#[buuuut i wanted to do stuff around here so i'll stick around for a bit]

[coollyinterferes]

Lights a cigarette and stares into the distance

Donna Burke's Sins Of The Father starts playing in the background

[distractingvisions]

Hey!

I'm Vision and this blog is a space for the very spicy thoughts that will cross my brain that I want to throw out there into the void as well as a space for me to explore more about myself and such. Of course that means this is 18+ ONLY, you will be blocked on sight otherwise.

Info:

Non-binary trans guy. He/They. Taken 😋

Still discovering shit about myself buuuut I'm a switch, although I'm an absolute subby bottom for my boyfriend (one day I will dom that nerd).

Speaking of, many of my posts will be made with my boyfriend in mind. So my content is mostly mlm and nblm! However you can still stick around if you're not- basically as long as you're queer, feel free to enjoy (just don't be weird about it). Also what I post will be in text form, I am not comfortable sharing images, with the exception of reblogs of course.

Feel free to send in asks sharing your own brainworms, ask questions, or just to say hi etc. I may take a bit of time responding because of ✨️anxiety✨️ but I'll try my best! And again do note that I am taken so please don't be too serious, we're all just silly horny, ok?

All the cool stuff down below! 😏

Yes:

Cockwarming, Breeding, Edging, Praise, Bondage, Exhibitionism, Marking, Biting, Scratching, Roleplay, Petplay (puppy especially, even though I consider myself a catboy lmao :3c), Possession/Ownership, Body Worship

Anatomy: chest, (boy)pussy/cunt, hole, clit or dick (not fussed either way, I've learned to own these fucking genitals).

Maybe:

Somno, Free use, Impact play

No:

Misgendering/detrans, Anything to do with bodily fluids (of course with the exception of cum and maybe blood), CNC, Ageplay

Anatomy: literally anything that is not stated above, nothing feminine (especially in reference to my chest).

Tags:

I am absolute shit when it comes to tagging so please bear with me and do not hesitate to point out if I need to add warning tags too! Anyways here are some I'll be using to keep things a little bit organized:

#vision thinks - for all the thoughts I throw out there.

#vision answers - for responding to asks.

#☀️ - for my boyfriend to see <3

I will most likely add more as I go!

Disclaimer: Any form of hatred will get you blocked instantly. Same thing applies to ageless blogs, minors, and cishets.

[chordsykat]

Alright so, more than anything else I get questions about comic books. That's all-inclusive, mind you... From writing them to drawing them, getting work doing them, and all points in between. I don't know if I could ever explain all of that in a single post but figured I could at least show you all what I'm doing currently... which is putting together a submission packet for a publisher.

My way of doing things in 2022 are a mix between digital and traditional methods. I started this process by drawing very rough full-page layouts in Photoshop. Actually, that’s a lie. I started this process by looking up the publisher’s submission guidelines and finding out how many pages they want (usually no more than 5), what format, and any restrictions or special requests that come with submitting artwork to them.

And believe me, when I say I drew the first parts rough, we're not just talking ball and stick rough, but blob, scribble, and what-the-hell-was-i-drawing-here rough. What you see in the images above came after about three layers of fine-tuning. Now, I wanna say something about the comic page, itself here, and it’s very important... The temptation to take things panel-by-panel is gonna be huge, buuuut if you're an artist drawing in comic book format, especially if your end product will be printed as an actual book, you gotta keep one thing in mind:

The page, and any page opposite it, should be treated as one whole piece of art.

Yes, the compositions on each individual panel can matter and need to be considered as you go about laying out your art... but the whole of the comic page is your first concern.

That means changing up camera angles, the size of your figures, and how much or how little background will be seen, etc. are not only paramount to the success of how each panel reads, but the page as a whole. Too -- you’re going to have to keep things like margins, gutters, safe areas and where text boxes and word ballons will fit, in mind. I'll get into more detail about all that in future posts, I’m sure... But for now, here's what my process has been once I finally had digital "breakdowns" of the art and how it would all lay out on a page.

My first stop was the UPS Store, to get some 11"x17" prints of my digital stuff, so it could be transferred onto comic board bristol (100lb. smooth bristol -- sometimes called cold-press board)

Using graphite, I coat the whole back-side of the page with scribbles. You can also use carbon paper, but if you can't find it or it's otherwise cost-prohibitive, just do the scribble method. I find things transfer about the same, if not a bit lighter when using graphite, and I tend to prefer the lines from my breakdowns be lighter at this point, anyway...

Next step is to line the prints up, cabon-side down, onto the bristol. I tape the paper in corners where there is no art needing traced with a little double-sided tape. Then, using my graphite pencil, I pain-in-the-buttingly go over each line to transfer it onto the comic board. I also trace the corners of my panels... I don't trace the whole edge since I'll be using a ruler to get those right on the final art, and really just need guidelines at this point.

Once EVERY DAMN LINE is traced... You get a light transfer to work your final lines off of. Buuuut we're not quite done yet. Grab your work-pencil (I have been a fan of the good ol’ Staedtler Mars pencils with 0.5 lead since the dawn of time), graphite, gum eraser and fine-point eraser, because we’re going to be doing some light detail work on those breakdowns.

The final phase of this process is to go in and lightly re-draw the transferred breakdown lines. try to keep things light as you work. Smudges are the bane of a penciller’s existence and I sometimes work with a sheet of paper under my palm as I begin to work on the bristol, to keep things from smearing around. Once I’ve got my lines covered to a point that I could work off of them without looking at my digital copies to figure out what the heck I was even drawing, the page is ready for the final pencils.

If I was doing the inking for these pages, and (perhaps most importantly) I had an editor who trusted me, I might even be bold enough as to go in and start doing that, to save time. But a pencilling portfolio is hardly the place to show off my inking abilities, so we’ll leave the process right here, for now. 

Join me next time as I do finished pencil work on these gargs!