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Some content that appears in print may not be available in electronic books. Ching, Corky Binggeli. Includes bibliographical references and index. ISBN pbk. Interior architecture. Space Architecture 3. Interior decoration--Historyst century. Binggeli, Corky. C45 dc23 Printed in the United States of America. These spaces provide the physical context for much of what we do, and give substance and life to the architecture that houses them. This introductory text is a visual study of the nature and design of these interior settings.

The purpose of this primer is to introduce to students of interior design those fundamental elements that make up our interior environments. It outlines the characteristics of each element and presents the choices we have in selecting and arranging them into design patterns. In making these choices, emphasis is placed on basic design principles and how design relationships determine the functional, structural, and aesthetic qualities of interior spaces.

This third edition retains the organizational scheme of the second edition, with text and illustrations updated and added to cover sustainable materials, water and energy usage, indoor air quality considerations, and recent developments in computer technology. The section on lighting reflects current design practice, lamp and fixture styles, and energy conservation. The coverage of furnishings responds to changes in the work environment and bariatric design.

New residential topics include aging in place and visitability. Finally, the Bibliography has been updated and a Glossary added.

This exploration of the ways and means of developing interior spaces begins with space itself, for it is the prime material with which the interior designer must work. Chapter 1—Interior Space proceeds from a general discussion of architectural space to the particular characteristics of interior space in three dimensions and introduces the components of a building.

Chapter 2—Interior Design outlines a method for translating programmatic needs and requirements into three-dimensional design decisions. Chapter 3—A Design Vocabulary explores the fundamental elements and principles of visual design and applies each of them to the unique field of interior design.

Chapter 4—Interior Building Elements describes the major categories of interior elements and discusses how each affects the functional and aesthetic development of interior spaces. Chapter 6—Lighting and Acoustics addresses the lively and ever-present interaction of light and sound with the interior environment. Chapter 8—Furnishings discusses basic types of movable and built-in components within the built environment. Since interior design is to a great extent a visual art, drawings are used extensively in this book to convey information, express ideas, and outline possibilities.

Some of the illustrations are quite abstract; others are more specific and particular. All of them, however, should be viewed essentially as diagrams that serve to demonstrate design principles or to clarify the relationships existing among the elements of a design. The goal of interior design education is to prepare students to be responsible, well-informed, skilled professionals who make beautiful, safe, and comfortable spaces that respect the earth and its resources.

The field of interior design encompasses both visual and functional design, as well as basic knowledge of building materials, construction, and technology.

This introduction to interior design is therefore broad in scope. The intent, nevertheless, is to treat the subject with clarity, make it as accessible as possible, and stimulate further in-depth study and research. Through the volume of space we not only move; we see forms, hear sounds, feel gentle breezes and the warmth of the sun, and smell the fragrances of flowers in bloom.

Space inherits the sensual and aesthetic characteristics of the elements in its field. Space is not a material substance like stone and wood. It is inherently formless and diffuse. Universal space has no defining borders. Once an element is placed in its field, however, a visual relationship is established. As Space other elements are introduced into the field, multiple relationships are established between the space and the elements, as well as among the elements themselves.

Space is formed by our perception of these relationships. In architecture, these fundamental elements become linear columns and beams, planar walls, floors, and roofs. Column Two columns Columns and beam Defining Space Wall Floor Roof In architectural design, these elements are organized to give a building form, differentiate between inside and outside, and define the boundaries of interior space.

In addition, the architecture of a building should address the physical context of its site and the exterior space. Buildings defining space A building can be related to its site in several ways. It can merge with its setting or dominate it. It can surround and capture a portion of exterior space. One of its faces can be made to address a feature of its site or define an edge of exterior space.

Buildings affect and are affected by conditions of their sites and the wider environment. Selecting and developing sites to reduce site disturbance, stormwater runoff, heat island effects, and light pollution contribute to sustainable design.

In defining both interior and exterior space, they determine the character of each. They may be thick and heavy, expressing a clear distinction between a controlled interior environment and the exterior space from which it is isolated.

They may be thin, or even transparent, and attempt to merge inside and outside. Their scale, character, and composition often tell Exterior Walls us something about the nature of the interior spaces that lie between them. Thick walls Special transitional spaces, belonging to both the outside world and the inside, can be used to mediate between the two environments.

Familiar examples include a porch, a veranda, or an arcaded gallery. Many single-family residences have steps at all entrances that present barriers to people with physical disabilities.

Visitability is a movement to construct new homes so that they can be readily lived in and visited by people with mobility impairments. This perception is due to the bounding floor, wall, and ceiling planes of interior space. These are the architectural elements that define the physical limits of rooms. They enclose space, articulate its boundaries, and separate it from adjoining interior spaces and the outside.

Floors, walls, and ceilings do more than mark off a simple quantity of space. In planning the layout, furnishing, and enrichment of a space, the interior designer should be acutely aware of its architectural character as well as its potential for modification and enhancement.

Bearing wall These systems must work together to support the following types of loads: Floor structure Dead Loads: How a building is constructed determines its dead load, which is a static vertical load comprising the weight of its structural and nonstructural components, including any equipment permanently attached to the structure. Columns Live Loads: How a building is used determines its live load, which is a movable or moving load comprising the weight of its occupants and any mobile equipment and furnishings.

In cold climates, collected snow and water Superstructure impose an additional live load on a building. Many of these components are nonstructural in nature and carry no loads other than Exterior walls their own weight. This structural form and geometry, in turn, influence the dimensions, proportion, and arrangement of the interior spaces within the Horizontal beams building volume.

Vertical column Vertical column The two basic linear structural elements are the column and the beam. A column is a vertical support that transmits compressive forces downward along its shaft. The thicker a column is in relation to its height, the greater its load-bearing capacity and its ability to resist buckling resulting from off-center loading or lateral forces. A beam is a horizontal member that transmits forces perpendicular to itself along its length to its supports.

A beam is subject to bending and deflection, which result in an internal combination of compressive and tensile stresses. Columns are subject to compression.

Slender columns are susceptible to buckling. Thick columns may compress, or D. In the case of timber or concrete, they may split or fracture. Compression Tension Beams are subject to bending.

Beams make structural and visual connections across space between their supports. Together, columns and beams form a skeletal framework around interconnected volumes of space. A linear structural system may suggest a grid layout of repetitive spaces, but floor, wall, and ceiling planes are necessary for the support and enclosure of interior space.

Floor and ceiling planes, which define the vertical limits of space, may consist of planar slabs or a hierarchical arrangement of girders large primary beams and beams and joists a series of smaller, parallel beams. They are free to define the horizontal dimensions of space according to need, desire, or circumstance. Linear structural systems are cumulative by nature and Developing eminently flexible. They allow for growth, change, and the space by adaptation of individual spaces to their specific uses.

A bearing wall acts as a long, thin column in transmitting compressive forces to its support or foundation. Any opening must be spanned by an arch or a short beam called a lintel to support the wall load above and allow compressive stresses to flow around the opening to adjacent sections of the wall.

A common pattern for bearing walls is a parallel layout spanned by floor joists and roof rafters, or by horizontal slabs. For lateral stability, pilasters and cross walls are often used to help brace bearing walls.

They provide a real sense of enclosure and privacy as well and serve as barriers against the elements. Varying degrees of spatial enclosure are possible with walls, depending on the size and location of openings within their planes. A common example is a reinforced concrete slab. A slab is able to support both concentrated and distributed loads because the resulting stresses can fan out across the plane of the slab and take various paths to the slab supports.

Supported along four sides, a slab becomes a two-way structural element. For greater efficiency and reduced weight, a slab can be modified in section to incorporate ribs.

They form horizontal layers of space punctuated only by the shafts of the supporting columns. The mass of the material occupies the void of space. Out of the mass is carved the volume of interior space.

The efficiency of engineering methods and the strength of modern building materials have limited the use of pure volumetric structural systems, although three-dimensional computer design is changing this. At a small scale, stone and clay masonry units can be seen to be volumetric structural elements. At a larger scale, any building that encloses interior space can be viewed as a three-dimensional structure that must have strength in width, length, and depth.

Three-dimensional form Three-dimensional material Walt Disney Concert Hall, Los Angeles, California, Frank Gehry, Composite systems combine linear, planar, and volumetric elements into three-dimensional compositions of form and space.

No one system is superior to all others in all situations. For the structural designer, each presents advantages and disadvantages, depending on the size, location, and intended use of a building. An interior designer should be aware of the character of the interior spaces each system defines. It refers to the selection Partitions and arrangement of interior elements such that their visual relationships define and organize the interior space of a room.

Ceilings Non-load-bearing partitions and suspended ceilings are often used to define or modify space within the structural framework or shell of a building. Lighting, and the light and dark patterns it creates, can call our attention to one area of a room, deemphasize others, and thereby create divisions of space.

Soft, absorbent surfaces muffle sounds and can diminish our awareness of the physical dimensions of a room. Hard surfaces that reflect sounds within a room help to define its physical boundaries. Echoes can suggest a large volume.

Finally, space is structured by the way we use it. The nature of our activities and the rituals we develop in Color, texture, and pattern performing them influence how we plan, arrange, and organize interior space.

Every building has a recognizable pattern of these elements and systems. Each pattern has an inherent geometry that molds or carves out a volume of space into its likeness. It is useful to be able to read this figure-ground relationship between the form of space-defining elements and that of the space defined. As more elements are introduced into the pattern, the spatial relationships multiply. The elements begin to organize into sets or groups, each of which not only occupies space but also defines and articulates the spatial form.

One horizontal dimension of space, its width, has traditionally been limited by the materials and techniques used to span it. Longer roof spans are possible with space frames and a variety of curved structures, such as domes, suspension systems, and membranes supported by air pressure.

Building designers have traditionally developed spatial relationships by sketching and model building. Computer- aided design CAD and building information management BIM software systems are changing the way that building designers work. These computer technologies allow designers to build interactive three-dimensional computer models of buildings, and to coordinate building systems as they design. A square room, where the length of the space equals its width, is static in quality and often formal in character.

This centrality can be enhanced or emphasized by covering the space with a pyramidal or dome structure. To deemphasize the centrality of a square room, the form of the ceiling can be made asymmetrical, or one or more of the wall planes can be treated differently from the others. The placement of architectural elements, such as windows and stairways, can deemphasize the centrality of square spaces. More often, a room will have a length greater than its width. A rectangular space, normally spanned across its width, is eminently flexible.

Its character and usefulness are determined not only by its proportion of width to length, but also by the configuration of its ceiling, the pattern of its windows and doorways, and its relationship to adjacent spaces. Given sufficient width, the space can be divided into a number of separate but related areas. A space whose length greatly exceeds its width encourages movement along its long dimension. This characteristic of linear spaces makes them suitable for use as gallery spaces or as connectors of other spaces.

Horizontal dimensions alone do not determine the ultimate qualities and usefulness of a space. They only suggest opportunities for development. Co nne cto r Ga ller y Linear spaces may be subdivided with furnishings or by architectural elements. These modifications can be used to create an alcove space or to reflect an adjoining element or site feature.

Curvilinear spaces are exceptional and usually reserved for special circumstances. The simplest curvilinear space is a circular one. It is compact and self-centering. Although it creates a focus on its center, a circular space also relates to the surrounding space equally in all directions. It has no front, back, or sides, unless these are defined by other elements. An elliptical space is more dynamic, having two centers and unequal axes. Other curvilinear spaces can be seen as transformations of circular or elliptical spaces that The radius of the curvature have been combined in an overlapping manner.

The use of a wall depends on the of three-dimensional computer modeling is increasing scale and flexibility of the the ease of designing complex curves. Its contrasting geometry can be used to as an organizing express the importance or uniqueness of its function. It can serve as a central space about which other rooms are gathered.

It can articulate the edge of a space and reflect an exterior condition of the building site. Circular space Curved walls are dynamic and visually active, leading situated as a our eyes along their curvature. The concave aspect of freestanding a curved wall encloses and focuses space inward, while object its convex aspect pushes space outward.

One way of resolving conflicting geometries is to arrange interior forms as freestanding objects within the curvilinear space. Another is to integrate the form of built-in furniture and fixtures with the curved boundaries of the space. Curved walls lead the eye. Furnishings may be placed as freestanding objects Extroversion within a curvilinear space or be integrated within the curved forms. This vertical dimension is as influential as the horizontal dimensions of a space in forming the spatial quality of a room.

A measurable change in the height of a ceiling seems to have a greater effect on our impression of a space than a similar change in its width or length. Varying the ceiling height can have a powerful effect on the perceived scale of a space.

Low ceilings may connote cavelike coziness and intimacy. However, our perception of the scale of a space is affected not by the height of the ceiling alone, but by its relationship to the width and length of the space as well.

A ceiling defined by the floor plane of the room above it is typically flat. A ceiling created by a roof structure can reflect its form and the manner in which it spans the space. Shed, gable, and vaulted ceiling forms give direction to space, while domed and pyramidal ceilings emphasize the center of a space.

Lowering part of a ceiling can foster intimacy, modify The roof structure can sometimes be left exposed, acoustics, or add visual texture. Interior soffits, canopies, giving texture, pattern, and depth to the ceiling plane. Floor, wall, and ceiling planes serve to define and Openings within Wall Planes isolate a portion of space. Of these, the wall plane, being perpendicular to our normal line of sight, has the greatest effect as a spatial boundary.

It limits our visual field and serves as a barrier to our movement. Openings created within the wall plane for windows and doorways reestablish contact with the surrounding spaces from which the room was originally cut.

The thickness of the wall separating two spaces is exposed at a doorway. This depth determines the degree of separation we sense as we pass through the doorway from one space to another. The scale and treatment of the doorway itself can also provide visual clues to the nature of the space being entered.

The widths of door openings affect the ease of movement for people and furnishings. A inch mm wide doorway is reduced to about 32 inches mm when the thickness of the open door and that of its hardware are taken into consideration. Clear openings of less than 32 inches mm become barriers to standard wheelchairs, affecting accessibility, visitability, and aging- in-place. Doorway locations affect our patterns of movement and activities within a room.

Their size and placement, relative to the wall plane in which they occur, also affect the degree of separation between an interior space and the exterior environment.

Views to the outside and natural ventilation are important elements in sustainable design. Large windows and glass walls attempt, at least visually, to merge indoor and outdoor space.

The visual treatment of the window frames in each case can either emphasize or minimize the perceived limits of interior space. Degree of enclosure …or transparency Interior windows can, in a similar manner, visually expand a room beyond its physical boundaries and allow it to become an integral part of the surrounding interior space.

Entrances without steps support visitability and aging-in-place. Interior stairways connect the various levels of a building. Landings that interrupt a flight of steps can allow a stairway to change direction and give us room for pause, rest, and outlook. It can fill and provide a focus for a space, run along one of its edges, or wrap around a room. It can be woven into the boundaries of a space or be extended into a series of terraces.

Two major types of alteration can be considered. The first involves structural changes in the boundaries of interior Horizontal extension Addition space and is more permanent in nature than the second. The second type of alteration involves nonstructural modifications and enhancement accomplished through interior design. It is, therefore, always advisable to space requires removing consult a professional engineer or architect when making walls and constructing structural changes to a space.

A doorway may be moved or added for better access to a room space or to improve the movement paths within the space. A large doorway may be created to merge two adjacent spaces. Any new or enlarged opening in a load- Extending space outward bearing wall requires a lintel or header sized to carry the wall load above the opening.

To add a stairway, daylight a space with skylights, or create a vertical relationship between two levels of space, structural changes in the floor or ceiling plane may be required. Alterations in these horizontal structures of a building may require that the edges of any new openings Enlarging an existing opening be reinforced and supported by a system of beams, columns, posts, or bearing walls. New Wall Openings Structural support is required along edges of new floor and roof openings.

In particular, any changes in the physical boundaries of a space must be carefully planned so that the structural integrity of a building is not disturbed. Major structural changes in a space, therefore, require the assistance of a professional engineer or architect. These are the types of changes commonly planned and executed by interior designers. These physical settings satisfy our basic need for shelter and protection, set the stage for and influence the shape of our activities, nurture our aspirations, express the ideas that accompany our actions, and affect our outlook, mood, and personality.

The purpose of interior design, The therefore, is the functional improvement, aesthetic enrichment, and psychological enhancement of the quality of life in interior spaces. In interior design, selected elements are arranged into three-dimensional patterns according to functional, aesthetic, and behavioral guidelines. The relationships among the elements established by these patterns ultimately determine the visual qualities and functional fitness of an interior space and influence how we perceive and use it.

The interior designer may be working as a sole Consultants practitioner; collaborating with other designers, architects, and design specialists in a larger design firm; or serving as a consultant to an architectural firm. In any case, the interior designer is likely to have contact with architects, engineers, and other consultants in Contractor Subcontractors other firms. In addition, the interior designer will work with client representatives, including facilities managers, administrators, and end users.

The interior designer Subcontractors is often the liaison between the client and the sources for finishes or furnishings. During construction, the interior designer is also in contact with contractors Subcontractors and suppliers.

All of these members of the design and construction team should strive to maintain an atmosphere of communication, cooperation, and mutual respect.

Although presented as a linear series of steps, the design lyze process is more often a cyclical, iterative one in which a Ana sequence of careful analysis, synthesis, and evaluation of available information, insights, and possible solutions is repeated until a successful fit between what exists and what is desired is achieved.

The ability to define Define Problem and understand the nature of the design problem is an essential part of the solution. This definition should [ ] Identify client needs. Any givens—what can change and what cannot be altered—should be determined. Through the design process, a clearer understanding of the problem should emerge. New information may develop that could alter our perception of the problem and its solution. The analysis of a problem, therefore, often Formulate Program continues throughout the design process.

This requires synthesizing—bringing together and integrating— responses to the various issues and aspects of the problem into coherent solutions. Design requires rational thought based on knowledge and arrived at through experience and research. Evidence-based design seeks to create better design outcomes by basing decisions on credible research. Also playing important roles in the design process are intuition and imagination, which add the creative dimension to the otherwise rational design process.

Within a range of possible solutions, each must be evaluated according to the criteria set forth in the problem statement and further clarified in the problem analysis. Successive explorations of the problem and the evaluation of alternative solutions should help narrow the choices for design development. While the initial stages of the design process encourage divergent thinking about the problem, the design development phase requires a convergent focus on a specific design solution. Assess Alternatives [ ] Compare each alternative with design goals.

Make Design Decisions [ ] Combine the best design elements into the final design. This includes the production of construction drawings and specifications and other services related to purchasing, construction, and supervision.

Develop and Refine Design [ ] Develop plans, elevations, sections, and details. Implement Design [ ] Prepare construction drawings. Reevaluate Completed Design [ ] Perform design reviews. No design process is complete until a design solution [ ] Perform post-occupancy evaluation.

This critical appraisal of a completed design can build up our knowledge base, sharpen our intuition, and provide valuable lessons that may be applied in future work. In fact, there is often more than one solution to a design problem. At times, we may judge a design to be good because we feel it follows current design trends or because of the impression it will make on others—it is in fashion, or it enhances our status.

As these reasons suggest, there are several meanings that can be conveyed by a design. Some operate at a level generally understood and accepted by the general public. Others are more readily discerned by specific groups of people. Successful designs usually operate at more than one level of meaning and thus appeal to a wide range of people.

A good design, therefore, should be understandable to its audience. Knowing why something was done helps to make a design comprehensible. If a design does not express an idea, communicate a meaning, or elicit a response, either it will be ignored or it will appear to be a bad design. Regardless of the nature of the interior design problem being addressed, there are several criteria with which we should be concerned.

Sustainable design seeks to produce buildings that use energy and natural resources efficiently throughout their lives. Sustainable architecture strives to find architectural solutions that se protect both the natural environment and the myriad Reu Red forms of life on earth. There should be, therefore, a fit between the form and dimensions of interior space and our own body dimensions.

This fit can be a static one, as when we sit in a chair, lean against a railing, or nestle within an alcove. A third type of fit is the way space accommodates our Static fit need to maintain appropriate social distances and to control our personal space. In addition to these physical and psychological dimensions, space also has tactile, auditory, olfactory, and thermal characteristics that influence how we feel and what we do within it.

In the following section, basic human dimensions are illustrated for standing, sitting, and reaching. Dimensional guidelines are also given for group activities, such as dining or conversing.

There is a difference between the structural dimensions of our bodies and those dimensional requirements that result from the way we reach for something on a shelf, sit down at a table, walk down a set of stairs, or interact with other people. These are functional dimensions that vary according to the nature of the activity engaged in and the social situation.

Most people will experience different physical ranges and abilities as they grow and age, and with changes in weight, height, and physical fitness. These changes over time affect how an interior environment will fit or accommodate the user. Bariatric design and design for aging-in-place are two ways that interiors can accommodate these conditions. Others are allowed to penetrate these areas only for short periods of time.

Space for movement varies from 30—36 — for a single person to 72—96 — for three people walking abreast. We design to improve the functioning of interior spaces and make the tasks and activities performed within them more convenient, comfortable, and pleasurable.

The proper functioning of a design is, of course, directly related to the purposes of those who inhabit and use it, as well as to their physical dimensions and abilities. Space planning involves the efficient and productive use of these spaces, fitting living patterns to the architectural patterns of the space.

In this narrow sense, space planners program client needs, study user activities, and analyze spatial requirements. Site context Architecture Area requirements can be estimated from an analysis of the number of people served, the furnishings and equipment they require, and the nature of the activity that will go on in each space.

These area requirements can then be translated into rough blocks of space and related to each other and to the architectural context in a functional and aesthetic manner. Some activities may require easy access, while others may need controlled entries and exits.

Daylighting and natural ventilation may be priorities for some areas, while others may not need to be located near exterior windows. Whether a space is situated within an existing structure or is contemplated in a newly designed building, it usually provides clues for the interior designer as to how it can best be utilized.

The entries into a space may define a pattern of movement that divides the area into certain zones. Some zones may be more easily accessed than others.

Some may be large enough to accommodate group activities, while others are not. Some may have access to exterior windows or skylights for daylighting or ventilation; others may be internally focused. Some may include a natural center of interest, such as a view window or a fireplace.

Doorways suggest paths of movement and establish access to certain zones. The daylighting afforded by windows or skylights should influence the placement of activities. An external outlook or an internal focus might suggest how a space could be organized. The design task then shifts to selecting furnishings, finishes, and lighting and arranging them into three-dimensional Activity areas patterns within the given spatial boundaries.

These arrangements of shapes and forms in space should respond both to functional and aesthetic criteria. The first exhibits a close correspondence between furniture and equipment. This may be particularly appropriate when space is at a premium or when functional efficiency is important. It is important that a tight-fit arrangement be laid out with great care for its intended use; however, it may not be readily adaptable to other uses.

A tight-fit arrangement usually employs modular or unit furniture components that can be combined in a number of ways to form integrated, often multifunctional, assemblies.

Such assemblies utilize space efficiently and leave a maximum amount of floor area around them. A tailored arrangement of modular furniture can also be used to define a space within a larger volume for greater privacy or intimacy. Tight-fit or tailored arrangements require careful study and analysis of functional relationships. Most rooms with a loose-fit arrangement can accommodate a variety of uses, especially if the furniture used can be easily moved and rearranged. This inherent flexibility in adapting to changes in use or circumstance makes a loose-fit arrangement the more common method for laying out furniture in a space.

It also offers the opportunity for a greater mix of furniture types, sizes, and styles to be selected over time to suit almost any design situation. Modular furnishings are flexible and utilize space efficiently. The presentation drawings executed at the end of a design project are used to persuade the client, peers, or the general public of the merits of a design proposal.

Construction or working drawings are required to provide graphic instructions for the production or building of a project. However, designers use both the process and products of drawing in other ways as well. In design, the role of drawing expands to include recording what exists, working out ideas, and speculating and planning for the future. Throughout the design process, we use drawings to guide the development of an idea from concept to proposal to constructed reality.

Whether executed with a pen or pencil on paper or with a computer and graphic or computer-aided design CAD software, the graphic representation of design ideas is particularly useful in the early stages of the design process. Drawing a design idea on paper enables us to explore and clarify it in much the same way as we form and order a thought by putting it into words. Making design ideas concrete and visible enables us to act on them.

We can analyze them, see them in a new light, combine them in new ways, and transform them into new ideas. The development of three-dimensional CAD programs that present well-developed images during the design process has aided the visualization of designs. However, impressive images should not deter careful analysis and investigation of alternatives. Many interior designers find that they can concentrate on the synthesis of design ideas more easily with paper and a pen or pencil, without the distraction and restraints of operating the computer software.

Remember that loose sketches can evolve into explorations of alternative design schemes. Analyze your ideas, synthesize the good ones, and evaluate the results. Then refine them into preliminary designs for further evaluation and development.

These visual systems of representation constitute a formal graphic language that is governed by a consistent set of principles. Each is an orthographic projection of a particular aspect of an object or construction. In orthographic projection, parallel projectors meet the picture plane at right angles. Therefore, the orthographic projection of any feature or element that is parallel to the picture plane remains true in size, shape, and configuration.

This gives rise to the principal advantage of multiview drawings—the ability to locate points precisely, gauge the length and slope of lines, and describe the shape and extent of planes. A single multiview drawing can reveal only partial information about an object or construction. There is an inherent ambiguity of depth because the third dimension is flattened onto the picture plane.

Whatever depth we read in a solitary plan, section, or elevation must be inferred from such graphic depth cues as hierarchical line weights and contrasting tonal values. Although a sense of depth can be inferred, it can be known with certainty only by looking at additional views. A floor plan represents a section through a building or portion of a building after a horizontal slice is made, usually at about four feet about 1.

A building section shows the relationship of the floors, walls, and roof structure of a building and reveals the vertical dimensions, shape, and scale of the spaces defined by these elements. While normally included in the drawing of building sections, they may stand alone to study and present highly detailed spaces, such as kitchens, bathrooms, and stairways.

In this case, instead of profiling the section cut, we emphasize the boundary line of the interior wall surfaces. They include axonometric projections—a subset of orthographic projections, the most common of which is the isometric projection—as well as the entire class of oblique projections.

These horizontal planes therefore reveal their true size and shape, while the two prime sets of vertical planes are foreshortened. Multiview and paraline drawings utilize parallel projectors, and the projected size of an element remains the same regardless of its distance from the picture plane. The converging projectors or sightlines in a perspective drawing, however, alter the apparent size of a line or plane according to its distance from the SP picture plane and the observer.

In other words, converging sightlines reduce the size of distant objects. The primary use of perspective drawings in design is to convey an experiential view of space and spatial relationships. One-point perspectives are particularly effective in depicting interior spaces because the display of three bounding faces provides a clear sense of enclosure.

In depicting interior spaces, a two-point perspective is most effective when the angle of view approaches that of a one-point perspective. Any perspective view that displays three bounding faces of a spatial volume provides the clear sense of enclosure inherent in interior spaces.

The tactile, kinesthetic response to sensory phenomena that drawing requires sharpens our awareness in the present and enables us to collect memories of the past. We should not allow this capacity for precision to limit our exploration in the early stages of the design process.

In surveying our visual field, Color vision our eyes continually move, scan, focus, and refocus to discover visual information. To make sense of what we see, Fine focus the brain interprets the visual data gathered by our eyes and assembles the information into visual patterns that we can recognize and understand.

Optic nerve The normal process of perception is utilitarian and geared toward recognition. When we see a chair, we recognize it to be a chair if its form and configuration fit a pattern established by chairs we have seen and used in the past. This ability to see beyond recognition and utility is extremely important to designers. We must Form continually strive to see and be conscious of the specific visual characteristics of things and how they relate Shape to and interact with each other to form the aesthetic quality of our visual environments.

If our visual field were undifferentiated, we would be unable to identify anything. As a perceptible change in tonal value, color, and texture occurred, however, we would begin to discern an object or figure as differentiated from its background. To read the lines, shapes, and forms of objects in our field of vision, therefore, we must first perceive contrast between them and their background. In addition to tonal value contrast, what distinguishes a figure from its background is its shape and size relative to its field.

While a figure shares a common border with its background, it has a more distinct and recognizable shape that makes it appear as an object.

Figures are sometimes referred to as positive elements—having a positive shape—while backgrounds are described as negative or neutral elements—lacking a clear or discernible shape. Figures are most discernible when surrounded by a generous amount of space or background. When the size of a figure is such that it crowds its background, the background can develop its own distinct shape and interact with the shape of the figure.

At times, an ambiguous figure-ground relationship can occur wherein elements in a composition can be seen alternately, but not simultaneously, as both figure and ground. Our visual world is, in reality, a composite image constructed from a continuous array of figure-ground relationships. The point is the generator of all form. As a point moves, it leaves a trace of a line—the first dimension.

As the line shifts in direction, it defines a plane—a two-dimensional element. The plane, extended in a direction oblique or perpendicular to its surface, forms a three-dimensional volume.

Point, line, plane, and volume—these are the primary elements of form. All visible forms are, in reality, three- dimensional. In describing form, these primary elements differ according to their relative dimensions of length, width, and depth—a matter of proportion and scale.

Conceptually, it has no length, width, or depth. It is, therefore, static and directionless. As the prime generator of form, a point can mark the end of a line, the intersection of two lines, or the corner where the lines of a plane or volume meet.

Point As a visible form, a point is most commonly manifested as a dot, a circular shape that is small relative to its Nonlinear field. Other shapes can also be seen as point forms if Centered sufficiently small, compact, and nondirectional.

When at the center of a field or space, a point is stable and at rest, and capable of organizing other elements Multiple points define lines and shapes. When moved off-center, it retains its self- centering quality but becomes more dynamic. Visual tension is created between the point and its field. Point- generated forms, such as the circle and the sphere, share Relatively small shapes can read as points.

Centered Off-centered Reinforcing a point Center of attention Point-generated forms, such as the circle and the sphere, are self-centering. Conceptually, a line has only one dimension, length. Unlike a point, which is static and directionless, a line is capable of expressing movement, direction, and growth. Movement Direction As visible forms, lines may vary in weight and character.

A line can also be implied by two points. Carried further, the simple repetition of similar elements, if continuous enough, can define a line with significant textural qualities. Lines can vary in weight, contour, and texture. An important characteristic of a straight line is its direction. A horizontal line can represent stability, repose, or the plane upon which we stand or move.

In contrast to this, a vertical line can express a state of equilibrium with the force of gravity. Equilibrium Diagonal lines, deviations from the horizontal and the Stability vertical, can be seen as rising or falling. In either case, they imply movement and are visually active and dynamic. A curved line represents movement deflected by lateral forces.

Curved lines tend to express gentle movement. Depending on their orientation, they can be uplifting or represent solidity and attachment to the earth. Small curves can express playfulness, energy, or patterns of biological growth.

Without lines, we would not be able to define shape—that characteristic by which we generally recognize things. Lines describe the edges of shape and separate it from the space around it. In addition, the contours of these lines imbue the shape with their expressive qualities. Lines defining shapes In addition to describing shape, lines can articulate the edges of planes and the corners of volumes.

These lines can be expressed either by the absence of material— reveals and recessed joints—or by the application of trim. Lines can also be used to create texture and patterns on the surfaces of forms. This structural role of linear elements can be seen at the scale of architecture and interior space, and in furnishings. Within the design process itself, lines are used as regulating devices to express relationships and establish patterns among design elements.

We often use lines to regulate relationships in drawing and design. Conceptually, a plane has two dimensions—width and length—but no depth. Shape is the primary characteristic of a plane. It is described by the contour of the lines defining the edges of the plane.

In addition to shape, planar forms have significant surface qualities of material, color, texture, and pattern. Floor, wall, and ceiling or roof planes serve to enclose and define three-dimensional volumes of space. Their specific visual characteristics and their relationships in space determine the form and character of the space they define. Within these spaces, furnishings and other interior design elements can also be seen to consist of planar forms. It may refer to the contour of a line, the outline of a plane, or the boundary of a three- dimensional mass.

In each case, shape is defined by the specific configuration of the lines or planes that separates a form from its background or surrounding space.

Natural shapes There are several broad categories of shapes. Natural shapes represent the images and forms of our natural world. These shapes may be abstracted, usually through a process of simplification, and still retain the essential characteristics of their natural sources. Nonobjective shapes make no obvious reference to a Nonobjective shapes specific object or to a particular subject matter.

Some nonobjective shapes may result from a process, such as calligraphy, and carry meaning as symbols. Others may be geometric and elicit responses based on their purely visual qualities. Geometric shapes dominate the built environment of both architecture and interior deign.

There are two separate Geometric shapes and distinct types of geometric shapes—rectilinear and curvilinear. In their most regular form, curvilinear shapes are circular, while rectilinear shapes include the series of polygons that can be inscribed within a circle. Of these, the most significant geometric shapes are the circle, the triangle, and the square. Extended into the third dimension, these primary shapes generate the sphere, the cylinder, the cone, the pyramid, and the cube.

It represents unity, continuity, and economy of form. A circular shape is normally stable and self-centering in its environment. When associated with other lines and shapes, however, a circle can appear to have motion. Other curvilinear lines and shapes can be seen to be fragments or combinations of circular shapes. Whether regular or irregular, curvilinear shapes are capable of expressing softness of form, fluidity of movement, or the nature of biological growth.

Triangular shapes and patterns are often used in structural systems, since their configuration cannot be altered without bending or breaking one of their sides. From a purely visual point of view, a triangular shape is perceived as stable when resting on one of its sides. When tipped to stand on one of its points, however, the triangular shape becomes dynamic.

It can exist in a precarious state of balance or imply motion, as it tends to fall over onto one of its sides. The dynamic quality of a triangular shape is also due to the angular relationships of its three sides. Because these angles can vary, triangles are more flexible than squares and rectangles. In addition, triangles can be conveniently combined to form any number of square, rectangular, and other polygonal shapes.

The equality of its four sides and its four right angles contributes to its regularity and visual clarity. A square shape has no preferred or dominant direction. Like the triangle, the square is a stable, tranquil figure when resting on one of its sides, but becomes dynamic when standing on one of its corners. All other rectangles can be considered to be variations of the square with the addition of width or length. While the clarity and stability of rectangular shapes can lead to visual monotony, variety can be introduced by varying their size, proportion, color, texture, placement, or orientation.

Texture is most often used to describe the relative smoothness or roughness of a surface. It can also be used to describe the characteristic surface qualities of familiar materials, such as the roughness of stone, the grain of wood, and the weave of a fabric. There are two basic types of texture.

Tactile texture is real and can be felt by touch; visual texture is seen by the eye. All tactile textures provide visual texture as well. Texture refers to the three-dimensional structure of a surface.

Visual texture, on the other hand, may be illusory or real. Our senses of sight and touch are closely intertwined. As our eyes read the visual texture of a surface, we often respond to its apparent tactile quality without actually touching it.

We base these physical reactions to the textural qualities of surfaces on previous associations with similar materials. Texture is intertwined with our senses of sight and touch. All materials have some degree of texture, but the finer the scale of a textural pattern is, the smoother it will appear to be.

Even coarse textures, when seen from a distance, can appear to be relatively smooth. The relative scale of a texture can affect the apparent shape and position of a plane in space.

Coarse textures can make a plane appear closer, reduce its scale, and increase its visual weight. In general, textures tend to fill the space in which they exist visually. Direct light falling across a surface with physical texture will enhance its visual texture. Diffused lighting deemphasizes physical texture and can even obscure its three-dimensional structure. Smooth, shiny surfaces reflect light brilliantly, appear sharply in focus, and attract our attention. Surfaces with a matte or medium-rough texture absorb and diffuse light unevenly and, therefore, appear less bright than similarly colored but smoother surfaces.

Very rough surfaces, when illuminated with direct lighting, cast Lighting direction affects our reading of texture. Details: Ragnorra is associated with this sign.

See Chapter 7 for more information. When creating your own elder evil, use the following signs as inspiration. Alter the effects to fit the theme of your elder evil when necessary. All was strange and disquieting, as though we were adrift in alien seas. After the sun sets, the stars twinkle in the heavens as always—but they are strange. They glow luridly with weird colors, spreading fear and wonder in all who behold them. Familiar constellations vanish, re-form, or shift to new locations.

As the sign reaches its peak, distorting the arcane energies of the world, unsettling auroras and intense meteor showers illuminate the night skies. Faint: The DC for any saving throw made to maintain concentration on a spell is increased by 2. Moderate: As faint, but whenever a creature deals damage with a spell, the damage of the spell is randomly changed to one of the following damage types roll a d10 to determine the damage type : acid, cold, fire, force, lightning, necrotic, poison, psychic, radiant, or thunder.

Strong: As moderate, but the DC for saving throws made to maintain concentration on a spell is increased by 5 from 2. Overwhelming: As strong, but whenever a creature casts a spell, roll a d On a 20, the creature must roll on the Wild Magic Surge table to create a random magical effect. At first, life was good. But the growth never slowed. Everything birthed and died with such speed that we could hear Nature suffering.

Disease was rampant, and vermin spread it everywhere; there was no end to the screams of the afflicted. Growth and healing are accelerated. At first crops and animals grow and reproduce with unnatural swiftness, and injuries vanish overnight. As the sign intensifies, these early benefits run out of control.

Fruit bursts and rots on the vine before it can be harvested. Weeds crack pavement and damage buildings. Clouds of vermin boil up from the earth, laying eggs that hatch and spawn new life in moments, and with them come equally virulent disease.

Faint: Ordinary plants are enhanced as if by the plant growth spell. Crops benefit from the enrichment effect, while other vegetation suffers from overgrowth and chokes open spaces. Moderate: As faint, but each week at dawn, living creatures are cured as if by the lesser restoration spell.

Additionally, all plants grow hard spikes and thorns, as the spike growth spell save DC Strong: As moderate, but living creatures that require sleep begin to lose the ability to do so, as their bodies fidget and their thoughts race. Whenever a creature finishes a long rest, it must make a DC 11 Constitution saving throw or gain no benefit from its rest. Overwhelming: As strong, but the DC of the Constitution saving throw increases to Additionally, flesh grows and heals with terrible speed.

Living creatures regain 1 hit point each minute, and severed body parts regrow daily at dawn. Each week at dawn, living creatures must make a DC 11 Constitution saving throw. Finally, creatures that die due to old age from this effect explode in a shower of gore.

It leached the water from our rivers and lakes, and the mighty oceans receded with each gust. Unnaturally warm winds blow from an atypical direction, growing hotter as the sign intensifies and carrying away all moisture. Faint: Natural precipitation stops. Average global temperatures increase by 1d3 degrees Fahrenheit, and all bodies and streams of water lose 1d4 feet of depth each week. Moderate: Average global temperatures increase by 1d6 degrees, and all bodies and streams of water lose 1d10 feet of depth each week.

Strong: Average global temperatures increase by 2d10 degrees, and all bodies and streams of water lose 1d20 feet of depth each week. Overwhelming: Average global temperatures increase by 4d10 degrees, and all bodies and streams of water lose 1d feet of depth each week. Additionally, the wind strengthens further; all wind becomes a Strong Wind DMG , and wind that was already strong now literally burns.

Such wind deals 1d4 fire damage to creatures and objects caught in it per hour. Variant: The inverse of the dry winds sign is dreadful flooding. Clouds pile up overhead, darkening the sky, and they unleash torrents that drench the world. As the sign intensifies, water levels rise by the listed amount rather than fall.

Global temperatures cool somewhat: When the sign grows strong, they drop 1d3 degrees, and when it is overwhelming, a further 1d6 degrees. The winds increase as described above but do not deal fire damage. One by one, white shapes bobbed to the surface: fish slain by the tainted sea. And the smell—the air reeked of a slaughterhouse. This sign slowly kills the world.

Creatures become barren, no longer producing offspring. Animals sicken and die. Plants wither or rot, while disease runs rampant, corrupting all with its horrid touch. Moderate: Ordinary plants begin to wither and die.

Dead animals and plants become carriers of all manners of contagion and disease, and plant-based food begins to become unsafe to eat. Strong: The save DC to resist any disease increases to 5 from 2 , and living creatures that are suffering from a disease also have disadvantage on death saving throws. Famine is widespread as all forms of organic food are riddled with disease. Overwhelming: Each day at dawn, living creatures must make a DC 15 Constitution saving throw or be poisoned for 8 hours.

I'm working to ensure I am the first to die when it does. Elder evils do not attract many mortal servants, for their nature is opposed to all living things. A few wretches who despise everything, whether they be nihilists or lunatics, do bow to an elder evil. Annihilation is the only reward for such service.

But for those driven by insanity, an unquenchable thirst for vengeance, or myriad other strange and sinister motivations, the utter finality of death is sweet. Aiding an elder evil is the surest means of embracing that much desired end. Any intelligent and evil creature can swear service to an elder evil if the creature knows of its existence. They may gain a cult feature based on the elder evil they serve, or they may gain a vile feat of their choice.

Through generations of study and grim practice, the disciples of certain Elder Evils have mastered the ability to bestow supernatural gifts on minions they select for the privilege. Any creature that serves a cult of Elder Evil can be given one of these rewards - usually as compensation for faithful service, but sometimes as a chance for a creature that breached the cult's laws to redeem itself. The following powers are unique to specific cults, and typically a creature is part of only one elder evil cult at a time.

While most of Atropus's heralds are undead who seek to destroy the living, there are some mortals who are wretched enough to give the World Born Dead their undying service. Cultists of Atropus typically act in isolation to advance their master's goals, but cabals of undead or those that associate with undead can also act in Atropus's name, such as the cult headed by the foul ur-priest Caira Xasten.

Cultists of Atropus often uncover necromantic secrets on their own, but may also be granted powers by the World Born Dead as its arrival draws near. Rank-and-file cultists typically obtain the Gaze of Corruption action option, and cult leaders obtain the Anti-Heal trait through the mastery of negative energy manipulation.

Gaze of Corruption Recharge 6. The cultist targets one creature it can see within 30 feet of it. The target must succeed on a DC 15 Constitution saving throw or take 16 3d10 necrotic damage and be poisoned for 1 minute.

The poisoned target can repeat the saving throw at the end of each of its turns, ending the effect on itself on a success. The cultist can activate or deactivate this feature as a bonus action. While active, creatures within 30 feet of the cultist can't magically regain hit points. A creature that were to magically regain hit points must instead make a DC 15 Constitution saving throw.

On a failed save, the creature takes necrotic damage equal to the hit points it would have regained. There is a tribe of barbarians that lives on and near the mountain that houses Father Llymic's tomb.

These barbarians worship the Alien Thought Given Flesh and perform alien rituals in his name. Sooner or later, these cultists transform into brood spawn, either by willing self-corruption or by corruption from the brood spawn they consort with. Most of the time, a creature that encounters the Alien Thought Given Flesh or his minions is transformed into a savage brood spawn. However, there are rumors of creatures that are able to preserve their minds after the transformation, allowing for the existence of shadowy organizations of brood spawn that enact their plans from behind the scenes.

Cultists of Father Llymic perform unholy rituals that transform them into inhuman monsters, eventually turning them into brood spawn. The most devoted of his cultists may even have a chance to interact with Father Llymic's illusory projections, who may reveal to them methods of manipulating ice and becoming icy abominations.

Chilled Flesh. The cultist has resistance to cold damage, and a creature that touches the cultist or hits it with a melee attack while within 5 feet of it takes 5 1d10 cold damage. Icy Touch. Melee Spell Attack: bonus to hit equal to the cultist's proficiency bonus plus its Charisma modifier, reach 5 ft. Hit: 14 4d6 cold damage.

Janwulf the Soulbiter rules the cultists of Zoretha with an iron fist, leading them on raids of surrounding settlements and actively recruiting new members. Janwulf himself is not faithful, instead abusing the low intelligence of many berserkers, ogres, and trolls in order to retain his power over them. There are also devotees that act alone, perhaps because they went mad reading the Zoretha Scrolls or were exposed to the Hulks themselves for too long.

Cultists of the Hulks of Zoretha embrace their madness, allowing them to resist mental manipulation or control via the Madness of Zoretha trait. Some cultists can also impose madness onto others via the Mental Overload action option. Madness of Zoretha. The cultist is immune to any spell or effect that would read its thoughts, determine if it is lying, charm or frighten it, or magically influence its thoughts or behavior, unless the spell or effect comes from the Hulks of Zoretha.

One creature that can see or hear the cultist must succeed on a DC 15 Wisdom saving throw or experience long-term madness for 8 hours. The affected creature can repeat the saving throw at the end of each hour, ending the effect on itself on a success. Cultists of The Leviathan are categorized by one interest: chaos. While some cultists pledge their loyalty to a demon lord, others might be ambitious spellcasters who wish to channel chaotic energy in the pursuit of power.

With that in mind, chaotic evil cultists are more likely to be Cultists of The Leviathan, as they are more likely to seek The Leviathan's power despite the potential loss of life it may cause.

Cultists of The Leviathan are capable of manipulating the forces of chaos, granting them the Conduit of Chaos trait. Some cultists can also channel chaotic energies directly via the Innate Spellcasting trait. Conduit of Chaos. When the cultist casts a spell that deals damage, it can change the spell's damage type to cold, fire, force, lightning, or thunder. Innate Spellcasting. The cultist's innate spellcasting ability is Charisma. It can innately cast the following spells, requiring no material components:.

Despite Pandorym's attempts to manipulate mortals into freeing him, any attempt to serve the Utter Annihilation typically ends in the death or undeath of the cultist. Most who encounter Pandorym's mind usually have their minds collapse into madness or savagery, but there may be some, like Lucather Majii, that retain enough sanity to act on his behalf. Whether or not its mind is completely shattered, the influence of Pandorym monopolizes a cultist's mind and psyche, granting it the Stained Psyche trait.

You may also choose to have cultists of Pandorym gain psionic abilities via the Innate Spellcasting Psionics trait, depending on the context of the cultists' worship and the campaign setting you wish to insert Pandorym into. Stained Psyche. The cultist is immune to any spell or effect that would read its thoughts, determine if it is lying, charm or frighten it, or magically influence its thoughts or behavior, unless the spell or effect comes from Pandorym.

Innate Spellcasting Psionics. The cultist's innate spellcasting ability is Intelligence. It can innately cast the following spells, requiring no components:. Ragnorra has twisted life not just on the Material Plane, but also in the Feywild and the Shadowfell. A handful of refugees from her prior ravages on these planes formed the Malshapers, a cultlike group dedicated to helping the Mother of Monsters perform her grotesque art.

These fanatics believe they have a duty to guide Ragnorra to every suitable world. Scholars note, though, that they never target worlds on their home planes. The Malshapers watch the Astral Plane for signs of Ragnorra's ascent. Once they detect movement, they scout out a suitable location. They strew samples of native life along her likely path, then redraw the astral runes to lure Ragnorra to the target world.

While some standalone cultists or groups who pledge themselves to Ragnorra may exist, most cultists of Ragnorra are sought out by the Malshapers in order to join their ranks. Either way, cultists of Ragnorra receive both the Warped Flesh trait and the Sculpt Flesh action option. Warped Flesh. The cultist has advantage on saving throws against poison, and it is immune to disease.

Additionally, any critical hit against the cultist becomes a normal hit. Sculpt Flesh Recharge 6. The cultist touches one creature within 5 feet of it. The target must succeed on a DC 15 Constitution saving throw or have its flesh warped by unnatural growth, covering it in blisters and tumors. While its flesh is warped in this way, the target is poisoned, its speed is reduced by 10 feet, and it can't use reactions. This effect lasts for 1 minute.

The Vanguard of Sertrous is made up of yuan-ti cultists whose teachings are secretly passed down by the decapitated head of their demonic patron. However, as Sertrous's teachings become more widespread, independent heretics may begin to spread the obyrith lord's words throughout normal civilization in the campaign world. Followers of the teachings of Sertrous are granted the Disciple of Sertrous trait for their loyalty. Additionally, those that do not fear death and do not wish to be revived by their allies may have the Testament of Faith trait.

Disciple of Sertrous. The cultist has advantage on saving throws against divine spells, which are spells cast by clerics, paladins, druids, rangers, celestials, and other sources the DM deems appropriate. Testament of Faith.

When the cultist is reduced to 0 hit points, it explodes in a burst of divine energy. Each creature within 10 feet of the cultist must make a DC 15 Constitution saving throw, taking 14 4d6 radiant damage on a failed save, or half as much damage on a successful one.

The cultist and everything it is wearing and carrying, except magic items, is reduced to a pile of fine gray dust by this explosion. The cultist's soul then passes into Sertrous's realm in the Abyss; the cultist can't become undead or be brought back to life by any means short of a wish spell. Unlike other cults of undeath, followers of the Worm That Walks often seek to spread disease and parasites, weakening those that would oppose Kyuss so that his undead can squash them without opposition.

Others learn to channel dark magic in order to replicate the Plague of Worms action option that Kyuss and his servants often use against their opponents. Worm Necromancer. When the cultist casts a spell that animates or creates undead, up to two of the undead can be turned into spawn of Kyuss.

Plague of Worms Recharge 6. Each creature of the cultist's choice within 10 feet of the cultist must make a DC 15 Dexterity saving throw against this magic. On a failure the target takes 9 2d8 necrotic damage and is restrained by masses of swarming worms.

The affected creature takes 9 2d8 necrotic damage at the start of each of the cultist's turns. The creature can repeat the saving throw at the end of each of its turns, ending the effect on itself on a success. It took centuries, but he crawled up from the depths of the earth and set upon the soft mortals dwelling in the Cynidicean Kingdom above. To spare themselves extinction, the people of the kingdom raised up Zargon as their god and fed him endless sacrifices to appease his need to kill.

While the descendants of these original cultists are still instilled with the fear of being devoured by Zargon, make no mistake: many of these cultists are dedicated to Zargon and would sacrifice their lives in his name.

Cultists that are corrupted by Zargon's influence sometimes gain the Corrosive Form or Foul traits below. Corrosive Form. A creature that touches the cultist or hits it with a melee attack while within 5 feet of it takes 4 1d8 acid damage.

Any creature, other than an ooze or another creature that has this trait, that starts its turn within 10 feet of the cultist must succeed on a DC 15 Constitution saving throw or be poisoned until the start of the creature's next turn. Vile feats are powerful boons available to intelligent NPCs of evil alignments. Those that are associated with an Elder Evil will pursue such boons at any cost, even resorting to self-mutiliation and deformation as a method of acquisition.

The following abilities are available to cultists that are associated with Elder Evils or other evil entities; these abilities are not specific to any one Elder Evil, and a creature can have more than one vile feat at a time. Deformity: Mutilated Flesh. In order to obtain this vile feat, the cultist flayed, burned, or otherwise mutilated its flesh, turning them into a grotesque shadow of their former self.

At least one of their body parts such as a limb or their face have been mutilated in this way; this mutilation can only be undone by heal or another disease-curing spell of 6th level or higher.

Disgusting Visage. Creatures that can see the cultist have disadvantage on saving throws against being frightened. Additionally, once per turn when the cultist hits a creature with a melee attack, they can force the target to make a DC 15 Wisdom saving throw.

On a failed save, the target is frightened of the cultist until the end of the cultist's next turn. Unsightly Figure. The cultist gains proficiency in the Intimidation skill, and its proficiency bonus is doubled for any ability check made using the Intimidation skill.

Divine Resilience. When the cultist makes a saving throw to resist the effects of a spell cast by a cleric, paladin, druid, ranger, celestial, or some other divine source, it can add its proficiency bonus to the saving throw if it isn't proficient in the save.

Inquisition Defier. The cultist is immune to effects that allows other creatures to read its thoughts, determine whether it is lying, or know its alignment. Additionally, the cultist can't be targeted by any divination magic or perceived through magical scrying sensors. The cultist's naked devotion to wickedness causes dark powers to take an interest in its success and well-being. Commander of Evil. The cultist can utter a special command or warning whenever a nonhostile creature that it can see within 30 feet of the cultist makes an attack roll or a saving throw no reaction required.

The creature can add a d4 to its roll provided it can hear and understand the cultist. This trait doesn't function while the cultist is incapacitated. Unholy Protection. The cultist can use its reaction to halve the damage that it takes from an attack, spell, or other effect. The cultist uncovers a piece of forbidden lore or knowledge that allows it to tap into ancient powers of evil.

Ancient Secrets. If the cultist has the Spellcasting trait, it can choose one spell of 3rd level or lower. The cultist can cast that spell at its lowest level without using a spell slot. Dark Indulgence. After the cultist makes an attack roll, ability check, or saving throw, but before the outcome is determined, an additional d20 can be rolled. The cultist chooses which of the d20s rolled is used to determine the outcome. When it does so, it takes 12 5d4 necrotic damage, which can't be reduced or prevented in any way.

Beguiling Influence. The cultist gains proficiency in the Deception and Persuasion skills, and its proficiency bonus is doubled for any ability check made using these skills. Harbringer of Destruction. The cultist can use its action to force each creature within 60 feet of it that can hear the cultist to make a DC 15 Wisdom saving throw.

On a failed save, a creature is charmed or frightened cultist's choice for 1 minute. A charmed or frightened target can repeat the saving throw at the end of each of its turns, ending the effect on itself on a success. After using this action, the cultist takes 13 2d12 psychic damage, which can't be reduced or prevented in any way. The cultist must possess the Dark Speech vile feat in order to obtain this vile feat. Distorted Visions Recharge As an action, the cultist can whisper words of incredible wickedness to form grotesque visions in the minds of those who hear it.

Each creature within 30 feet of the cultist that can hear the cultist must succeed on a DC 15 Wisdom saving throw or be blinded for 1 minute. While blinded, a creature is also incapacitated. A target can repeat the saving throw at the end of each of its turns, ending the effect on itself on a success.

Booming Voice. When the cultist speaks, its voice can boom up to five times louder than normal. Foul Scream Recharge As an action, the cultist can loose a blistering torrent of foul curses and wicked insults in the Dark Speech. Each creature within 60 feet of the cultist that can hear the cultist must succeed on a DC 15 Wisdom saving throw or be deafened for 1 minute.

While deafened, a creature suffers disadvantage on all ability checks and saving throws. Steal Life. When the cultist reduces a creature to 0 hit points, it regains an amount of hit points equal to the cultist's Challenge Rating. Obliviation of Spirit. When a creature within 60 feet of the cultist dies, the cultist can use its reaction to annihilate its soul. That creature can't be revived by any means short of a wish spell. The cultist adopts insanity as a shield to turn effects that target its mind against those around it.

Defense of Madness. The cultist is immune to being charmed or frightened. Mind Shield. In response to being targeted by a mind-affecting spell or effect, the cultist can use its reaction to retarget the effect to another creature of its choice, other than the caster or source of the ability, within the effect's range.

Undead Consortium. Mindless undead see the cultist as an undead creature. Becoming more and more like an actual undead creature, the cultist gains immunity to necrotic and poison damage, as well as the poisoned and paralyzed conditions. Undead Fortitude. On a success, the cultist drops to 1 hit point instead. Deadly Critical. The cultist scores a critical hit on a roll of 19 or 20 and rolls the damage dice three times, instead of twice.

If the cultist makes a weapon attack with advantage on the attack roll and hits a creature with it, the target takes an additional 7 2d6 damage.

If the target is incapacitated or surprised, the attack also becomes a critical hit. The cultist has mutilated its eyes or forehead in an attempt to see that which must remain unseen. Deformity: Eyes. The cultist has drilled a hole in its forehead trying to add a third eye, or it has supernaturally scarred one of its regular eyes.

Ghostly Gaze. The cultist can see through solid objects to a range of 30 feet; when it does so, it perceives objects as ghostly, transparent images. The cultist invites parasites into its body in exchange for a greater hardiness against diseases and poisons. Deformity: Parasites. Parasites use the cultist's body as a nesting ground, creating holes and burrows on its skin and in its flesh as they feed and multiply. When the cultist dies, its body breaks apart into a swarm of insects in the same space.

Exude Parasites Recharge 6. As a bonus action, the cultist can summon a swarm of insects or a swarm of rot grubs cultist's choice , which exits its body and occupies its space. The swarm acts on its own initiative, and follows the cultist's verbal commands to the best of its ability. Elder evils have truesight out to feet and blindsight out to feet. Damage Resistances.

Elder evils are resistant to cold damage and fire damage. Damage Immunities. Elder evils are immune to bludgeoning, piercing, and slashing damage from nonmagical attacks. Condition Immunities. Elder evils can't be charmed, frightened, petrified, or knocked unconscious. They also don't suffer from exhaustion. Anathematic Secrecy. Elder evils can't be targeted by any divination magic or perceived through magical scrying sensors. Elder evils don't get innate spellcasting by default.

However, those that do have it require no components to innately cast a spell. If an elder evil fails a saving throw, it can choose to succeed instead. Magic Resistance. Elder evils have advantage on saving throws against spells and other magical effects. Unyielding Essence. Elder evils are immune to any spells or effects that would alter their forms, as well as those that would that would read their thoughts, determine if they are lying, or magically influence their thoughts or behavior.

Elder evils are capable of incredible destruction. They wield devastating magic and possess an arsenal of potent attacks to work their wickedness. But such power alone offers little defense against the gods and their servants. Malefic properties are their safeguard against divine interference. A malefic property is a supernatural ability, intrinsic to the very nature of an elder evil.

Dispel magic and antimagic field have no effect against a malefic property. A malefic property affects an enormous area and might influence an entire region of the world, depending on the nature of the elder evil. All elder evils have Anathematic Secrecy see Elder Evil Traits , which shields them from divination spells and scrying sensors.

Each elder evil has one additional malefic property, chosen from the list that follows, as appropriate to its nature. The sample elder evils provided in this book can guide you in deciding on a suitable malefic property for one of your own design. An elder evil that has this property projects terrifying Wood Box Plans Free Download 5th Edition nightmares into the dreams of living creatures.

Dark Visiting. Any living creature that sleeps within miles of the elder evil must succeed on a DC 18 Wisdom saving throw or be afflicted with a random form of short-term madness. If a creature fails this saving throw by 5 or more, it is instead afflicted with a random form of long-term madness. If a creature rolls a 1 on the d20 roll, it is instead afflicted with a random form of indefinite madness. The presence of an elder evil that has this property can use its action to incite violence and suffering.

One creature within miles of the elder evil that the elder evil is aware of must make a DC 18 Wisdom saving throw. A creature automatically succeeds if it is immune to being charmed. On a failed save, the target must target its allies with attacks and other damaging effects for 1 minute. The target can repeat the saving throw at the end of each of its turns, ending the effect on itself on a success.

If a creature's saving throw is successful or the effect ends for it, the creature is immune to the elder evil's Discord and Woe for the next 24 hours.

An elder evil that has this property can punish deities' servants with a powerful surge of profane energy. As a bonus action, each creature within miles of the elder evil that is a celestial or a user of divine magic a cleric, paladin, druid, ranger, or some other class the DM deems appropriate must make a DC 23 Constitution saving throw. A target takes 35 10d6 necrotic damage on a failed save, or half as much damage on a successful one.

On a failed save, a target also suffers one level of exhaustion. God Slayer. The elder evil deals double damage to gods and celestials, bypassing their resistances and immunities. If the elder evil reduces a god or celestial to 0 hit points, it kills them instantly. An elder evil that has this property cannot be affected by divine magic of any kind, regardless of the source. Impervious to the Divine. The elder evil is unaffected by divine spells, which are spells cast by clerics, paladins, druids, rangers, celestials, and other sources the DM deems appropriate.

An elder evil that has this property warps the planes of existence around them, preventing the gods and their servants from getting close to them. Planar Anomaly. The area within 10 miles of the elder evil is warped by the elder evil's presence. Creatures can't teleport into the area or use portals, such as those created by the gate spell, to enter the area.

The area also blocks all forms of planar travel, and therefore prevents creatures from accessing the area by way of the Astral Plane, Ethereal Plane, Feywild, Shadowfell, or the plane shift spell. In addition, deities and other planar rulers are incapable of entering the area, and the elder evil can choose to block one or more of the following creature types from entering: celestials, elementals, fey, fiends, and undead.

If any of these creatures start their turn in the area, they take 55 10d10 force damage and are banished to their native plane of existence. Both Ragnorra and the Aspect of Sertrous are immune to divine spells. While I'm keeping this in as it's a Malefic Property from the original book, some DMs might find it to be a bit unfair towards divine spellcasters in the party. If you wish to get around this, consider informing your players of this trait ahead of time so that they can come up with a plan to get around it.

You may want to roll with what they come up with, or you can devise your own method for the party to get around it, such as an artifact that converts divine magic into arcane magic when wielded by a divine spellcaster.

Or perhaps you want to just remove the trait, either replacing it with a different malefic property or just excluding it altogether. This is completely fine, and won't affect encounter difficulty too much—the stat blocks in this book that have this are not specifically balanced around its presence. There, cresting the horizon. Yes, that faint body is he, and he comes for me Rejoice, for the end is near, and all life, all pain, all suffering shall be silenced in the perfect eternity of undeath.

Atropus, the World Born Dead, drifts through the gulfs of space, searching for worlds to consume and, when it finds them, erasing all life with its gruesome touch.

As the afterbirth of creation, it is committed to unmaking all things. Nothing, not even the gods, can halt its relentless progress. Atropus dwells in the emptiness between worlds. As it drifts, it casts out with its senses, sampling the emptiness for signs of life. Once it detects a living thing, it moves toward the source. Since it is such a distant threat, you can assume the elder evil has been around for as long as your campaign setting has existed, and has been traveling toward your world for any number of years.

Once Atropus takes an interest in your world, place it in the heavens. It is indistinguishable from the other celestial bodies at the start, and as it comes closer it reveals its sinister character to coincide with the intensifying sign. Consecration: If a forbiddance , hallow , or temple of the gods spell is cast and is made to affect undead, the effects of this Sign are negated within the area while the spell or spells persist.

However, these spells cannot negate the spontaneous animation of undead within the area. Faint: Spells that raise undead can animate or target twice as many creatures and take effect for twice their normal duration. In addition, undead gain 5 temporary hit points at the start of each of their turns throughout the world. Even creatures that died before this sign manifested begin to rise as skeletons or zombies, depending on the condition of their corpses.

In addition, the amount of hit points restored via magical healing is halved throughout the campaign world. Overwhelming: As strong, but any creature that dies automatically rises as a zombie 1 round after death. Previously dead creatures automatically animate as skeletons or zombies. Additionally, all undead in the campaign world gain advantage on saving throws against spells and other magical effects, and are immune to effects that turn undead.

The possible campaign outline given in the original book is unchanged. Consult the following table for the suggested level of your party for each section of the original outline.

The apocalypse from the sky spell, as detailed in the original book, can only be learned via the book of vile darkness. Its material component, alongside the self-damage it deals and the 9th-level spell slot it requires, makes it a very costly spell to cast. You use part of your own life force to perform this vile ritual. You take 20d6 necrotic damage that can't be prevent or reduced in any way. Then, each non-undead creature other than you within miles of you takes 10d6 necrotic damage.

In addition to the information given in the original book, a DM may wish to alter the lore of the Forgotten Realms at their table. Instead of constraining Atropus to be a leftover creation of the overgod Ao, they may wish to relate Atropus to Ao in a more equal manner, or they may wish to remove Ao from the setting altogether. In the latter case, use the default lore provided in the Background section to explain Atropus's origins.

Once released, it might seek to transform all the Outer Planes into a mass graveyard. In this case, the Restless Dead sign could represent Atropus drawing nearer to a given plane, intensifying until Atropus is able to enter the plane.

The default Sign of Apocalypse for Atropus is certainly a major effect in your campaign world, but some may find it unsatisfying that the Sign is a passive effect that is simply a byproduct of Atropus's approach. If you wish to make Atropus feel more like an active threat, allow more powerful undead in service to Atropus to descend from the moonlet to your campaign setting. For example, you can take advantage of Atropus's connection to Atropals to make them effective heralds of the moonlet's approach.

As stillborn creatures from the Negative Energy plane, atropals also serve as effective heralds in planar campaigns, acting as forerunners for the much larger threat to come. You can also consider other threats to act as villains in anticipation of Atropus's arrival.

For example, while the original outline suggests that Orcus be involved in an interplanar war, you may wish for Orcus himself to beckon Atropus's arrival. In this case, the Bleak General might be a loyal servant of Orcus, rather than betraying him in favor of Atropus. Another villains include Acererak, Lady Illmarrow and the Order of the Emerald Claw , an aspiring lich or mummy lord, a god of undeath, or a fallen angel or undead celestial.

Perhaps even the Worm That Walks chapter 9 has taken an interest in Atropus, and has decided to ally with the World Born Dead so that it may rule the dead world that Atropus leaves behind. Additionally, feel free to alter the details as to how Atropus is summoned. The suggested campaign outline gives two ways for Atropus to be summoned: the apocalypse from the sky spell, obtained through the book of vile darkness , or the massacre of a major city by demonic forces.

Below are additional possibilities for how Atropus might be summoned:. Lastly, feel free to use the Aspect of Atropus in new and creative ways. For example, perhaps cultists seek to summon the Aspect of Atropus directly to their world; if they succeed, the aspect will annihilate them and every other creature in the setting. Perhaps a villain seeks to take advantage of the aspect for their own gain. If they absorb or take control of the aspect somehow, they may gain control of the moonlet, or their consciousness might be merged with the World Born Dead itself.

Any villain will recognize that the World Born Dead holds the ultimate power over death and undeath, and that if this can be taken advantage of, they will be unstoppable. This section is unchanged. Reference the original book if you are interested in lore and details regarding the Aspect of Atropus, Caira Xasten, and Gorguth and its mount Skyshadow. Atropus is the moonlet, the location where the player characters confront the elder evil and drive it from their world. The moonlet is spheroid, miles in diameter.

When the moonlet approaches close to the home world of your campaign setting assuming Earth as the default , it takes up an orbit just outside the moon's orbit, about , miles from the surface of the world.

If your campaign setting features multiple moons, it begins its orbit outside the orbit of the most distant satellite. Once in position, the moonlet begins to circle the planet, entering a deteriorating orbit and picking up speed as it loses altitude. The rate of fall is up to you, but it should correspond with the progress of your campaign, the intensity of the sign, and the pace that best fits your needs. Remember, this is a floating head in space, not an astrophysics project; don't worry too much about the time it takes for the moonlet to descend.

The moonlet of Atropus is a barren, unforgiving wasteland of dread and despair, littered with undead, star spawn aberrations, and debris picked up from the countless worlds it annihilated. The following effects take place on and within 60 feet of the moonlet:. The moonlet has few defenses. The dangers of the void are enough to keep enemies at bay. Unless the moonlet is approached when it has already entered the atmosphere—at which point it is almost too late—characters must contend with the hazardous environment.

After 3 rounds of exposure, and at the start of each of its turns thereafter, a creature that is holding its breath must make a DC 20 Constitution saving throw. On a failed save, the creature runs out of breath and is suffocating. On a failed save of 5 or more, the creature is also stunned until it can breathe again.

If the characters set foot on or fly above the moonlet, the undead infesting its surface spill forth. If an encounter features a creature from a book you don't have, pick a result from a book you do have. If the source column lists a source like "EdE 3B", it is referring to the accompanying bestiary for this book.

Given the moonlet's size, it could take an entire book to describe every location on its surface. The following are just a few of the locations appear on the vast "face" of Atropus. For a map of these locations, see the original book. The two areas marked A on the map are part of a large sea of necromantic sludge formed from the decaying afterbirth of creation. The fluid about feet deep a short distance away from the shoreline. The sea emits an aura of negative energy.

All undead within 20 feet of the shore gain advantage on saving throws. Any non-undead creature that come in contact with the Ichor Sea or starts its turn in the seatakes 14 4d6 necrotic damage and must make a DC 23 Constitution saving throw. On a failed save, a creature suffers one level of exhaustion. If a creature dies to this effect, it rises as an angel of decay EdE 3B after 1d4 rounds. Piercing the side of the moonlet is an enormous pit 70 miles across with no visible bottom.

Creatures coming within 20 feet begin to hear the susurrus of Atropus's hate. Each creature that enters the area for the first time on a turn or starts its turn there must make a DC 23 Wisdom saving throw. On a failed save, a creature suffers from a random form of Short-Term Madness, determined by rolling on the Short-Term Madness table in chapter 8 of the Dungeon Master's Guide.

Creatures falling into the pit descend feet until they hit an underground offshoot of the Ichor Sea area A. Such characters take 70 20d6 bludgeoning damage from the fall in addition to the effects of the Ichor Sea. Craters created by Wood Box Plans Free Download Java meteors and other debris pock the moonlet's surface.

The craters vary depending on the size of the object that struck the moonlet. A typical crater is 10 feet in diameter, 4 feet deep, and has a 1-foot-tall rim around the impact area. Loose rock counting as difficult terrain spreads out 10 feet in all directions. Much larger craters, such as the ones marked on the map, are especially dangerous and usually inhabited by undead.

Welling up from one of the Eyes of Death see area H is a bubbling torrent of hideous slime. This fluid has the same properties as the Ichor Sea. This crater is similar to all the other craters marring the moonlet's surface, except that from its depth rises a fetid black ooze—the bilious blood of Atropus. A random undead creature or creatures always attends this place. Undead within 20 feet of the crater have advantage on saving throws, and they gain 10 temporary hit points whenever they start their turn there.

Non-undead creatures touching the foulness at the bottom of the crater are affected as if they had come into contact with the Ichor Sea see area A. The ground drops away, forming a deep trench between the Ichor Sea and the Great Depth. It extends some 30 feet down. Haunting the depths is twenty star spawn manglers MTF They crawl forth from the trench wall and attacks any creatures they encounter. If you do not have access to the statistics of a star spawn mangler, you can replace them with 11 beholder zombies MM Spewing from 6-inch-diameter pits are streams of poisonous air.

Creatures who require air can breathe here, but whenever a non-undead creature enters the area for the first time on a turn or starts its turn there, it must make a DC 23 Constitution saving throw, taking 33 6d10 poison damage on a failed save, or half as much damage on a successful one. On a failed save of 5 or more, the creature is also poisoned until the end of its next turn. Creatures slain by the poisonous air rise as wraiths MM 1d4 rounds after death.

Each spanning 40 miles across, these glossy black stones reflect no light, seeming to drink in everything shining on their surfaces. These black expanses are in fact the eyes of Atropus and, for as long as the party lingers here, Atropus is aware of their presence. Undead in the area gain advantage on all saving throws, and they also gain immunity to effects that turn undead. Additionally, creatures in the area can't benefit from resistance to necrotic damage, and they suffer disadvantage on saving throws made against effects that deal necrotic damage.

The aspect of Atropus EdE 2B can appear at any time you like once the player characters arrive at the moonlet. Atropus is no fool, and it generally won't send its minions against the party until it is prepared. However, the Focus might come on its own. This encounter is unchanged, except that the dread boneyard is only capable of summoning one young red bone dragon EdE 5B. The dread boneyard hides in the field of bones, requiring a DC 20 Wisdom Perception check to spot it. Once a creature comes within 15 feet of the boneyard, it emerges, and initiative is rolled; if the party didn't spot it before it emerged, the boneyard gains surprise over the party.

During the first round of combat, the boneyard uses Summon Bone Dragon and Summon Skeletons to summon as many minions as possible. The skeletons will attempt to spread out and attack every party member if possible, while the bone dragon will take to the skies and swoop in only when its Breath Weapon has recharged. The boneyard will act as the main combatant, attempting to draw the party's fire and engage in melee when possible.

This altar is dedicated to Atropus, erected eons ago by an undead servitor. The altar emits a hallow spell in a 60 foot radius, targeting celestials, elementals, and fey. Such creatures can't enter the area, nor can such creatures charm, frighten, or possess creatures within it. Additionally, undead in the area gain resistance to radiant damage, and whenever they make a saving throw, they can roll a d6 and add the result to the total.

Any space with bones in it is difficult terrain, and creatures that move through it have disadvantage on Dexterity Stealth checks unless they can avoid rattling the bones when they move. Every minute that a creature searches through Wood Box Plans Free Download Netflix the area allows the creature to make a DC 20 Intelligence Investigation check.

On a success, the creature finds a random item from the list below:. The famine spirits work together against the closest foe they can see. At the start of combat, they are within range of the atropal's Turn Resistance Aura, which they will stay within range of unless they determine the party cannot use Turn Undead.

Meanwhile, the atropal will cast its innate spells from range, using hold monster on any party member the famine spirits are attacking. It then has several options: it might use negative energy flood to give a famine spirit temporary hit points if you don't own XGE: if the target of the spell is undead, roll 5d12 and give it half as many temporary hit points , or it might use circle of death and cone of cold to attack as much of the party as possible without affecting its allies.

If attacked, the atropal will use misty step to exit melee and will use its Ray of Cold on the target if needed. This crater emanates a field of negative energy. Non-undead creatures within 5 feet of the crater can't benefit from resistance to necrotic damage. Additionally, any non-undead creature that come in contact with the Ichor Sea or starts its turn in the seatakes 14 4d6 necrotic damage and must make a DC 23 Constitution saving throw.

Creatures that fit inside of the small crater gain half-cover, but it costs an additional 5 feet of movement to enter and exit the crater. After descending, the angels of decay attack split up to attack as many party members as they can. If possible, they stick close to one another so that may heal from each other's Rotting Auras via their Feed on Decay traits.

When the aspect of Atropus EdE 2B arrives, it makes its entrance by using Divine Scourge followed by casting meteor swarm , with no concern for the subsequent incineration of the remaining angels of decay. It uses its first lair action to create an earthquake effect, and it uses its next one to forcibly teleport the party members: it teleports melee opponents into newly formed fissures, and it teleports ranged opponents into its melee range.

It consistently uses Waves of Exhaustion to decimate as many party members as it can, but it will favor its Life Drain or Slam if it finds itself to be taking large amounts of damage. This entire encounter takes place on one of the Eyes of Death.

A creature standing entirely on one of these cracks is unaffected by the effects of the Eyes of Death. Fissures created by the Aspect of Atropus's earthquake spell also count as veins of Atropus. The moonlet's surface rumbles as if under the effects of an earthquake spell, requiring all creatures on the ground to succeed on a DC 15 Dexterity saving throw or be knocked prone.

The tremors last for 1d6 rounds, at which point the whole moonlet seems to contract—killing anyone or anything still trapped in a fissure. Then the moonlet rockets away from the world, moving at a speed of 40, feet per round. Characters still on the surface are carried with the moonlet. As it moves away from the world, the Restless Dead sign ends, and creatures animated by its effects collapse, lifeless. Their song can be heard even now, calling out to their father to bring the eternal cold, the endless darkness of death.

A mote of alien thought given form and flesh, Father Llymic is not of this world. He dwells in an icy prison, awaiting a time when the world will be right for his coming.

As his age of freezing darkness draws near, his brood begins to appear, stalking the wastes in preparation for his reign. If he is released from his prison, the entire world will be covered in a deadly glacier, removed from light and hope for all time. Father Llymic sleeps in an icy prison atop one of the world's tallest mountains.

Locked away inside a glacier, he beckons any who draw near to his form so that they might be transformed into his servants. With each new servant, he gains more of the strength needed to fully rouse. Since he lurks in such an inhospitable place, this elder evil is easy to add to any campaign. Only when Father Llymic approaches his full might does the effect become noticeable, as the sun begins to lose the power to contain him.

The terrain easily hides his brood, and travelers and remote mountain clans go missing all the time. Only the most thorough chronicler might notice that one mountain in particular is full of strange tales regarding missing travelers and reclusive natives.

The obvious sign of Father Llymic's coming—the darkening of the sun—means that it is almost too late to stop him from waking. Faint: The radius of illumination from natural light sources both bright light and shadowy illumination drops to half normal, to a minimum of 5 feet.

Sunrise occurs 1 hour later than normal, and sunset occurs 1 hour earlier than normal. Moderate: Spells and other effects that create magical darkness take effect for twice their normal duration.

The radius of illumination from natural light sources drops to 5 feet. Sunrise occurs 2 hours later than normal, and sunset occurs 2 hours earlier.

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