Vyxes

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$1 a month for pics.

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$3 a month for comics and galleries.

To balance incentives between this feed and the stores, the feed, though cheaper, will be random.

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After years of playing around with slime effects, these are the methods that I use the most. Keep in mind, I only make still images. I don't know how any of this would work for animation.

Also keep in mind, I use Blender 2.79b and Photoshop but what I do can be replicated in other modelling apps.

While I'll provide other examples, what I'm mainly going to do is breakdown this slime panel.

At this point, all my slime effects are either separate, simple models or a texture overlay to an existing model.

SIMPLE MODELS

I model most slime in a single plane, adding Solidify and Subdivision Surface modifiers to complete the shape. If I need to do anything more elaborate, I'll apply the Solidify.

Then it's all about the texture and the UV Map. Any organic texture will do. The main trick is, to stretch the texture, shrink the space on the UV Map.

With those methods in mind, having slime ooze over a body gets pretty easy. Keeping the model to a plane makes mapping it around a body simple. Afterwards, the Solidify can be applied to add any thicker globs.

Shrinking the space between points on the UV Map adds any stretches I want.

Any unwanted bits can be patched out using an opaque render, no slime render, and an ambient occulsion render. When done over a busy texture, I can blend out any clipping, etc.

TEXTURES

I make custom textures for each slime panel. Adding slime to a texture is no different than adding anything else to a texture. For slime, I make a Color, Specular, Bump Factor, and Displacement texture.

The trick is getting the textures. This is where some light photography comes in. For me, my favorite set-ups for slime photos is ink on ceramic and chocolate syrup on paper.

But any high-contrast combo will work fine. When extracting from Photoshop, there is no finesse because, when using them, I'm making a mess. Any overlapping images or anything lost in extraction is lost in the general mess of the final texture.

And that's it. In and of themselves, the techniques are simple, and applying them is all about fiddling with the models and textures until they work.

There are three ways I like to convey narrative information: dialog, composition and body language. Of the three, body language conveys the most about character.  Regardless of any complex backstory, a character's face and body in the moment shows who they really are. 

For body language and facial expressions, I use a simple alphabet of general gestures: up and out, down and in, relaxed to tense.

Up and out is the expression of retreat. Down and in is the expression of attack.

As simplistic as this alphabet is, the combinations - along with direction of focus, context, and interaction - can communicate an elaborate story of character emotions.

Finally, the amount of energy or engagement one has in the gestures is as important as the gestures themselves. Even without a distinct expression, tension alone says a lot about a character.

While there are many ways to express tension in the face and body, I am always adding tension to the following four facial points: raising both the lower lids and the upper cheeks, pushing the middle of the eye brows downward and drawing the lips back at the corners.

In this image Sonya is just looking in a direction with no added expression. The modest tension in the four points is what gives her gaze intent.

With the brows pushed upward and head arced back, Remi is showing her fear through up and out gestures.  However, in the panel, the source of her fear is not only where she's looking but where she's going.  Remi is knowingly pursuing danger.

Additionally, there is tension in her face and body - straight limbs, arced back, wide eyes, and the four facial points - but it is all subdued.  The whole pose says Remi is afraid, but the fear arouses her and drives her to explore.

Remi's furled brow and slight scowl combined with four point tension shows her determination. Whatever she's pursuing, her face says she'll see it through.

Panic is written in Sonya's eyes: her brow is up and tense, and her eyes are wide with tension in the lower lids and cheeks.  However, the mouth contradicts the eyes.  Though the tension is high in the eyes and brow, the mouth is losing tension. 

Contradictions in body and facial gestures reveal internal drama.    

In this example, Sonya has become so mesmerized by the fear and desires of the moment she has forgotten her body.  So, losing connection with her panic, her body relaxes, leaving her captured gaze to watch in terror and anticipation.

Let's look at some complete images. To preserve the mature filter, I'll link instead of embed. Sometimes a new tab opens. Sometimes it doesn't. You may be best off right-clicking.

I'll start with one from my Cymra profile.

Cymra - Vadim blackmails Septimus

Septimus is seated, resigning his power to Vadim. Still, curling down and in, it's a surly resignation. With a scowl, he looks at nothing, cynically brooding over Vadim's words with antsy, tapping fingers. All the while, he sneaks a small feel, pushing back against Vadim's pressure while keeping himself tethered to his own carnal want.

Vadim looms over Septimus with authority, both pressuring and tempting him. However, he ignores Septimus's grope, surrendering dominance to offer an implicit invitation.

The complete pose portrays a seedy negotiation between desire and power.

Dr. Omunkulos's House Of Slime 2 - Promo 3

In this image, Remi consciously resists Gaius but is consumed by carnal desires.

Her head (representing conscious wants) turns up and away from Gaius in retreat. However, her body (carnally possessed) embraces her captor in its fervor to grope everything. Finally, her face, despite expressing dispair in the brow, softens as the lust from her body washes away her tension with deepening breaths.

Gaius, while keeping Remi firmly caged, isn't pressing into her. Instead, he's letting Remi rub against him. Though enveloped in his monstrousness, Remi is captured, instead, by a supernatural passion that Gaius, with tender aggression, speaks into her weakening resolve.

Arta: Vile Crusade 3 - Marek shoots Sil

Marek not only fulfills plot points by pinning Varg and shooting Sil, how she does it reveals her character. The serpentine arc in the way she pins Varg plus shooting from the hip make her actions somewhat calm.

Though aggressive with an inward curl, the tension in her body is wholly committed to trapping Varg. It isn't an emotional force. It's a purposeful one. Even the strength in her gun arm is dedicated to restraining Varg with the slightest contribution to aiming and shooting.

Despite the intense focus in her determined eyes, Marek's face only expresses contemptuous disgust.

Marek is emotionally divorced from the very panic she orchestrates. Instead, she is a cold-blooded soldier doing her job while disposing of an irritant.

While devoid of abstract ideas, world building, or exposition; body language, through suggestion, shows almost everything happening to the characters. Sure, I start with a script, but the story isn't written until I've posed the characters. Only then do I know their dialog, which is often sparse because their bodies have already said so much.