n'était pas aussi dévastateur que je pensais que ce serait. "
Dans le groupe dans lequel je joue et qui est composé de joueurs aveugles, nous ignorons complètement la "vision dans le noir" car c'est quelque chose qui ne s'applique pas à nous. Nous savons tous un peu trop comment discerner des informations sur le monde qui nous entoure sans avoir à le voir réellement, que le concept de "manque de vision" ou "assez de lumière" est presque comique.
Ce tunnel sent il l'humidité ? Est-ce que j'entends des éclaboussures en marchant?
Est-ce que je sens des morceaux de mousse spongieuse sur les murs si je les touche?
Les tunnels résonnent, qu'est-ce que j'entends?
Si je reste immobile, l'eau continue-t-elle à onduler (l'entend-elle clapoter contre les murs)?
Ce couloir sent il comme si quelqu'un y est passé récemment avec une torche?
Est-ce que je sens de l'air vicié ou frais ? Ou est-ce l'odeur métallique du sang qui est dans l’air ?
Est-ce de la poussière que je sens sur les surfaces?
De la suie sur les murs où les gens se sont trop rapprochés avec des torches? Affligé de sang ? Visqueux? Collant? Humide? Sec?
Nos pas résonnent-ils comme si nous étions dans un espace clos?
Dirait-on que nous marchons sur du gravier? Bois? Pierre? Saleté?
Si je touche le sol, est-ce que la terre est tassée comme si on avait beaucoup marché dessus, lâche comme si elle avait été fraîchement déterrée, sableuse comme si quelqu'un avait essayé de cacher ses empreintes de pas?
Je sens du feu, est-ce que ça sent le bois ou est-ce que ça sent amer comme un produit chimique brûlé? Sentais-je l’odeur de nourriture cuire? Est-ce que je l'entends grésiller comme s'il y avait une broche ou juste crépiter comme un feu ouvert pour se réchauffer? Ou rugit-il comme un feu de joie? Peut-être que les méchants ont mis le feu à la ville!
Il existe de nombreuses façons de demander à un MD ce qui se passe dans votre environnement sans jamais poser de questions concernant la vue.
Cependant, cela ne remplace *pas* le désavantage lié à la perte soudaine de la vue. De nombreux ajustements sont nécessaires lorsque vous perdez la vue et à moins que vous ne soyez déjà habitué à naviguer sur un champ de bataille avec des moyens non liés à la vue, un désavantage est toujours appliqué lorsque vous êtes plongé dans l'obscurité totale ou lorsque vous êtes touché par un sort aveuglant.
Quand je suis à la maison, je ne me sens pas différente ou handicapée en aucune façon. Ma maison est configurée pour être exactement ce dont j'ai besoin pour mes limitations visuelles. Je n'utilise pas ma canne. Je ne me sens pas pour les murs. Je sais où tout est. Ma femme vous dira qu'elle n'a dû faire que des ajustements minimes dans sa vie pour vivre avec moi (s'habituer à avoir des lumières tamisées, moi n'allumant jamais les lumières dans les pièces où je me trouve, ne déplaçant pas de meubles sans me le faire savoir, gardant choses hors de nos espaces de marche).
Cependant, dès que je quitte ma maison, c'est une toute autre histoire. Le monde n'est pas fait pour les aveugles/malvoyants et il y a beaucoup de choses avec lesquelles nous devons faire face. Des voitures silencieuses aux personnes qui regardent leur téléphone pendant qu'elles marchent, en passant par très peu de coins de rue accessibles, le monde est définitivement conçu pour les personnes ayant une bien meilleure vue que moi ! Les cannes nous permettent de discerner où se trouvent les changements dans une surface de marche, où se trouvent les bordures ou les obstacles, les changements d'élévation (pentes montantes ou descendantes), ainsi que signaler à ceux qui nous entourent que nous ne pouvons pas les voir.
Les chiens guides sont souvent mal compris par le grand public qui les considère comme un « animal de compagnie ordinaire mais pour les personnes aveugles » et ne comprend pas à quel point il est dangereux de distraire un animal d'assistance de son travail. À la maison, ces choses sont totalement différentes et l'animal est généralement un membre de la famille aimant capable de se prélasser au besoin.
Malheureusement, les plus gros obstacles pour les personnes aveugles/malvoyantes sont les personnes voyantes qui pensent qu'elles sont « utiles » ou essaient de « prouver » que nous « faisons semblant ». De parfaits inconnus m'ont haleté et m'ont attrapé douloureusement, me jetant pratiquement au sol ou contre un bâtiment parce qu'ils avaient "peur que [j'allais] marcher dans la circulation". Je ne sais pas comment ils pensent que je suis allé aussi loin sans eux, mais je l'ai fait. J'ai vu des gens s'approcher inconfortablement de mon visage ou y agiter la main devant comme pour « prouver » à quel point je suis aveugle. Ce sont toutes des choses que j'ai également fait faire à des joueurs à la vision normale avec mes personnages aveugles. Du prêtre bien trop serviable qui a passé les premières sessions d'un nouveau jeu à essayer de me convaincre qu'une plus grande restauration guérirait ma cécité, aux « one-shot » où notre barbare a décidé d'être trop protecteur envers mon personnage aveugle pour aucune autre raison que leur cécité. Cela m'a prouvé très tôt que je ne pouvais pas avoir de personnages auxquels je pourrais m'identifier dans un groupe avec d'autres personnes voyantes.
Tout cela pour dire que si vous jouez un personnage aveugle/malvoyant, il définira toujours son espace de vie pour répondre au mieux à ses besoins d'accessibilité et soulignera certaines choses que vous voudrez peut-être aider vos joueurs à éviter lorsqu'ils interagissent avec un personnage aveugle/malvoyant.
- NB : il y a une vraie crise aux États-Unis concernant les lecteurs de braille car c'est quelque chose d’enseigné uniquement aux enfants qui peuvent fréquenter une école pour aveugles. L’apprentissage du braille n'est pas disponible pour toutes les personnes aveugles/malvoyantes et c'est quelque chose que de nombreuses organisations tentent de rendre plus accessible aux ménages à faible revenu, et y parviennent difficilement sans aide.
Personnellement, je ne suis pas offensée par quelqu'un qui joue un personnage aveugle/malvoyant tant que cela est fait avec respect et en écoutant (et en agissant en conséquence) les conseils d’une vraie personne aveugle/malvoyante.
J'aimerais voir/lire plus d'histoires où nous sommes inclus en tant que citadins ordinaires vaquant à nos vies au lieu d'être une forme de "porno inspirant" ou quelqu'un qui a besoin d’être "sauvé". J'aimerais nous voir comme les personnes diverses et extrêmement indépendantes que nous sommes.
Enfin, j'aimerais voir des gens briser les stigmates, créer des personnages convaincants qui * ne sont pas * là essayant de "guérir" leur cécité et assumer le rôle d'une manière sincère. Vous pourriez vous retrouver à découvrir le jeu d'une manière inattendue et apprendre que votre vue est *loin* d'être le seul moyen de naviguer un monde.
Traduit de l’anglais par Simon Goudreault (@Wandering_DM)
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So if they say they went to school, they world build that school. If they say they were best friend with the baker's child as kids, they create the NPCs of the baker, their spouse, their children, plus the name of the shop, what they sell, what their specialty is, and how well known or well liked they are.
If their character is a part of a religion, or organization, they need to world-build the organization, it's leaders, it's basic mode of conduct, how wealthy/successful the organization is, and it's reputation locally or within the world.
What I love, is that it gives my players a much better understanding of the amount of time/work it takes to world build. Plus, I have had them get far more into their characters even before we start our first session! It does mean that sometimes I need a one-on-one session with each player before we ever start a session to make everything fit as needed in the world but you'd be amazed how much they will create when given the freedom to do so!
I usually tell my players that they can build whatever they want and after they've created it, I'll either fit the world around it, or adjust it as needed. Rarely do I have to change much to make it work in any homebrewed world. Not to mention that it helps so much when I'm running out of ideas.
Then, whenever we visit a player's home town, my player becomes the DM for those sessions as they give us a tour! I have often had my players prepare a short quest or festival or some sort of events whenever we visit these towns so not only do they get a chance to DM but also, it's fun to see them light up with introducing their family/friends to their party!
]]>These are questions that might change at any point throughout the game but it gives me and my players a sense of what they're looking for at any given point in the game. I will also ask them to update it from time to time when I feel that there has been a significant shift in the game.
They can, however, receive the benefits of any spells that grant them additional HP.
For each death save they make (pass or fail) before being revived, they suffer an additional point of exhaustion and have 25% less health (maxed out to 25%).
1 death save: 2 exhaustion points and can only regain 50% of their total health until their next long rest
2 death saves: 3 exhaustion points and can only regain 25% of their total health until their next long rest
3 death saves: 4 exhaustion points and can only regain 25% of their total health until their next long rest
4 death saves: 5 exhaustion points and can only regain 25% of their total health until their next long rest
Exhaustion Points Effects:
Disadvantage on ability checks
Speed is halved
Disadvantage on attack rolls & saving throws
Hit point maximum halved
Speed reduced to 0
Death
Karma can be used to influence the world & the DM. You can use several karma points to achieve something you desperately want for your character/party. Want to find more gold? Offer up karma points to the DM and see what more you can find. Want to convince an NPC to help you? For the weather to be sunny? Whatever you want to happen in the game can be purchased with karma points. The more difficult of a task requires more karma.
Any particularly cool action made, unique way of handling things, unusual tactic employed, etc. will earn you a karma point.
Solve a puzzle/situation in an unexpected way: earn a karma point.
Use an item in a unique way to solve a problem: earn a karma point.
Do a particularly heroic deed or commit a completely selfless act: earn a karma point.
Party vote: your fellow players can privately message the DM asking to possibly give you karma points for something they feel you did to earn it. Final decision to grant points is always up to the DM.
Purposely keep information another player rightfully earned either through an opposing roll or clever investigative skills: a karma point is removed.
Commit an act against humanity and/or a heinous crime for the sake of doing the crime: a karma point is removed.
Party vote: If your fellow players feel your character has done something to cause major distrust, dislike, and/or harm, they can vote to remove your karma points (and they can do so without saying anything to you, simply by telling the DM they vote to remove karma points from you). Final decision to remove points is always up to the DM.
To re-roll any roll during combat: once per 3 rounds.
To re-roll any roll out of combat: once per situation/occasion (see example 1 below).
To complete something otherwise extremely difficult/impossible for your character/party (see example 2 below).
You can combine karma points with other party members if they’re willing to give you their points.
The party can only combine karma points once per long rest.
Enough karma points makes things instantly happen. Ask your DM how many karma points would be needed to accomplish something.
Cast a spell at a higher level. You can only cast a spell at your current ability level (ex: if you can only cast 3rd level spells, you can only cast a 1st level at 3rd level until you are able to cast any spell at a higher level). You can only cast it if you have used all your higher level spell slots first. Cost: 5 points per level you want to cast it higher at (ex: a level 1 spell cast at 2nd level is 5 points but at 3rd level it’s 10 points).
Example 1: While talking to the local major about getting a friend out of jail, you can use your karma points to re-roll any persuasion check only once during that conversation. If you then talk to the bailiff about your friend, it’s still considered the same situation and you cannot use your karma points to re-roll anything.
Example 2: Just as in example 1, you can only use karma points once per situation. However, you can use more than 1 karma point to make it happen. Say your character wants to pick a lock but doesn’t necessarily have any skill in it, you can use a karma point to either re-roll something or roll with advantage (just once per situation). If you know that the lock has a particularly high challenge rating, you can use as many karma points as you have available to make it happen! So if you have 2 karma points, you can use 2 points to lower the CR on scale to the situation (a locked door in a tavern may only require 1 karma point to open, but a magically locked chest you know is filled with treasure might require 10 karma points to make it happen).
]]>After 40 hrs of in-game practice, your character can play a simple tune with ease and gets advantage on performance any time they play that tune. Character must pick between: a rallying tune that makes other players feel encouraged (inspiring), a joyful tune that makes one want to dance (distracting/happy), a soulful tune (charming/alluring), or a lullaby (calming).
A player can choose to spend 40 hrs of in-game practicing per tune in order to learn all of them.
After mastering each tune, the character can play them whenever they are not in combat and have hands free to play the instrument. Each tune can add an advantage/disadvantage to those listening (including the player’s character, other characters, NPCs, etc.) within hearing range (60ft) for specific rolls depending on the tune:
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Level 1 is something you’re just keeping to yourself but if it’s discovered, you’re generally ok with it being known.
Level 2 is something you’re actively trying to hide but if it’s discovered, you’ll simply ask that they don’t share it with others.
Level 3 is something that not only are you actively trying to hide but if it’s discovered, you would go through lengths to bury and/or outright lie about it.
Any secrets you create for your character should be given a level so the DM knows how best to deal with it if/when it comes up in game. Also, make sure you have a list of who would know these secrets (such as lovers, family members, etc).
You can keep secrets from the DM as long as what you are keeping secret isn’t something that will break the story/world nor does it contradict anything you’ve previously told to the DM.
An example is if you have a twin sibling that you’ve never talked about because they died or because you no longer talk to them but it isn’t a part of the plot (just character development).
An example of what you can’t keep from the DM is that you’re actually playing the character’s twin at different points in the story or that the twin has something to do with your goals.
Something comes up in game that you realize *after* you’ve given your backstory (but doesn’t change it) that you’d like to keep to yourself for the time being. It involves the character the DM is playing (such as your character has a crush on the DM’s character). It’s a subconscious thing for your character that wouldn’t make sense anyone else knows. You have a non-story breaking secret that you think would be fun to reveal to everyone at the table all at once.
Secrets from other players You can choose whatever level of detail you want to share with your fellow players both in and out of the game. You can choose to be deceptive at any point for whatever reason.
However, the DM should always know when you’re being honest/deceitful to your other players. Message them with a private message which secret you’re hiding, which route you have chosen (answered honestly but omitted the secret or outright deceptive) and if necessary, why. To make this easier, feel free to number your secrets so you only have to send the corresponding number of the secret to the DM.
Levels of Insight I always want my players to feel they have the most control over how their character is perceived by other players & NPCs so insight checks in our game work slightly differently.
If someone rolls an insight check on your character, they must tell you what they rolled just like a regular check. However, you don’t have to roll a counter-check (unless you want to or are undecided, and even if you do, you don’t have to tell anyone the result). Instead, answer based on how much you feel your character would reveal based on the other player's roll (whether it’s the truth or a lie).
The higher the roll, the more you should describe your character’s body language, facial expressions, etc. to best convey if they are being honest or deceitful. If at any point the DM feels you are not conveying enough information based on the other player’s roll or you haven’t adequately conveyed they might be lying/being truthful, the DM may ask the other player if they believe them and/or remove inspiration from your pool if you have any.
Just know that the more your character lies, the more the other characters may distrust them.
]]>I now make a point of reading over art descriptions for commissions & informing my clients if they are actually looking for an illustration instead of a map. What's the difference & how do you know when to get which?
When you want an illustration: If what you really want to convey is a vertical space, a sense of depth, interesting concepts or ideas, etc. If what you're really trying to show is an interesting idea such as a city built into the side of a mountain, a village residing among the tree tops, etc. but don't need to give specific directions or distances. In other words, a narrative aid.
When you want a map: To show the location of several Points of Interest within a specified space or to give specific directions to get from one location to another. Maps are wonderful for invoking a sense of exploration but they are also meant to be tools for your readers/players. They show distance, give a sense of direction, offer a route of travel that needs to be provided in order to accomplish something or to tell a part of the story. In other words, a story-driving tool.
What if you want to both show specific directions AND a cool concept? Then you want a map. Any time you need to direct characters from one point to another, you need a map. Any time you just want to show a cool land feature but don't have specific points in mind, you want an illustration.
When to get a map with inset illustrations: A map that shows both the road map of that city built into the mountain and a sideview illustration is a great combination of both a narrative aid and a story-driving tool. However, keep in mind that you should expect to pay an artist for both the map and the illustrations needed, meaning, it might be even more expensive for the map.
]]>I love seeing my players light up with excitement about leading the party through their hometowns! My group likes to plan specific sessions where whoever comes from that town/city becomes the temporary co-DM. They can plan special events, festivals, dances, competitions, side-quests, mysteries, & more to bring their towns/cities to life for the rest of us. And because they're mini adventures, it takes a lot of the stress/pressure off them to do all the work of being the DM the entire time while I, the DM, gets a break for a session or two.
I still interact as the world around them, so I roll to see what the weather is for any given day, if anything unusual happens, etc. And I'll happily help my player that's leading the party if they are stumbling through any parts. I usually sit down with them ahead of time and plan out a few things they can do while in town outside of the basic "this is where I grew up" tour. We can use rumors, local legends, general problems of the town that we established when we built their towns to pepper the adventure if needed.
This is also a great way to both pick up new party members (need a local guild through the woods, "I know this farmer's kid who runs between here and the Nomfell all the time! I'm sure they'd be happy to help you all get there!") as well as end a campaign. Or even just a mid-campaign side quest that let's the player really show off their backstory in a truly epic fashion.
Imagine your party arrives at Morgan's Lament and upon arriving, an elderly woman sees a party member she recognizes and walks up to them, proud as can be at how much they have grown! Next thing you know your player is talking about their home town and all you need to do as a DM is gently guide them into the DM seat. "Describe what this town looks like. Who was that woman? What's happening in this scene set before your party?"
Can I also say that this is a FANTASTIC way to ease new DMs into the chair as well? I have had numerous sessions taken over by players who went from terrified to incredibly enthusiastic to run more adventures! I do, however, always make sure I have something planned "just in case" a player starts to get uncomfortable or unsure of what to do.
]]>They each take their time to craft a place that fits their backstories and more often than not, let's them develop their characters even further than before. By the time we sit down for our first session, they usually have a better understanding of who they're playing.
I like to sit down with them during character creation and really flesh out their towns with them. I start by asking them the basics of their characters: name, appearance, class, etc. and then lead them into a series of questions asking about where they are from. Here's a short list of how I start things off and though occasionally need to help a player decide more, this gets the ball rolling and soon they are building a fascinating home town filled with lots of NPCs, tales of their childhood, and lots of fun tidbits I get to make cannon in our world.
Close your eyes and picture yourself as your character. It's only a few years before you start your adventuring life...
So on and so forth. All these people and information becomes the NPCs of their town/city. Once you have focused on who they interacted with most as a child, you can then broaden that by asking about the other townfolk. It's at this point that I tell my players that they can answer any of these questions beyond their character's knowledge if they like:
The list goes on and on though I rarely need to do much further prompting. Once my players start building, it really takes off. And it doesn't have to end with just their hometown. If their town has a rivalry with another, or what about the place they went off to school, or the closest city they visited often? I love letting my players have fun and add their own truly personal touches to the story.
But it doesn't end there! In Part 2: Becoming a Temporary Co-DM I talk about how I let my players take the reigns during sessions where we visit their hometowns!
]]>Starting with backgrounds there are 3 key points to remember:
Example A: The product is the wood box & compass. It's complimented by a simple background with dynamic lighting to give it a vintage feel.
Example B: Same style, coloring, and dramatic lighting as Example A but nothing is in the center of the photo or framed as a product so you can't tell what's for sale. This makes a great header image but not a good product image.
Focusing the Photo
One of my favorite items to use on my phone to snap pics of tiny items is my 3-in-1 Camera Lens Kit*. The kit has a Fish Eye, Wide Angle, and a Micro lens. The Micro lens is what you'll use the most if you want to get pics of itty bitty features.
However, if you don't need something quite that small, a good trick to taking a picture of something small while not being so close that the camera loses focus, is to hold the camera a few inches away, focus on the item, and then use the camera's zoom feature. With this, you can get some pretty great pics. See example C & D below.
Example C: Image of the Rue the Cartographer mini taken with a micro lens. Look how much detail you can see!
Example D: This is a regular camera using the zoom function to focus on the tiny details of a Gaming Geeks' handcrafted map marker! That's a normal size d20 in the pic!
]]>
Second, you don't need a fancy setup or expensive equipment. As a matter of fact, all my photography is done with my phone and either natural light or LED lights. The most expensive lighting I have is about $130 for LED shop lights* that I use for work as well as photography. Though I generally use those for large products like maps & shirts. For small things like dice or minis, I use a ring light* or my small panel light*. The ring light is perfect for videos where I'm moving the camera from item to item so the light follows along with the video (and it has 3 brightness settings). The panel light is my favorite and most used light. It has a dimming wheel that let's me adjust the light to exactly what I need and I can change the color of the light from cool to warm. I even have a diffuser cozy* for it!
The key to using these lights isn't to brighten the product you're photographing but to make the light consistent around all sides. This shows the product details and color best. Bright lights only wash out photos & create reflections that make items difficult to see. That's why we use light boxes, to reflect light form all angles to even out the product lighting.
Speaking of light boxes, I stated earlier that I discourage white backgrounds. That's only half true. If you're removing the background entirely, yes, go for it. Otherwise, unless your product gets easily lost in a colored background, I recommend not photographing against white. Not only does this take away from the product being handmade, hand painted, art, or anything that implies it's not mass produced, it also makes it harder to get "perfect". Most people think they need a LOT of lighting to get good pics but really, you need even lighting. I have a few of these handheld reflectors* that I'll put around products to get the most even lighting I can.
Third, it's ok to edit your photos! The point of product photos serves 2 purposes, to display and to inform (just as the first paragraph implies). So if you need to edit a photo to accomplish either one of these, it's ok. It's not "cheating" or "being deceitful". Editing images to correct color or errors in the image is perfectly fine. Besides, everyone's monitors are different and as long as you aren't drastically changing the colors it's fine.
Where this gets muddy is when we want to highlight a product feature that isn't normally seen when it's held in your hand. This most common happens with things like dice. We want to show the details of the dice but without shining light through the dice, you hardly see it. Again, this is fine to highlight as long as you show what they look like without light being shined through them. There's nothing the matter with calling such features "hidden" or "secret" to intrigue your customers but if they're presented in your photos like they'll look like that out of the package and they don't...well, you're not going to get those customers returning to buy more. You might only get them returning to ask for a refund and/or complaining about your stuff to others.
*external Amazon affiliate link
]]>Because of this, I wanted to share a few things to keep in mind when using a fantasy map in a game, story, campaign, or when you start creating your own.
Basically, all this is to say, that we should be looking at fantasy maps more like a character in our stories than a tool to hand players. What we want to do is give them a snapshot of the world they're exploring without answering all the mysteries of where they are going. Your map, or your world in general, is it's own NPC with a rich history, a story line of it's own, and a lot going on.
]]>First, I want to say this is written from my personal experience & thoughts on playing TTRPGs as a visually impaired/partially blind person. Though I also play the game with other VI/blind people and will be sharing bits we've talked about, ultimately everything here is written through my personal lens.
"Blind" is a blanket term many in the VI/blind community use to reference ourselves, our community, and our condition. It can mean partially blind or fully blind. It does not, however, mean "needs glasses". "Blind" is specifically a condition where there is no way to further improve someone's eyesight beyond what it currently is. So even though I wear glasses, I'm still partially blind because my glasses don't suddenly allow my blind eye to see. They do, thankfully, improve my good eye enough that I have reasonably good sight in that eye, however limited.
"Visually impaired" means the person has what we call "low vision" or very poor vision regardless of glasses or surgery but doesn't necessarily experience an actual "lack of eyesight" in either eye. So someone who is VI has use of both eyes to some degree and that sight cannot be improved to above being legally blind (20/200 or less after glasses/surgery).
So, someone like me, who is both visually impaired in one eye and almost completely blind (lack of visual data sent to the brain) in the other, refers to themselves as blind because I am, in fact, partially blind. However, I will use the term "visually impaired" with the general public because the assumption that "blind" only means fully lacking sight is so prevalent in our society that it causes more heartache to use blind than VI (visually impaired).
Note: The numbers we refer to with eyesight (i.e. 20/20, 20/200, etc.) are determined by the clarity we see things at the same distance. So 20/20 means a person sees things clearly at 20ft away from an object as everyone else. 20/200 means the person sees something at 20ft away from an object that the average person can see at 200ft away (meaning the person must be much closer to see it clearly).
Directions: We often use directions on a clock to give us a better concept of where things are in relation to us. We are always facing 12 or noon on a clock. So if something is on my right and slightly in front of me, it's at my 2 o'clock. If it's directly in front of me but slightly to the left, it's at my 11 o'clock. Use left or right of the person you're talking to/about, not your own.
We also tend to use the words "paces" or "steps" instead of feet/centimeters when giving directions because that's how many of us determine short distances. This is different than feet/centimeters because strides are different than an actual measurement. In TTRPGs where you need to be a certain distance from something to cast a spell or reach melee range, we still tend to use paces/steps for familiarity reasons, it means the same to spell casters but makes more sense to us for walking distances.
INCLUDE BLIND/VI PEOPLE IN YOUR WORLD DESCRIPTIONS! Full stop. If you want to let us know you're ok with blind/VI characters in your world, include us in it. Add us as people in a crowd, as NPCs who are living full, normal lives, as trainers, warriors, teachers, farmers, merchants, etc. Include us in the worlds you create just as much as you have normal-sighted people. Make us non-quest related! Just people in your world. Living. Existing.
If you plan on adding a blind/VI NPC to the background of a scene and want to be respectful to our community, here's some tips on describing them without being offensive:
1. Don't refer to the character as specifically "blind". You can say someone walks by tapping a cane on the ground, or someone is walking past with dog guiding them across the street, or someone sweeps a cane in front of them from side to side, making sure not to miss a step or bump into someone. "Blind" itself isn't offensive but assuming someone is blind is. Because the word "blind" to the average person means "lack of full eyesight" it ignores those of us on the VI spectrum. Unless it's absolutely necessary to state, try not to use someone's lack of sight as a descriptor.
2. Do not portray them as beggars or poor. Blindness doesn't care about your financial state or social class. A rich person can go blind just as quickly as a poor person. That we're pretty much only mentioned as beggars in streets is incredibly offensive and implies that our lack of sight renders us completely dependent on others. I can assure you, this is hardly the case.
3. Do not describe our eyes as being "blank" or with unusual colors. Sadly, the assumption is that being blind/VI means our eyes are somehow different in appearance than the average person. This is not the case for the most part. The characters with "pupil-less" or "colorless" eyes is so drawn out and over done. It's also perpetuates the "but you don't look blind" statement many of us hear. NOTE: This does not include characters whose eyes are pupil-less due to race, being any level of dead or undead, or magical reasons.
Canes:
Canes aren't always tapped on the ground in front of people. I have a ball at the end of mine and sweep it back and forth in front of me to help me determine change in elevation, steps, or obstructions in my path. Tapping is NOT for "echo location" as people presume (although it can help determine if one is in an enclosed space or the type of surface we're walking on), it's just a different form of cane use. Some people never touch their cane to the ground at all and just move it from side to side in front of them. Canes are as versatile as the users. Also, canes can vary in look and our canes are generally color coded to indicate the user's condition. White canes are for fully blind individuals while red/white or red/silver canes means the person is visually impaired.
We also have different canes for different things. I have an "indoor" cane that is very short and allows me to move within a building without tripping people. I have a "running" cane that I use when taking hikes or anything where I'm moving faster than walking. It's a much longer cane and has a "marshmallow" tip on it. Longer canes are much easier for faster movement but not so much in tighter spaces.
Accessibility Animals:
A blind ranger with an accessibility companion is a perfect example of how this can work in TTRPGs. Accessibility animals can be any animal that aids the character in navigating the world, however, they do NOT act as the character's eyes. It's a common trope to have a blind character "see" through the eyes of their familiar and to an extent, this is ok if it's done in the same manner as a sighted character (wizard spies on the big baddy through the eyes of their hawk familiar). Where it starts to become not ok, is when the familiar is being used to replace eyesight in everyday actions.
Accessibility animals are trained to listen to one person and/or their immediate family. They need to be trained to learn what is considered unsafe for their people, and how to interact with them to let them know the level of concern. A great video on this is from The Seeing Eye, a dog training facility.
Some flavor to add to a character and their animal is special hand signals only the animal understands, armor for the animal, spells geared towards keeping the animal safe for the character. Never, EVER use that animal as a plot device and/or to cause suffering for the character. The bond a blind/VI person has with that animal is unbelievable strong and nothing will upset the community quicker than one of them being injured or killed.
Speaking of plot devices...
Not all blind/VI people would have their vision "corrected" if given the option. I'm one of those individuals. I was born partially blind and have spent my entire life like this. I don't regard it as a disability. It's just a part of who I am like my height, my skin, my hair, etc. There's nothing "wrong" with my vision except that it's different than the average person's and I need assistance with coming into contact with the normal-sighted world (more on that below). So having a familiar that is our "eyes" may not be something every character would want. You need to make that choice with your character from the beginning.
Born this way: When you're born with a visual impairment or blind, you can't miss what you don't know. I ask people, "do you miss seeing out of your elbow?" You might think it's a funny question because people don't see out of their elbows, but I don't see out of one of my eyes and therefore don't see the difference.
Experience the world differently: No, you don't get supersonic hearing or the ability to feel the individual microfibers on a bit of cloth, but you do get the chance to focus on a different way to navigate the world. My hearing is very important to me as I am always listening for environmental cues to help me determine where things are in my immediate vicinity, such as cars, people, animals, etc. But I also pay more attention to audio cues in conversation due to not always being able to see facial expressions. I can distinguish the nuances in the tone of my friends' voices quite easily, even when they try to hide it. The better I know someone, the easier this is for me.
Plus there is the tactile world! Nearly every blind/VI friend of mine has a favorite "touch sensation", something we love the feel of (mine is blown glass). It's just something that truly appeals to our tactile sense and though normal sighted people might also have this, I have found it more predominant among my blind/VI friends. There's a whole amazing experience of tactile sensation when you no longer rely on your eyes to tell you what something should feel like.
Self Acceptance: It is traumatizing to lose one's eyesight, there's no doubt about it. It's not an easy adjustment and the mental anguish people who lose their sight go through is excruciating. However, it is not uncommon for people who go blind to learn a new way of living their lives and becoming quite comfortable in it. There's a certain amount of self-acceptance that comes along with it according to several people I know in the blind community that had to deal with debilitating sight loss. As one describes it, "There was this moment for me one morning, when I had already gotten through making tea and toast, when I realized that...I just did it completely without thought. That it just happened as normally as it had when I was sighted. And it was as if this moment of clarity happened where I realized it wasn't has devastating as I thought it would always be."
In the group I play in that is made up of blind players, we completely disregard "dark vision" because it's something that doesn't apply to us. We're all a little too well versed in how to discern information about the world around us without having to actually see it, that the concept of "lack of vision" or "enough light" is almost comical.
Does this tunnel smell damp? Do I hear splashing while walking? Do I feel bits of spongy moss on the walls if I touch them? Tunnels echo, what do I hear? If I stand still, does the water keep rippling (hear it lap against the walls)?
Does this dungeon smell like someone with torches have been through recently? Do I smell stale air or fresh? Or is that the metallic scent of blood on their air?
Is that dust I feel on the surfaces? Soot on the walls where people came too close with torches? Slick with blood? Slimy? Sticky? Moist? Dry?
Do our steps echo like we're in an enclosed space? Does it sound like we're walking on gravel? Wood? Stone? Dirt? If I touch the ground, does the dirt feel packed down like it's been walked on a lot, loose like it's been freshly dug up, sandy like someone tried to hide their footprints?
I smell fire, does it smell like wood or is it bitter smelling like a chemical burning? Or is it food smelling? Do I hear it sizzle like there's a spit or just crackling like an open fire for warmth? Or is it roaring like a large fire? Perhaps the baddies set fire to the town!
There's a great deal of ways to ask a DM about what's happening in your environment without ever asking a question pertaining to sight.
However, this does *not* override disadvantage for sudden sight loss. There's a great deal of adjustment needed when losing sight and unless you're already familiar with navigating a battlefield with non-sight related means, disadvantage is still applied when plummeted into complete darkness, or when hit by a blinding spell.
When I'm at home, I don't feel different or disabled in any way. My home is set up to be exactly what I need for my sight limitations. I don't use my cane. I don't feel for the walls. I know where everything is. My wife will tell you she's had to make only minimal adjustments to her life in order to live with me (getting use to having dimmed lights, me never turning lights on in rooms I'm in, not moving furniture without letting me know, keeping things out of our walking spaces).
However, the moment I leave my house, it's a whole other story. The world is not set up for blind/VI people and there's a lot we have to contend with. From silent cars to people staring at their phones while they walk, to very few accessibility friendly street corners, it's definitely set up for people with far better eye sight than I have! Canes allow us to discern where changes in a walking surface are, where curbs or obstacles are, changes in elevation (slopes up or down), as well as signally those around us that we may not see them.
Service animals are often misunderstood by the general public who think of them as a "regular pet but for blind people" and don't understand how harmful it is to distract a service animal from doing their job. At home, these things are entirely different and the animal is usually a loving family member able to lounge about as needed.
Sadly, the biggest obstacles for blind/VI people is normal sighted people who think they are being "helpful" or are trying to "prove" we're "faking" it. I've had complete strangers gasp and painfully grab me, practically throwing me to the ground or against a building because they were "afraid [I was] going to walk into traffic". I'm not sure how they think I made it that far without them but I did. I've had people come uncomfortably close to my face or wave their hand in front of it as if to "prove" how blind I am. These are all things I've had normal-sighted players do with my blind characters as well. From the way-too-helpful cleric who spent the first few sessions of a new game trying to convince me that greater restoration would cure my blindness, to the one-shot where our barbarian took it upon themselves to be overly protective of my blind character for no other reason than they were blind. It proved to me very early on that I couldn't have characters that I could identify with in a group with other sighted people.
All this to say, if you play a blind/VI character, they will always set their living space to best serve their accessibility needs and to point out some things you might want to help your players avoid when interacting with a blind/VI character.
I personally am not offended by someone playing a blind/VI character as long as it's done respectfully and by listening (and acting accordingly) to an actual blind/VI person.
I would love to see/read more stories where we're included as regular townsfolk going about our lives instead of being some form of "inspirational porn" or someone who needs "saving". I would love to see us as the diverse and extremely independent people that we are.
Lastly, I would love to see people breaking the stigmas, making compelling characters who *aren't* out there trying to "cure" their blindness, and taking on the role in a heartfelt way. You might find yourself experiencing the game in an unexpected way and learning that your sight is *far* from being the only way to navigate a world.
]]>We have real world examples of rivers that don’t end in the ocean; lakes that feed rivers instead of vice versa; lakes that are fed by underwater sources, so on and so forth.
When I first started studying Earth Sciences as a teenager, I started reading about how much our planet has changed since the Industrial Revolution and the impact that’s had on not only our atmosphere but wildlife, plant life and sea life. I learned about how it’s changed the shape of our planet in so many ways.
And then I had this really interesting thought…what if magic was a real thing on this planet. And what if it, like so many things in our world, affected and changed the way the planet worked? What if it could change it? What if slinging all those fireballs, manipulating energy fields, or… well damn…I guess we already have an idea of how that would affect our planet because it might not be “magic” but we have bombs, dynamite, and radio waves affecting and changing our world every day. Now imagine a large portion of the population could do that? We have no idea what it would do.
And we certainly have no idea how that would work on other planets or what the environmental cost might be for magic.
So though I don’t encourage the river magically starting in the middle of a low lying field, I do know there are places that are so close to their water tables that it’s possible. And I generally suggest rivers starting in the hills/mountains and ending in the ocean but I know that it doesn’t *have* to. And just as I accept that there are magic users in that world, or orcs, or dryads, or gigantic flying lizards, so must I accept that things aren’t going to work as they do on Earth and that’s ok because all that matters, is that people are playing a game and having an awesome time doing it.
]]>When I post my art for you to download, I don't include huge watermarks or anything because I want you to enjoy the art unobstructed and trust that you would never share any of my large files on the internet. That's why each file in the header of my posts is the smaller watermarked version. If you wish to share it, please share that.
Especially to those who have access to the landscape versions of my maps: These have NO text on them for your convenience. Please don't share any version of them in any size on the internet. These are for you all alone.
I love the enthusiasm everyone has for my art and if we lived in a different world where there wasn't a concern, trust me, I'd be sharing my art the same way. Unfortunately, I not everyone is as awesome as all of you are!
Please don't feel you can't share my work, just make sure my name is clearly visible on the image you do share. Thank you! <3
]]>To get the best results out of a project, hire an artist who already creates in the style you like. Yes, some artists can create things in other styles but that's not true of all artists. Plus, if their work already displays that style, you know they can easily give you what you're looking for.
As stated before, every artist has different needs of what they need/want in a project. Some need a lot of direction, some need only a vague idea. Some want all the details at once, some only want it in bits and pieces necessary for that step of the project.
Don't be afraid to say, "Tell me what you need from me and how to best give you that information" and then follow those directions.
When you hire any artist to create something for you, usually they will send you draft of the art for you to request any changes from. The same is true with cartography. I often give my clients a really rough draft to agree on the size, distance, and spacing of things. I will also just add quick icons for swamps, mountains, water, farms, etc. It's just to give a general idea of where everything goes.
It's during this point that any changes you want should be voiced. Don't be afraid to voice them either because this is what's expected. Artists know that a client will change things once they see it roughly drawn out so that's the purpose of sending drafts.
However, once you approve a draft, requesting changes can cause the artist a lot of extra work and frustration. Its understandable if it's one or two things, but once you start going beyond that, don't be surprised if the artist states they will be adding more money to the price of the piece for redraws.
The point of hiring an artist is they are capable of doing something you cannot, which is why when they suggest something, you should really take it into consideration. I'm not saying that you should just let them do whatever they want even if you don't particular want it, but if it's something you aren't sure about or have no opinion on, let them do what they do best.
If an artist recommends a change in how something looks, it's usually because they have learned from previous experience that it won't look right or that it will take away from the overall look of a piece. If it's something you feel strongly about keeping, express that and ask if they can suggest something to help keep that feature without making it stand out or whatever the artist thinks will be wrong with the overall look.
This one is a BIG one that many clients seem to struggle with. As artists are more and more easily accessible though social networks and email, it's really easy for clients to forget that every message they send an artist eats up their time. Even if it's just a quick "looks great" sent via private message/email. If you don't *have* to send them a private message/email, don't. Comments on WIP posts are more than enough to let us know we're doing well.
Also keep in mind that the more popular an artist is, the more of their time is spent dealing with private messages, emails, and posts of people asking them about commissions, their work, prices, etc. This means that if you're trying to hire an artist and they don't respond, it's not personal.
I have over 18k followers on Twitter alone as of this writing. I get HUNDREDS of notifications a day (some times on single posts). I am sent a LOT of private messages from people asking about commissions in one form or another and honestly, I don't have time to sit there and write "Sorry, my commissions are closed" to everyone when it's already clearly on my profile description. So if you don't get the response you were expecting or in a tone that says they're tired of answering these questions, please know it's not you. It's the accumulation of all the messages we get on any given day when we could be using that time to focus on creating our work. Sometimes...it's exhausting.
I tell my patrons to give me "only what's absolutely necessary" for their maps. Give me only the details you *need* on the map. I don't want the area's history or lore. Not because I'm not interested but because I don't want the influence of it if it doesn't change how an area will look. The world wasn't formed around the history of it's people. A map isn't going to show the lich king's effect on the world unless he burned down an area or we can see the ruins of his temp on the map.
Telling an artist information beyond what's needed to make the project only eats up even more of their time and energy. HOWEVER, if you aren't sure if it matters, just ask! Plus, if the artist has time, it makes for great reading and sometimes gives them a much better feel for the look of the map.
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