#CONCEPT SKETCHES USUALLY TAKE ME SO LONG LIKE AN HOUR ON ONE THING

[cannibalovers]

Ok maybe y’all weren’t lying when some of u said mikkelsen is very easy to draw

[notherpuppet]

If you don't mind me asking, how long does it usually take you to draw out the comics? And do you use Procreate?

Thabk you ^^

I honestly don't remember if I've answered this before, so I'm answering again! (or for the first time?)

Depends on the comic page, but each page takes approx. 12-24 hours. Sometimes I'm real fast and other times it takes me more time to draw the characters/composition/poses how I like them.

A large chunk of the time is dedicated to decision making. How I may want to convey information aesthetically and efficiently. Some problems are easier to solve so that equates to faster process. Some are more difficult, so it's more time of me staring at the concept sketches haha.

It's also a fun activity for me, so when it starts to feel grueling or frustrating (like with a boss battle in a video game) I take a break from it and do something else fun. Usually read other folks' comics or look at their beautiful art.

I do use Procreate! It's a wonderful software and so affordable (IF you already have an iPad that is. And if you are shopping for one, GET THE LARGER STORAGE CAPACITY, YOU'LL NEED IT)

I do sketch most everything traditionally though. I think my brain works fastest with a pen and paper. That helps curb decision-making time because you have less possibilities to correct things when there's no undo button.

[qwertyprophecy]

Update on The Dark Queen of Mortholme!

Phase one is now essentially completed for art, code and dialogue. Onwards to phase two; because every good boss fight needs that part where the boss gets unhinged and gains a whole new set of attacks.

I too have chosen to be unhinged and made a design for the Queen's final form that gobbles up animation work hours like nothing I've done before with pixel art.

Concept sketches under the cut:

Initially I didn't have any ideas beyond doing a more monstrous design that amps up the Queen's features and takes cues from the shapes and colours of her original spell animations. However after writing the dialogue leading up to the transformation I immediately landed on a specific concept.

The transformation is an outburst. It's a manifestation of the Queen's terror and defiance towards her approaching death. She's unraveling, and in doing so she's channeling more of her innate violent power that she doesn't usually let out. She's essentially been having a long argument with the Hero about who they believe they are. Thus far she's gotten by being all smug and detached, but now she's losing and forced to reveal more of her true self to continue.

So her final form's design should convey 1. an outburst, and 2. the unraveling of a false front. Her base design's spikes, hair and skirt all erupt out into the wilder shape language of her shadowy spell-tendrils. They can handily be used to draw the eye from all directions towards the center of her chest, where I wanted to have this cracking pattern, like something hidden inside her is coming out. It's bright as if blindingly powerful, yet the cracks make her seem more damaged and vulnerable than her base form.

Continuing with the theme of an inner self showing through, the skirt's interior is also more visible than before. The flared jellyfish-esque shape connects with the deep sea vibe of the tentacles and contributes to the drama of a nonhuman silhouette.

A big thing for the silhouette is of course the massive hands. What's the thematic explanation for those? Absolutely nothing, I just think they look cool and dangerous.

Finally, lot of asymmetry was also introduced, both to increase the visual interest of such a large sprite, and to make her look like she's really losing it.

---

A note on animating this monstrosity: I've been trying to come up with a whole lot of cheats to keep a complex sprite like this as animated as possible without spending the rest of my life making this game. Early on I decided she should float, just so her idle animation can also be a moving one.

Secondly, the sprite is cut up to pieces so that I can keep reusing the loop of the writhing tentacles while moving her hands, for example. This is not something I like doing because in believable animation, motion in one part of the body always affects the other parts of the body. Treating a character as one entire whole when animating will make them feel more tangible, but alas, it's a compromise to avoid spending a hundred years in pixel-pushing jail. Like, I would love to see those tendrils flutter around behind her as she swoops across the room for her attacks, but... it'll be a lot more reasonable to move her as little as possible and instead add oomph to her attacks with some effects animations.

Anyways thank you for reading about monstrosity, she might be a pain in the butt to move but she brings me joy

[partypoisonzz]

i'll do anything you say (if you say it with your hands) (gerard way x reader smut)

Kinktober Day 3: Glove/Hand Kink

Era: Danger Days (2010)

Reader Pronouns: None mentioned but Reader has AFAB anatomy.

Content:

- Glove/Hand Kink

- Domestic bliss 🥺

- Dom!Gerard... for most of it

- Degradation

Word Count: 3,629

Disclaimer: This explicit story was written by an adult for consumption by other adults only. If you are under 18, please do not read or interact in any way.

-

"What do you think?" 

You look up from your phone, taking in the sight of Gerard standing in front of you. At long last, his concept for his Party Poison costume has come to fruition. Months of sketches and reworking have culminated in this moment.

"Impressive," you say. And it truly is.

Your eyes scan over him, down and up and back again. There are the nice leather boots that go halfway up to his knees, the dark wash jeans, the customized blue jacket, emblazoned with the Dead Pegasus logo that he designed, the yellow plastic mask…

Your eyes travel back down to his hands and pause at the brown leather biker gloves.

"You really think so?"

You snap back to the present at the sound of Gerard's voice. You look back up at his face, alight with pride, and nod.

"Mmm-hmm. You look great, honey."

He does look great.

He looks so great that you can't stop thinking about it, even after the costume is put away and he's just your husband again. You're still ruminating over the getup hours later, and you don't know why.

Your thoughts are clouded as you go about the rest of your day. You feel guilty for only halfway-listening to Gerard's excited rambling about the upcoming album, as well as being completely checked out when you meet the rest of the guys for dinner. You only return to reality when Frank throws a crumpled-up napkin at you and hits you in the face, eliciting uproarious laughter from the rest of the table and stares from your fellow diners.

The haze hangs on until just before you crawl into bed.

You hear Gerard call to you from the bedroom as you wash your face. "Babe?"

You splash yourself with the cold water once more before turning off the faucet and reaching for a towel. "Yeah?"

He stays silent for a moment before posing his question. "You're okay, right?"

"I'm fine." You pat your face dry before tossing the towel into the hamper and turning off the bathroom light. Having completed your usual before-bed routine, you saunter into the bedroom and crawl into bed next to Gerard. "Why do you ask?"

Gerard closes his book and sits it on the nightstand. "I dunno," he says. "You just seem sort of... distant."

You sigh, stretching out your aching limbs. "I'm tired," you say. That's not a lie, either. "I know I don't have the right to complain, — you're the one doing all the work, after all, — but this whole album thing... The recording and the PR stuff and the music videos and getting ready for the tour..." You turn over on your side to face your husband.

"It's all getting real so fast," you tell him quietly. "In three weeks, you'll be out on the road again, and I'll still be right here."

For a while, Gerard doesn't say anything. He just stares at you in the dim light of the bedside lamp. He looks beautifully solemn, strands of his newly-dyed red hair falling over his eyes.

Finally, he breaks the silence. "C'mere."

He gently cups your cheek as you draw closer to him, pressing his lips to yours in a lazy kiss. You close your eyes, relishing the feeling of his mouth on yours, the way he's still close enough for the two of you to share body heat, the faint, lingering scent of his hair dye, the feeling of his thumb brushing across the side of your face...

Even when he pulls away, he keeps his hand there, softly caressing your skin. "Everything's gonna be alright," he assures you. "Being away from you won't be easy for me, either, but..." He presses a kiss against your forehead before resting his head against yours. "I'll come back like I always do. Plus, you've got me here right now."

You chuckle. "Thank God for that."

"Glad you see it my way." He nudges you lightly with his shoulder. "Want me to rub your back? Ease some of the tension?"

You raise your eyebrows. "Is this just a back rub, or a back rub with extra stuff?"

"Just a back rub." He pauses, appearing to think before tacking on an additional disclaimer. "Unless you want the extra stuff, of course."

You laugh. "Think I'll just go with the backrub for now," you say. "We'll see about tomorrow, though."

He nods. "Tomorrow. Got it." Another nudge. "Now, turn over."

Only when he starts massaging your tense shoulders does everything begin to fall into place.

You've always had a thing for Gerard's hands. How could you not, really? The way that he grips the microphone... His careful precision when he draws... How he alternates between soft and firm touch equally skillfully, as though it's absolutely nothing...

You can't help but look at his hands when he's completing everyday tasks. Oftentimes, your train of thought leads you to anticipate all the places those hands will wander later on. Even after a few years of marriage, you still find yourself turning away, face aflame.

Your mind flickers back to the gloves from earlier. Suddenly, everything makes perfect sense.

There's something about the way his hands look in those gloves. The cracked dark leather, concealing everything but his fingers and knuckles... Showcasing how his hands seem strong and delicate all at once...

You don't know why you didn't realize it sooner.

Try as you might not to allow yourself to obsess over this realization, the thought lingers in your mind. It's still there, even when Gerard falls asleep rubbing your back and you can barely keep your own eyes open.

For the millionth time since you first met your husband, a familiar thought pops into your mind.

Everything about him drives me insane, you think. He's gonna be the fucking death of me.

You sigh and turn over on your back, your own hand creeping into the waistband of your pajama pants.

-

A week or so later, you find yourself baking in the desert sunlight through the window of an old diner. Though you know you could logically blame the hellish climate of California in late July for the feverish feeling overtaking you, you know that you're sweating for an entirely different reason.

"Hey, babe. How's my ass look?"

You focus your attention on Gerard, who is currently turning slow circles in an attempt to properly show off the goods.

"As good as ever," you tell him.

"But is it good enough?" he presses. "It gets its own close-up, so it has to be in peak condition..."

"Your ass is always in peak condition," you cut him off. "Then again, I am married to you, so maybe I'm biased."

You grab a magazine off the table and flip it open, attempting to distract yourself. As it stands, you want to jump his bones, right here, right now. Discussing the premium quality of his ass isn't helping.

You wrinkle your nose as you open to a spread in the middle of the volume. "Ew," you laugh. "I didn't intend on seeing Simba and Nala uncut, but okay..."

"Lemme see." Gerard swipes the magazine out of your hands as he slides into the booth next to you. You watch him flip the pages of the magazine, slow and deliberate, and feel the blood rushing to your face again.

He chuckles. "Oh, yeah. This whole thing is a gag for the video. Only the perviest shit that National Geographic has ever had to offer." He places the magazine back down on the table. "Mikey's gonna be the one reading it, of course." He snorts. "Poor kid. I can never make him suffer enough..."

You can never make me suffer enough, you think. You manage to bite your tongue before the thought slips out. That would kind of be a jarring thing to tell your husband unprompted.

You startle back to the present moment when you feel Gerard's fingers drumming against your thigh.

"Hey." He gives you a gentle smile. "What're you thinking about, huh?"

The honest answer runs through your mind. In fact, it damn near passes your lips.

Your hands, you want to say. More specifically, how they would feel wrapped around my hips if you just threw me onto this table and blew my back out.

The door swings open, ensuring that you don't put this idea out in the open. "Hope I'm not interrupting anything," Mikey says. "But we just got back from our lunch break. Probably should get as much filming as we can in before the sun goes down."

You offer Gerard a shaky smile and a kiss on the cheek. "Alright, Mr. Director. Back to work."

"Right." He returns to his feet. You stand up and brush yourself off, sauntering towards the fridge for a soda.

Just when you think he's about to step into the blazing midsummer afternoon, Gerard speaks up again. "Hang on a minute," he calls to Mikey.

The next thing you know, his hands are on your waist, pulling you towards him.

You try not to tense up, — it's a purely innocent touch, for God's sake, — but it's kind of difficult when he fucking squeezes your waist while he kisses you. 

"Love you," he tells you when he pulls away. "See you in a little bit."

He turns on his heel and follows his brother outside without any idea that such a slight touch has left you weak in the knees.

-

A little over an hour later, your phone buzzes in your pocket. You immediately answer it upon seeing Gerard's name flash across the screen. "Hello?"

"My trailer's open, if you wanna swing on by." You can hear the sly grin in his voice. "Just you, me, some drinks, and the air conditioner."

Though you roll your eyes, a smile surfaces on your face in response to his proposition. "I'll be right there. Just gimme one sec."

A few minutes later, you're pushing the trailer door open and climbing inside. "Another break?" you ask as you close the door behind you. "You just took your lunch, like, an hour and a half ago..."

"Yeah, but more pressing matters came up." Gerard abandons his spot on the cushioned chair next to the window to meet you by the door. He reaches behind you to fasten the lock before cupping your face in his hands.

You stiffen as your eyes connect with his. His lips curl up just slightly, but it isn't the glowing smile that he was giving you earlier.

You think he's going to kiss you, but he doesn't.

"I saw how you were looking at me earlier," he says, his voice low.

You attempt to swallow the lump building in your throat. Though the anticipation of what might happen next twists your stomach into eager knots, you know it's not out of your realm to sass back.

"Yeah? So I thought you looked good." You shrug, trying to play it off as though your heart isn't running wild in your chest. "Sue me."

His grip tightens around your jaw. "Don't you know how to ask for what you want, sugar?" he asks. "You can't just spell it out for me all the time. It gets tiring."

He presses his mouth to yours. You kiss back eagerly as his tongue runs over yours, grabbing fistfuls of the fabric of his shirt. You hear him let out a low groan before he pushes you back into the wall.

"Fuckin' tell me," he orders. "Use that pretty little mouth of yours."

A whine climbs up your throat before you oblige him. "Your hands."

"My hands?" He raises his eyebrows, looking at you as though the conversation just took a completely unexpected turn.

You know better than that.

He absolutely knows. Maybe he's known all along.

Still, he asks: "What about my hands, sugar?"

"You know that I've always liked your hands," you say. "I love the way they look, all strong but so... pretty. Love the way they feel when you touch me." You swallow hard once again before continuing. "But the gloves. Jesus Christ, Gerard... I don't know what it is, but those gloves are so fucking hot..."

"You like the gloves, huh?" He huffs out a laugh. "Should've just said so." He holds his hand in front of your face before giving you another command. "Open your mouth, baby."

You obey him without question.

He doesn't have to ask you to suck the two fingers that he plunges into your mouth. You do it automatically, your tongue running slowly over his skin.

He draws in a sharp breath. "I didn't know you had such an oral fixation. Could've made good on that a long time ago..."

You pull off of his fingers with a pop. "I don't usually," you say. "It's just... well... your hands..."

He chuckles. "Like sucking on my fingers, sugar?" he asks. "That's cute. Such a good little slut for me."

The degrading nickname elicits another pathetic whine from you. "Please," you beg. You aren't entirely sure what you're even asking for. You just know that you want, — need, — more from him.

"Please what?" he asks. "Use your words, baby."

"I don't care what you do to me," you tell him. "Just as long as you use your hands. And don't take the gloves off."

He laughs openly now. He sounds a little maniacal, a little mean, but that only makes you wetter. "You're so desperate," he comments. "It's fucking adorable."

He snaps his fingers before pointing to the chair in the corner. "Sit."

Wordlessly, you walk over to the chair and take a seat.

He smiles before sinking to his knees. You shift as he undoes the button and zipper of your jeans and pulls them down your legs. "Needy little whore," he remarks. "Losing your fucking mind over the slightest bit of touch..."

You let out a broken moan as soon as the leather of the gloves meets the skin of your bare thigh, proving his point.

He barks out another harsh laugh. "Holy shit," he says. "You'd think you hadn't been touched in years."

At this point, the part of your brain that generates rebuttals has turned completely off. You roll your hips up into nothing, more pleas falling from your lips. "Gerard... Please..."

Gerard doesn't react to your begging, his face set in concentration. "If you go crazy for my hand on your leg, I wonder what you'll do if I move it..." His fingers climb up your thigh slowly. "Up here?"

You moan as his fingers lightly brush over the front of your panties.

He's so close to where you need him, but...

Not quite.

He pulls his hand back with a self-satisfied grin. "Even better than I thought," he says. "Now, how about..." His fingers hook under the edge of the fabric, pulling the underwear down. "This?"

Another whimper of affirmation as you throw your head back.

"Good." His hand starts climbing up your inner thigh again. You know there's probably going to be a wet spot on the chair by the time you stand up. "What about now?"

Your knees buckle as his fingers finally brush over your exposed pussy. "God, yes," you gasp.

"Yeah," Gerard says. "That's what I thought."

Just like that, all the teasing comes to an abrupt halt. He shoves the same two fingers that he put in your mouth earlier inside of you. You cry out, grinding your hips into his hand.

"Look at you. Fucking yourself on my hand." His voice drips with pride, — as well as arousal, judging by the groan that follows soon after. "Fuck, baby. That's so hot. Wish you could fucking see yourself, the way I'm seeing you right now."

Though part of you worries it will all be too much, you look down at him, taking in the genuinely awestruck expression on his face.

If the past few years that you've spent with him have taught you one thing, it's that Gerard is really no good at being dominant.

Well, he's technically good at it. He knows how to talk dirty, how to fuck you until your entire body feels like it's coming unwound, how to make you come over and over again.

The thing is that, no matter how many times he calls you names or pulls your hair or marks you up with hickies and bruises, he just can't keep the mask from falling. Which is remarkable, considering he can be quite the actor.

No matter how intense things get, you always catch him just looking at you at some point, eyes brimming with love.

God, if that doesn't make you weaker than anything else.

You can barely look at him right now. He's so fucking pretty, — sunlight illuminating his neon hair like a halo, his eyes shining green-gold beneath the rays as he looks up at you. You could count the freckles across the bridge of his nose, write poems about the way his eyelashes flutter across his cheeks when he blinks.

But then he picks up the pace, and you remember that he's fingering you in his trailer while he's supposed to be working.

It isn't the most poetic representation of romance, for sure.

Not that you're complaining.

You taste blood from your lower lip as he curls his fingers upwards, pressing hard against your front wall. His fingers are long enough to hit all the right places. Even better, he knows your body like the back of his hand. (Ha-fucking-ha.) He knows exactly what he's doing.

He pumps his fingers in and out, going knuckle deep before repeating the process. The leather of the gloves brushes against your inner thigh, only intensifying the sensation.

It's borderline overwhelming. And still, you tell him...

"More," you manage. "Please. I need more."

"Don't have to tell me twice, sugar." He brings his other hand up, pressing his thumb against your clit.

You begin to feel dizzy as he rubs tight circles around the bundle of nerves, still thrusting his fingers into you all the while. Heat pools between your legs, your building orgasm creating the feeling of flames licking between your hips.

"I can't..." you pant. "Can't hold on anymore, oh my God..."

At that, Gerard pulls his fingers out all the way. You whimper at the loss just before he pushes them in again, meeting absolutely no resistance.

You feel yourself tightening up, clamping down on him as you let out a cry that just barely drowns out his desperate gasp.

Your back arches as you come and come and come. It's intense, — the most intense orgasm you've had in a long while. You swear that it's never going to end. When it finally does, you let out a bewildered laugh.

"Holy shit," you huff. "That was fucking incredible."

Gerard simply hums in agreement before licking his fingers clean.

You idly swat at him. "Gross," you chastise him. "I mean... hot, but gross."

He pulls his fingers out of his mouth with a smile. "You know you love it."

You would have to be a liar to deny that.

"Yeah," you admit. "I do."

You nudge him lightly with your leg. "Now, get up. You've got a music video to finish."

He laughs as he stands up. "Bold of you to be bossing me around after I just made you come like that." 

"Mmm... It's my turn now." You pull your pants back up before rising on still-trembling legs.

You can't help but notice the tenting of his skinny jeans when you lean in to kiss him. You close your eyes, relishing the taste of yourself on his tongue. You only pull away when he moans into your mouth. 

"I'm getting you back when we go home," you declare. 

Despite his panting breaths, the crooked smile on Gerard's face tells you that he takes this as a challenge. "Oh, yeah?"

"Absolutely." You walk towards the door, lingering in the entranceway for just a moment. "I'm giving you one condition right now," you finally say. 

Gerard trails behind you. Despite his earlier dominance, he's right back to following you like a lost puppy. "And what would that be?" 

You can't help but smile slyly. God, he's into this. "Let me try on the gloves." When he's close enough, you pull him close to you, kissing him hard again before pulling back to whisper in his ear. "Maybe I'll jerk you off while I'm wearing them."

His breath hitches as your lips travel downwards, settling against the side of his neck. "Fuck," he mutters as you suck at a particularly sensitive spot.

"Mmm-hmm." You pull back with a quiet giggle, elbowing him in the side playfully. "Get back to work now. For real."

You mentally pat yourself on the back as his voice takes on a whiny tone. "But, babe..."

"Later." Stern as it is, your voice holds a promise that you'll make good on your word.

Clearly, it's enough to make Gerard listen to you. As he reaches for the doorknob, you give his ass a quick grope.

He makes a quiet sound of surprise before casting a questioning look in your direction.

You smile. "I don't feel like I properly expressed how great it looked earlier."

He rolls his eyes before pushing the trailer door open and stepping back out onto the desert sand.

You give a self-satisfied chuckle as you close the door behind him, opting to utilize the air-conditioned refuge of his trailer for the remainder of the afternoon.

Tonight is going to be fun, you think as you watch him reunite with the crew throught the window.

You'll do your best to drive him wild. It's only fair that he gets a taste of his own medicine.

-

Taglist (Ask to be Included!)

@mysunfishpeedinmyroom @xocasper

[silverysnake]

button tutorial (bc some people on this post said they also want a button like the one i made)

there‘s two options:

option 1: you already have a button lying around that you don‘t use anymore and are willing to sacrifice for this

option 2: you don‘t have a button. in that case you can use a bottle cap (like from a soda or beer bottle) and a safety pin. you can follow the same steps and then glue the safety pin to the back. i used the same fabric glue as i used for the button itself but if you want to speed everything up i would recommend hot glue bc the fabric glue needs a few hours to dry.

*i added a picture of how i placed the safety pin at the end

1. the first thing i do is putting a layer of acrylic paint on it. acrylic paint bc it ‚sticks’ well on even materials and usually covers very well (maybe not white or yellow but you probably get what i mean). i would also recommend using a big brush to get the layer as smooth as possible bc it makes drawing things on top easier. the coat of paint needs to dry completely before you can do the next step, i usually wait a few hours to make sure it‘s fully dry but it doesn‘t actually take THAT long for acrylic paint to dry

2. when the paint is dry i sketch on the design with a soft pencil that is not too sharp, i used a 4b but honestly the softer the better. also don’t put too much pressure even if you use a very soft pencil bc if you press too hard you will just scratch the paint off again (happened to me, it‘s not fun) (you can also skip this step but i like putting a rough sketch on first)

3. i use acrylic marker to properly draw on the design but you can also use regular acrylic paint and a very thin brush or other thin markers, they just need to draw on the paint and cover it properly, whatever you have. also let this dry properly, i usually let it lie for a few hours to make sure i don‘t mess anything up bc it‘s not properly dry yet.

4. to seal it off against rain and scratches and stuff i put waterproof glue on it. i personally use fabric glue but i think any glue that‘s transparent (at least once it‘s dry) and not dissolvable by water should work. i just put a bit on it and spread it out with a tissue, then let it dry. you can also use the glue to get some texture on the buttons, but it shouldn’t be too thick bc then the light might reflect on it too much making the design harder to see (i‘m gonna put another button as an example for that at the bottom). you can also skip this step but i would recommend it so the paint can‘t be damaged, especially when the paint isn‘t waterproof itself

* for option 2: i left the safety pin open bc it made it easier to position and to make sure that no glue gets into the moving parts (that‘s important bc otherwise you won‘t be able to open and close it). just put enough in so the bottom of the safety pin is covered completely and then let it sit till it‘s dry.

here‘s some other buttons i made :) the left has some texture on it like i mentioned above

that‘s all, the concept is pretty easy overall and i hope i explained it in an understandable way. if you have any questions feel free to just ask me and i‘ll try to help :)

[lucalicatteart]

Finally finished my weird hanging painting thing (originally a secondhand partially-done 'paint by numbers' kit that I found at a thrift store and kept to repurpose lol)! Imagery somewhat based in my own worldbuilding projects, and text written in my constructed language for one of my fantasy species, but also vaguely inspired by old tapestries and illuminated manuscripts and etc. I've never been great at neat clean patterning or text, but it looks cool from afar, and I always enjoy making "props" or things that are somewhat like real objects that might could exist in my world. :0

(additional pictures/info under the readmore)

-

Here's what it was originally! I probably didn't have to actually have a river running down the middle because it further makes the composition of the whole thing weird (various connected yet separate locations and things happening, instead of one unified event being portrayed), but I wasn't sure if I'd be able to fully cover up the already existing paint that was there.. and I can also kind of justify it by going with a more "all the imagery is just symbolic so it doesn't have to make exact sense" approach lol.. How is one half of the grass green and the other is suddenly snowy? shhhh.. it's not literal.. shhh...

Made a vague sketch, then painted over it, and then added more distinct lines in black pen. Center image first and border second.

The very last thing was the text, which actually took forever to translate because my conlang is still only like.. partially done, and some of the grammar is not worked out exactly how I would like it to be, so a few sentences I had to think about for a long time before just going "eh, this is probably not how I would do it if I considered it more, but I'll go with it for now" lol . I also am not entirely satisfied with all of the characters for the writing system, but again, it's good enough for a quick project, it doesn't have to be 100% accurate and perfect because it's a fake language that nobody knows anyway lol.

I thought about breaking down the text and translation here like I have for some of the tidbits of Avirrekava (the language) in things I've posted in the past, but I think it would take too long and is not interesting to anyone but me ghghj, so for the sake of getting the post out quickly, I shall not spend an hour typing All That lol.

The general jist of the writing though is that it's just about the Avirre'thel being cast out from the other elves, after abandoning their magic for immortality as a means to truly attain perfection (an important concept in elven culture), the usual, blah blah blah, but how it's Actually A Good Thing, because the gods are wrong and immortality is Cool actually and they like the shitty frozen lands they were sent to, so it's fine that everyone else is being a Hater about it lol

Lastly, here's a few photos outside in the sun to TRY and show the gold detailing actually shimmering or showing up! It really doesn't come through in photos, but there's plenty of little golden spots to highlight light or Importance.

Mostly the fire, the pink sparkle that represents magic, the red drop that represents blood, the light behind Inaashi's hands and head (common symbol for the elven religion/one of their main gods, shout out to anyone who read the ancient elven religion post and recognized that lol), the sun, and the symbol for the Avirre'thel/country of Navyete at the very top. I did a few other gold bits, but they're not highlighted because they're Significant, more just that it looked more symmetrical to have some gold on the border too lol.

Other things of note: The animals are not actually significant to Avirre'thel culture really, I just wanted to put a cat and a bird because I like them lol. (I also wanted to have a few funny looking creatures, as I was slightly trying to go with the 'in some old medieval painting the anatomy and perspective is very weird' vibe, though I think some of the other parts of it look too Normal to pull it off entirely). Same with the four leaf clover, which means nothing in their culture - but these are the only areas where stuff was just added self-indulgently .

Bligabata (giant cabbage that grows along rivers in Navyete) making an appearance! The architecture of the building IS based on actual concepts for ancient elven/older Avirre'thel architecture and metalwork. The Avirre'thel who's turning away from Inaashi/elves/magic and collecting blood, is doing so in a Special Bowl, as is part of their culture (collecting it in the hands, or just in a normal vessel would be disrespectful, they have Specific Bowls which is the only thing blood can be kept in, etc.).

The figure that represents Jhevona (and thus, a closer connection to magic, celestial imagery, etc.) is in weird ugly teal, which is not necessarily a color or design associated with them, as I don't have much common culture (like clothing) worked out for Northern Jhevona (who the avirre'thel would have come into contact with) yet, BUT everyone else is in more Typical colors (a northern elf in green, Inaashi in lavender + white + blue, an Avirre'thel in darker purples and reds).

Some things, like the four figures in the corners, and the two people + fish in the stream, do not currently have a meaning, but in-world they would.. Like, I could make up lore for how they're culturally significant and it would be true because I am god of the world, but I don't have anything currently. But just know.. they DO mean something, I just haven't decided it yet, maybe kind of fill in as I go, come up with a meaning later lol. Probably along the lines of an old myth from the ancient elven religion, a story, etc.

-

I don't know, probably other stuff, but that's my Trying To Keep It Short rambling for now lol. I'm just glad I finally finished this! For how vaguely sloppy it is up close (everything being completely freehanded, only used rulers once when doing the initial sketch and lining where the border should be + my hands are shaky + the canvas is bumpy + my handwriting is scratchy and terrible + etc. etc.) it still took a REALLY long time, even when not trying to make it all perfect. Especially if including the text translation + writing, which took like 3+ hours itself.

Maybe all the asymmetry/lack of things being centered is NOT because I was too lazy to measure anything, but is actually because in-universe, it's a practice illustration made by some young apprentice who has to work on little canvases for years before he can be trusted will a full sized mural or tapestry. It's his first week on the job! of course he's uncoordinated! don't laugh at him!!! lol

[v2is-baby]

Not sure if you've been asked this before, so don't feel like you have to answer if you have, but how long does it usually take you to draw? Can range from sketches to lined to full-piece, whatever. Just thought it'd be something cool to know..

it really depends on the complexity!

I have the process of this one I did for muzzleroars:

(first pic) This sketch took almost 1 hour, the pose is complicated and I really wanted to exaggerate it but not in a cartoon way but in a renaissance art style way.

(second pic) At this point this took me 3 hours. This is what i've done with the colors given by muzzleroars' art pieces and some colors I went for myself to add a personal touch. (no shading so far)

(first pic) Figuring out shading fuck yeah, lighting and color tweaking on photoshop, approx 5 hours. I'd say this was the most time consuming part of the whole piece because I really wanted to appeal the artist that designed this fallen Gabriel. So I was experimental.

(second pic) And this is the final result.

I'd say that my art is very time consuming overall, I put way too much detail to things I shouldn't maybe. I spend between 3 - 12 hours.

One of my most ambitious pieces took me 2 weeks iirc. (but that was under contract. Several character sheets because thats what I do!! I am a concept artist, not so good at illustrations fuk)

Another one! between sketch to line art! 2 hours!

[crimeronan]

hi!! sorry if this has been asked before but i wanted to know if u had a specific editing process? ive read before that u edited ur fics for 6-8 hours and wanted to know what those hours consisted of, technically speaking, if its not too much trouble!!

hello!!

this is a really good question. i want to do it justice but breaking down every single detail of my editing process would take a VEEEERY long time. so i'll give more of an overview

some fics have a Much more involved editing process than others. so i can walk you through what both "processes" look like, step-wise. my most involved process produces the best work but is also the most time-consuming and exhausting.

to start, though: you gotta understand my first draft process. because whenever i tell other writers about how i draft, their responses range from "that's insane" to "that's so smart" to "that's insane. again."

i don't reread anything when i draft.

and i mean Anything. i don't reread a single sentence. i don't reread my phrasing as i'm writing it. i don't even check to make sure that my sentences make sense.

i just write out the entire story as i'm hearing / imagining it in my head. whatever moments, beats, dialogue, Whatever is most important to me. i don't edit as i go, i don't look back. if i can't think of details or lose my flow, i put [add X here] and keep going.

i usually have a bullet-point outline before i draft -- that's my scribbled concept sketch. my first draft is the equivalent to the slightly less scribbly concept sketch. it takes a MAXIMUM of one-third of my entire writing time.

the other two-thirds (or more!) are editing.

so basically. editing is where i reread what i wrote, identify weak spots and pacing issues, revise my dialogue, improve my metaphors, bulk up my imagery..... it's like doing all of the painstaking lining and coloring and shading of a very involved art project.

with my Most involved editing process, i open a new document beside the first draft. i write an entire second draft from scratch, using my first document as reference. that lets me keep all the important beats, rearrange stuff, go more in-depth with detail, etc. THEN i reread that second draft and do all of my fussing.

with my less involved editing process, i just reread and edit the first draft instead of creating an entire second draft. i also do fewer editing passes.

(the involved process includes editing the whole document once, putting it down for a few hours, then starting over from the beginning and editing the Edited Version all over again.)

it might be easier for me to show you the differences in fic quality, for you to get a sense of how the editing process affects things.... rather than trying to describe exactly what i look for / change / do / etc.

so. here's three recent (ish) toh fics

humans are friends. AND food - no editing.

why did love put a gun in my hand (and all other parts of this series) - basic first draft editing.

what we are is the sum of a thousand lies - 2 to 3 full drafts per chapter, 3 to 5 editing passes per chapter, ~30,000 words of outtakes beyond that.

with that vampire AU fic (#1), you can see that it's short, it's quick, it's silly and fun. it's not emotionally deep. it doesn't make much sense. it's very clearly based on Vibes instead of a fully considered story.

the princess luz fic (#2) is Significantly more involved. the increased detail here is partially because this is a horror series instead of a stupid humor romp, but the principle is the same.

all of luz's internal narration about her fear, the pacing of her interactions and confrontations with belos n hunter alike, the ugly body horror and the way she comforted the dying grimwalker... that's all from the editing process. the bare bones were there in my first draft, but my edits were where i got to make things Effective.

basically, i wrote the horror story the way i saw it in my mind. and then during the edit, i could ask questions like - what would make this worse? what is she really afraid of? what is the most LUZ reaction that she could have in this situation? what's the most effective way to show the differences between this luz and canon luz, and the similarities? etc etc etc. all those little details!

then you have wwaitsoatl. which is by Far the most energy-intensive fic i've ever written. that's part of why updates are so sporadic despite there being well over a thousand subscribers at the moment (FAR more than any of my other fics have ever had).

the reason that this fic requires so many drafts and editing passes is because of the sheer complexity of the characterization. the plot is pretty generic, as toh fics go - hunter gets kidnapped away from the castle and learns how to be loved, this fic has been written 100000 times before in 100000 different ways by 100000 different authors.

BUT. every single one of the four narrators in this particular story is unreliable in different ways. every single one has different priorities, motivations, baggage, feelings, levels of emotional intelligence. all four of them are in massive conflict with one another.

the conflicts Between the characters are similarly complicated, so i have to spend a LOOOONG time on all of the dialogue & interactions. these guys do a LOT of projecting, and arguing, and talking at cross-purposes, and making incorrect assumptions, and lying, and obfuscating, and on and on and on. clear communication is basically impossible.

the internal narration also requires a similar level of care. hunter and darius in particular have incredibly challenging POVs to write because all of their narration is tied up in denial, self-delusion, and facades.

hunter's nightmares, cognitive dissonance, and slow breakdowns take Hours And Hours And Hours to get right. same goes for darius's feelings and the things he says and the things he Doesn't say. i literally study every single individual sentence and rewrite it like 15 times, then study every individual paragraph and rewrite and rearrange them like 15 times. and if a scene isn't working, i cut it entirely, even when that adds up to 30,000 words of outtakes.

it's my most ambitious fic by a longshot and i'm confident in saying it's my best work to date. but hoo boy, it is WORK.

so. that's my editing process, basically! and how my editing process changes my final product.

[kx0e]

RAHHHH TYSM FOR ASNWERING MY PREVIOUS QUESTION!

So. I had 3 problems-

1. Constant study but no results

>I make sure I atleast spend 2 hours atleast twice a week doing full body or partial body sketches with references (from lineofaction🔥), and have been since 2021, but going from barely any art ability to now, all i've managed to do is drawing things from the neck up☠️ No matter how many different kinds of faces or perspectives i try its always the 3/4 side view. And i can barely even draw a recognizable jawline😭 (but then on any whiteboard or public art thing its as if the spirit of a medieval master artist possesses me)

2. motivation

>how on this earth do you stay motivated to draw your favorite fandoms😭 theres tons of shows i LOVE or games that I adore, whos characters i literally am obsessed with, but once i pick up a pencil its as if I've never seen them in my entire life💀

3. I know youre not really an oc artist (understandable, if I had the ability to draw genshin and/or persona characters forever, i WOULD.) But if you do have any, is there any specific place you got inspo from? a lot of art advice i see is to turn an object or concept into a character of some sort, but no matter where I look, and how inspiring it is, as previously stated, all traces of muscle memory delete themselves the second i pick up a pencil☠️

Have a nice day, Im really bad at explaining i apologize, and TYSM for hearing me out💖

long reply

1 - maybe doing some theory rather than drawing could help you, if you study the human skeleton and muscle you might understand more how the body works and therefore how it must look in different poses (read MORPHO). Other advice is to trace your references with basic shapes and landmark (just a cube and a cross for the face) and then do your study, you can also do quick studies focusing on only one part of the body but draw it under all angles (the thing is to not rush, if you have trouble drawing the face as a whole, draw all the element separated and add them little by little)

2 - this honestly depends on the person, im someone who loves fandom art but i have zero OCs because im not interested, dont force yourself to draw things you dont want too it usually ends up looking bad anyway !

3 - i do look at objects first when doing character design, but i also like to look at plants or in fashion history books. Most of the time i first do a global search on pinterest to find the general idea and then go to more specific sites depending on what im going for

i think you should take your time and draw only when you're in the mood for it, when you feel motivated pick up a pen and DONT THINK just draw whatever

remember art takes time, patience and a lot of practice, dont force yourself and draw for yourself first ^^

[tellthemeerkatsitsfine]

I was listening to some real people comedians (as in, local comedians whom I have met in real life, and can therefore not be considered to have in any way “made it” in comedy, because if they had then they would not be hanging out around me) talk the other day, and they were discussing the concept of “laughs per minute”, and whether it’s a bullshit way to judge comedy. Which I think it usually is, depending on the context. In a really short club set, it probably does matter a lot because you don’t have time to do more than that. In a Stewart Lee Edinburgh hour, he can go 35 minutes setting something up and everyone will just trust that the punchline at the end will be worth it.

Anyway, it got me thinking about the concept, and how I judge comedy in lots of different ways, and what has made me laugh the most – both in terms of most laughs per minute and hardest laughs overall – is not exactly the same as my favourite comedy shows ever. But anything that manages any kind of notable laughs per minute rating is impressive, because lots of shows I really like never clear that bar. If we define a “laugh” as something outwardly expressed and audible, more than just a smile and a nose exhale, then it doesn’t actually happen all that often. I’ll consider a show very successful if it gets me to do that just a few times across an hour.

So I’ve tried to think of what comedy shows have successfully gotten more than that, have made me properly laugh out loud really consistently for their entire runtime (whether that’s an hour or 15 minutes, though obviously it’s more impressive if they can sustain it for longer). If I’m thinking about this across my whole life, I have to take into account the fact that everything’s funnier when you’re a kid, you haven’t already seen every obvious joke so nothing is hack or overdone. I remember the shows I was into as a kid (ages 7 to 14 or so, I think) as the funniest things in the entire world, I used to watch every episode over and over and over. The main ones on rotation being Flying Circus, Blackadder, Fawlty Towers, Mr. Bean, Ripping Yarns, Yes Minister, M*A*S*H, and Cheers.

Now, at 33, I can understand why it’s annoying to have the parrot sketch memorized – because it’s been quoted so often than at this point repeating it is almost like, for example, trying to sell someone something that's long dead and nailed to a perch. At nine, I could recite every word in it, over and over for hours, and it never stopped being funny. As an adult, I’m still pretty sure Blackadder was a work of genius, but I don’t think I’ll ever again find anything as funny as I found Hugh Laurie’s acting power stance when I was eleven years old. I used to wake up at 5:30 AM to watch a few episodes of whatever show I was re-watching at the moment (my list of shows on rotation was heavily determined by what was in my parents’ DVD boxset collection), until I could mouth along to all the lines but they never got less funny.

I did re-watch every episode of all those British shows in 2020 (so everything but M*A*S*H and Cheers, though I’ve rewatched a few episodes of both those recently as well) to see how they held up, and while they didn’t make me cry with laughter the way I did as a kid, I still thought almost all of them were very good. And by “almost all of them”, I mean… look, I think Mr. Bean is just meant to be a kids’ show. I loved it when I first watched it, because that shit’s hilarious when you’re a kid. As an adult, it looked like a kid’s show with a few genuinely funny moments. The turkey on the head is still funny. Playing with the toy Daleks in the Christmas store is still funny. My family still watches the Christmas special every year on that holiday. The rest of it we can probably leave behind.

Anyway, the point is that you can’t count that because I was a kid. Then I think of my favourite comedy shows that I got into as a teenager. Major ones to come to mind are The Thick of It, 30 Rock, Parks and Rec, Community, Arrested Development, Flight of the Conchords, Freaks and Geeks. My favourite comedy shows of my twenties: Bojack Horseman, Veep, Archer, Brooklyn Nine Nine, The Good Place, Crazy Ex-Girlfriend, Portlandia, Broad City, Party Down, Bob’s Burgers. I supposed I should add a mention of my mixed and up-and-down longterm relationship with South Park.

I remember a lot of things I’ve loved about those shows besides pure laughs per minute – the characters, the ideas, the atmosphere. I’d go back to certain shows over and over just because I liked the way it made me feel to spend time in the world they created. But for pure, really hard, out-loud laughs? Looking at that list, I think the ones to get the most of those out of me were The Thick of It, Veep, 30 Rock, Arrested Development, and maybe when they were at their best, Portlandia, Archer, and Community could do it. But not all the time. There isn’t really that long a list of comedies that have consistently made me laugh really hard once I wasn’t a kid anymore.

Anyway, that isn’t actually what I was thinking about that made me decide to write this post. The conversation I heard from local comedians, about laughs per minute, made me think of what has done that to me in my thirties, the few years since COVID occurred and I decided to not do anything except British comedy. I have seen and heard and read so much comedy in the last few years, and I have really really loved quite a lot of it. So I was surprised when I realized that I think, if you judge it entirely by out-loud laughs per minute, there aren’t a huge number that come to mind as consistently providing a high rate of those.

In terms of full-length stand-up hours, I think there might still be no one who’s gotten more proper laughs per minute out of me than Rhod Gilbert. All four of his DVD shows are incredible – I think I’d say the first one (The Award Winning Mince Pie) is my favourite, though I might just have a soft spot for the first one I saw, when I first had my eyes opened to that captivating style.

I hesitate a little to comment on his health from the perspective of how much I love his comedy specials, because I don’t want to make something as serious as a person’s life or death about whether I’ll get to hear more comedy specials (I feel the same way about Mark Steel’s current situation – I did make a post a while ago in which I said he has to recover for the sake of Radio Four, but obviously, he has to recover for the sake of himself and his family, even his annoying son, I wish them all the best and it’s not about the comedy fans). But for everyone’s sake, mainly his, God am I ever glad he’s back and by all accounts okay. He’s said he was diagnosed with cancer the day after he recorded his latest special, and you can really tell in that video that he was being slowed down and struggled to match his usual frantic energy levels, but it was still brilliant.

Anyway, I think Rhod Gilbert still wins at laughs per minute from me in stand-up. Proper laughter. Laughing so hard I can’t breathe and have to pause the video so I don’t miss the next bit and end up with tears in my eyes and my throat and stomach hurt. I think Rhod Gilbert has done that to me the most. I’ve tried to think of whose stand-up material might do that to me the second most, and I’m slightly annoyed that I think the main two names that come to mind are Sam Campbell and Nish Kumar. Slightly annoyed because when I look at those two names alongside Rhod Gilbert… okay, is it possible that I might just like being shouted at?

I’m now trying to think of a non-shouty comic who’s done that to me. Kitson, obviously. I think my favourite stand-up hour ever is Daniel Kitson’s Where Once Was Wonder, which is fucking incredible for its ability to get every single aspect right. Brilliant on an emotional level, hitting multiple themes and topics that all have deep emotional resonance and saying original and significant things about them. Brilliant on an intellectual level – every time I listen to it I marvel at the number of layers in its structure, how its conceit of being full of contradictions is embedded in almost every line, how I catch more each time and he points lots of them out but throws even more away. And crucially, brilliant on a humour level. It is consistently, all the way through, hilarious. He probably never goes ten minutes without at least one bit that makes my whole body seize up from laughter until I can’t breathe right.

But honestly, most of the Kitson things that have gotten the highest laugh per minute out of me were not the intricately written shows. I wince at how much he would hate this, but probably, at laughs per minute from me, some of his 2007-2008 Graveyard Triple R radio shows beat some of his best proper stand-up shows. Same with some of his WIP/pre-WIP just messing around shows. There’s some audio footage of a 2007 Late ‘n’ Live night where Daniel Kitson and Andy Zaltzman do an incredibly stupid sketch that has put tears of laughter in my eyes. If you want to know what level of humour we're talking about, that sketch contains the line "That was three ladies booing my dick because it chose the wrong member of We Are Klang to fuck" (which it did, by the way, by which I mean Andy Zaltzman chose wrong while portraying the role of Daniel Kitson's penis, but not for the reasons that this Greg Davies-fancying website would expect, if you'd heard the Triple R shows with Steve Hall you'd understand. He then went on to choose the wrong member of Pappy's Fun Club, what does Andy Zaltzman know about the most attractive members of the most successful British fringe comedy sketch groups of 2007?). It's definitely not better than properly written Kitson shows, or Zaltzman shows, for that matter. But it might have made me laugh out loud more times.

I think It’s the Fireworks Talking is one of the best pieces of performance ever written, but recordings I’ve heard of that have probably made me laugh fewer times than a recording I’ve heard from the Melbourne Festival of when he finished performing It’s the Fireworks Talking and then went into a radio studio to talk shit with David and Claudia O’Doherty all night. Or than the Zaltzman/Kitson penis sketch, put together with everything else from that Late 'n' Live recording.

I know I’m not saying anything new here; I’m hardly the first person to point out that Daniel Kitson is absolutely fucking hilarious when he’s messing around with no script. Lots of people have pointed it out before me, and he has clearly heard those people point it out, as he’s often mentioned that it annoys him, and understandably so. What’s the point of working so hard on proper shows if people just like your unplanned stuff better?

But I don’t think I actually like that stuff better. I don’t think his radio shows are better than It’s the Fireworks Talking (I sort of don’t think penicillin is better than It’s the Fireworks Talking). And this is where I come back to the fact that laughs per minute are not the best way to judge a show (I’d like to clarify at this point that It’s the Fireworks Talking did have quite a high laughs per minute rate out of me, just not as high as Kitson and some O’Doherties getting weirdly competitive about indie music at 3 AM).

Anyway. I think Sam Campbell recently became the first person to make me laugh so hard that I had tears in my eyes, from hearing something that was performed in 2023. He did that with some of his recent stand-up. On Taskmaster he has, more than once, made me laugh loud enough to cause a cat to run across the room (I’m currently catsitting and one of the cats gets easily spooked by sudden noise, so whether I make her jump is a good gauge of whether something’s made me laugh out loud). But only his stand-up has actually made me cry.

I’ve been lucky enough to get to hear quite a bit of recent stand-up in the last couple of months. I’ve really liked a lot of it, but I’m now trying to think of how much of it has actually made me consistently laugh out loud, which is several steps beyond just being funny. I think the only people who’ve done that are Sam Campbell, Olga Koch, Nish Kumar, Greg Larsen, Sarah Keyworth, and Fern Brady. Which actually isn’t that short a list, but it’s a shorter list than the list of comedians I’ve enjoyed at all in the last couple of months.

Anyway, I didn’t start writing this post because of stand-up. I started writing this post because of a conversation I heard some comedians have the other day, but I started thinking of that conversation, and decided I wanted to write a post about that conversation, because I was re-watching some No More Jockeys today. And fucking hell, I have to say, this is supporting the theory that laughs per minute can come so much from unscripted shows that it could justifiably make comedians despair as they wonder what the point is of honing their craft. I’ve listened to a bunch of Tim Key’s properly written stuff in the last few days (went on a bit of a binge of his radio show and some of his old stand-up), absolutely loved it, it’s intelligent and funny and very well written stuff, but it still didn’t make me laugh out loud quite as hard as No More Jockeys does. Almost nothing makes me laugh out loud quite as hard as No More Jockeys does.

I tried to think of some non-stand-up thing that makes me laugh as hard/loud/often as No More Jockeys. The Bugle has managed it, at its best. I've only heard a few episodes of Pappy's Fun Club, but that's done it at times. Catsdown at its best has accomplished it.

The main thing I can think of that's done it really consistently is Taskmaster, but even that probably loses to NMJ at laughs per minute. It’s up there, though. Beats a lot of scripted sitcoms at it, including some really good scripted sitcoms. So from Taskmaster and No More Jockeys, you get the laughs, and the fun of getting emotionally invested in following a competitive game. Why are people still bothering to craft well written sitcom worlds?

This post has been massively disjointed, I think I've hit about six different topics since I've started, somehow including who's the most attractive member of Pappy's Fun Club. I finally have a weekend to myself and have decided I feel like writing things again, and it's started with this. I don't think there was any point to it. All I was really trying to say is I can't believe how fucking funny No More Jockeys is.

Mark Watson desperately, pleadingly trying to argue with Alex Horne about whether Donald Duck has been to prison – I'm sorry but I don't think Rowan Atkinson has done anything funnier than that in his entire life. He's done lots of things that are better than that. But not that can make me laugh harder than that while I'm over the age of 30.

[ravenwolf1132]

EMERGENCY COMMISSIONS!!!

Alright guys! You like my art? You want some for your own? Well, today's your lucky day!

I'm starting commissions!

I really need your help. I need to start doing commissions between finding a new job and my current one that pays Jack Shit™. As it is already, I'm struggling to make my part of the rent, not including utilities. 

So without further adieu~

(It was difficult to find pieces I was actually proud of.)

Things I will do:

Dungeons and Dragons (Player characters, scenes you want immortalized, concepts, you name it. I just need the details of what you want)

Fan Art

Transformers 

Jojo

Steven Universe 

The Owl House

My Hero Academia

Etc. (these are all Fandoms I'm a part of)

OCs (Once again, you need to provide details, how tall/old they are, hair color, eye color, skin color, etc.) - Including Furry Art

Various P/0rn* (I will veto anything that squicks me out) - Best to keep it Vanilla, but what I will allow is;

Bondage (Leather, Shibari, Machines, Etc. )

Double-penetration

Tentacles

Breeding 

Anything else will have to be negotiated

*I warn you, while I’m willing to do p/0rn, I don’t draw it very often. If at all. Quality and Time may vary (In other words; this option will most likely get expensive. If you have the money and patience, go for it)

What I will NOT do:

Various p/0rn

R/ape/non-con (dub-con is on thin fucking ice so its best to just not)

Watersports/Scat/Farting (no kink-shaming, but I have to be in a VERY specific mood to even remotely enjoy watersports alone. If that’s your thing, you do you, boo, but for me… ew.)

Anything with feet being the focus (can't draw feet, especially in the detail most of these clients want)

Zoo-philia (furry art is ok because the characters are perceived to be sentient and of age)

NO PEDO - I will fucking report you

Landscapes, Cityscapes, Room Design, Machines/Mecha - This type of art is difficult for me and not one I have a lot of confidence in. If this is the art you’re looking for, I suggest looking for someone specializing in Landscape Art. Because I assure you, it will not be as good as you think and you will most likely be wasting your money on me. If you have the money to spare, don’t mind a long wait or the quality, and would like to humor me, then by all means go for it. (Transformers gets a pass because I’m in that fandom)

Prices:

$10 initial labor cost and $10 per every extra hour standard - this is how much I make at my current job and, as you can see, that ain't enough! So yes, this charge is non-negotiable. 

10% p/0rn charge of the total price - I don't usually draw p/0rn. Period.

50% of the total price for each additional character

There will be a down payment upfront at half the estimated value of the piece, adjustments can be negotiated upon full payment.

We can negotiate prices based on my schedule and your budget. This means the longer I take to make the piece might not affect the price as I am only charging by hour not day. BE WARNED: the quality of the art piece may vary. This is the first time I'm doing commissions. 

Sketch

Bust: $5

Half-body: $10

Full body: $15

Lineart

Bust: $10

Half-body: $15

Full body: $20

Flat color

Bust: $15

Half-body: $20

Full body: $30

Full color 

Bust: $20

Half-body: $35

Full-body: $50

How to contact me:

Email: rw1132com@gmail.com <- This Email will ONLY be used for commissions. Anything else will be deleted.

Yes, you may use Tumblr. I will redirect to my email for further communication, but if you would like to message me or send in an ask, feel free.

Payment Options* - I will send a link through email when payment is due, please select the payment method you will be using

Zelle

Cashapp

Venmo

PayPal

*For now, Zelle and Cashapp are my main forms of payment options, but I'm open to others as well.

[bluheaven-adw]

Hi ive seen your art while scrolling through the trollhunters tag and i really need to ask because this is kinda weirding me out...

Is your art a result of you drawing so closely to the show it looks like the 3d models or a bad edit of the 3d models..

Because for me it looks like both and i cant tell which one it is and it confuses me each time i see your art

🤔

Honestly, this has kind of thrown me for a loop and I'm still not sure how to take this? But I'm going to take it as a compliment. And, for those interested, y'all are getting a bit if history after the jump.

Short answer: It's the first one. I draw very close to the show. It's all my drawing. I love Jim's design and strive to get as close as possible to how he looks in the show. I'm a technical realist most of the time. I also have years and years of experience in a lot of different types of art and mediums. So for fun I thought I'd do a screen grab from my current WIP while I do a little bit of quick and dirty work. I've clicked through some of the various layers, sketch, lines, finished layers... and then my ugly process for all to see lol. I'm self taught in procreate.... I have no idea what I'm doing. Usually I'd spend way more time on things.... but that would be a long ass video. A lot of my current work takes weeks. The one of Blinky reading to sleeping Jim has over 65 hours in it, and the Masquerade Ball is close to 80.

Long answer!! All of my art is my own (with the exception of one borrowed art work, which was given credit), drawn by me from ugly concept sketch (that sometimes looks vaguely like our characters.... and sometimes just circles and triangles) to polished sketch, to final line work and then color and rendering. I'm self taught, but also have some fine art background... and some in CAD and graphics and when I first started college it was with the goal of automotive design, so I'm more of a technical artist than what most people are used to. I have a background in Copics and my color and blending from those bled over into Procreate. I have medication induced aphantasia, so a lot of times need references. I've been doing sketches of Jim every night for almost a year now. There's a few speed sketch vids on my instagram (same username). I do have photoshop, but the extent of my editing skills is photoshopping aftermarket wheels on my car to find ones I liked, and it's been an ungodly long time since I've done that. I mostly have it because, prior to disability, I spent a lot of time as a photographer shooting landscapes and such, and shooting In infrared.... but I haven't touched a camera or photoshop since...... 2017? I don't even remember how to use it for the most part. Photoshop is not like riding a bike.

Trollhunters and especially Jim, are my comfort show. Helped me through some bad times... and then RotT happened basically right when I had a major surgery, and the combo really messed me up. I started sketching Jim as a way to heal from both... and well, it was all downhill from there 😂

That's probably way more of an answer than you were looking for!

[aculka-the-shark]

I don’t usually vent about things like, but today it is a venting day or something bc I have a lot of thoughts in my head and I need to get them out there so they won’t bother me as much.

So, there is this artwork that is just a nightmare for me for some reason. I made the original sketch back in the July and it was kinda messy from the start, I fiddled with it for weeks trying to make it look somewhat appealing and when it looked somewhat okay I completely abandoned it and remembered about it being out there only two months and one artstyle change later. I’ve found it, adjusted it some more, made a clean sketch over it, started line and then I kinda felt like I’m getting into something with too big of a scale for me, mid line I felt like taking a long breaks and something that I would normally finish in two to three hours took two days and a lot of frustration.  Why I even bothered up with this sketch and concept that clearly stressed me out? Well, you see, I kinda hate myself and make worst of decisions sometimes. I planned to post it on 25th, but as you can see the only thing I posted on 25 were cool pictures of grass. Idk what is my problem here, I had no problem with drawing two or more characters before this. But whenever I get back to this project in particular I just get instantly tired. I have no clue why it is, what part in the equation is different, but honestly it feels like an anomaly of sorts. Meanwhile I feel like starting drawing anything new would only make it worse (ppl who gave me requests I feel you I hear you).

[thebandcampdiaries]

Marco Angelo - The Hooded Guitarist presents: Green Hill Zone (Sonic the Hedgehog Theme)

Marco Angelo - The Hooded Guitarist, has recently released a stunning new rendition of the theme song for Green Hill Zone from the iconic game “Sonic the Hedgehog.”

The original version of the soundtrack needs no introduction to video game enthusiasts, and even casual aficionados might be familiar with it. After all, Sonic is not only one of the most iconic video game characters but also one of the most beloved franchises of all time! This cover stays true to the exciting vibe of the original, but it also brings many new, unique elements to the table, especially with its heavy rock twist. Marco Angelo - The Hooded Guitarist has a very distinctive approach to sound design, and his creative choices are really interesting and relevant to the concept of this release, maintaining the melodic sheen of the original theme but also adding a rock and metal influence to the composition.

The song actually features 3 excellent musicians. Marco Angelo is a great guitar player who really stands out, because his incredible leads and ability to play in a technical, but expressive way. Carl Anthony Lorenz provided keyboards and he is also a gifted sound engineer, who helped bring the whole vision to life with his mixing prowess and audio knowledge.

Last but not least, Alixx handled the rhythm section, providing so much impact and groove. The three were able to create something special here, and the sound is very diverse, with so many different ideas and spot-on sound design elements, spicing things up. Even if you do not know the original, this track still stands out as an amazing piece of music that is worth listening to, especially if you also like rock and metal music, as well as articulate guitar leads!

This release is highly recommended to people who enjoy the original theme song, but not only! It will appeal to all fans of great scores, composers, and video game music in particular. Marco Angelo - The Hooded Guitarist, is a very imaginative and technically accomplished guitar player who brought so much creativity to the table with this release. His commitment to creating quality music really shows, especially with such amazing production value.

Find out more about Marco Angelo - The Hooded Guitarist and do not miss out on Green Hill Zone fro Sonic the Hedgehog!

🎸 Follow Marco Angelo - The Hooded Guitarist

𝕏 https://twitter.com/marcoangelorock

📘 https://www.facebook.com/marcoangelomusic

📸 https://www.instagram.com/marcoangelomusic

🌏 http://www.marcoangelomusic.com

We also had the opportunity to ask the artist a few questions. Keep reading for more!

What inspired you to create a rendition of the Green Hill Zone theme from Sonic the Hedgehog?

Hi Andrew! I have always been passionate about video games since I was little. Sonic is one of the titles that gave me many hours of enjoyment. The idea of creating a tribute to Sonic came to me after seeing his latest film, which was released in cinemas in 2022. I liked it so much that I dedicated one of my guitar solos to him.

Could you walk us through your creative process in reimagining such an iconic video game soundtrack?

I don't always have a precise plan. I usually try to listen to the original version very thoroughly. Then, I try to develop an alternative sound in my mind and start humming it. Only afterward do I pick up the guitar and start sketching out the first riffs. After the rhythm part, I started writing the guitar solos. This part can take a long time because I have the habit of taking care of every detail. In the end, I relate to my musicians to define the final sound of the product. Carl Anthony Lorenz and Alixx are two fantastic people and excellent musicians. I am so proud of them.

How did you approach maintaining the original melody while adding your own unique elements?

Can you tell us about your approach to playing and how you balanced technical proficiency with expressive delivery in this track? It is very important to analyze the original version well and understand what and where changes can be made. The final result must express character and personality without distorting the original composition. The same goes for the guitar solos: in this song, there are specific points where you can express your creativity to the fullest , while in others, it is crucial to stay on the original theme. Analyzing the composition in depth is absolutely crucial to understanding the type of change that can be achieved.

What were some of the key sound design choices you made, and how do you feel they enhance the listening experience?

My choice was to obtain a rhythmic sound that can be defined as modern. At the same time I obtain solo guitars with a much more 80s style but which can fit optimally into the composition. All this to try to obtain a product that can be outstanding out as much as possible.

While fans of the original Sonic theme will undoubtedly appreciate your rendition, what do you think sets your version apart and makes it appealing to a broader audience?

We recently revisited the soundtrack of the Dragon Ball Z anime and realized that it was appreciated by a larger audience than we could have expected. I always try to offer a product that can try to stand out in today's tough market. The hope is always that one's efforts will be rewarded by the listeners who have given me huge happiness throughout these years.

[a-weird-cryptid]

Chapter four: Passion/Motivation

I acknowledge that passion and motivation are two different things. But they really go hand in hand. Being passionate about art for me means that you're really enjoying art as a concept and you have a strong desire to create some yourself. Motivation though, is one factors that can keep you from actually doing something and it can make it really difficult to get a passion or keep it.

I'm not saying that you necessarily have to be passionate about your work as an artist. But you must admit that there's a huge difference between people who just do quick sketches and doodles without thinking much or caring much about it and those who spend hours in "flow" because of how passionate they are.

"Flow" being a state that many of us probably experienced before without even realizing it. It's the kind of feeling that makes you forget about your surroundings, completely emersed in what you're doing. It makes you feel extremely energized, motivated and focused, as well as fully involved and passionate about the task you're doing. Personally, I see it as the best feeling in the world. Especially because how productive you get once you're in that state.

I already mentioned some things before, such as not dragging yourself down and taking some breaks.

So what can you do as an artist who can't find the motivation to draw? As an artist who struggles a lot with mental health and finding motivation to do literally anything, I found a few things to cope in a healthy way with it.

Advice:

Another thing I should add here is that you should always do things at your own paste. If you need more time to learn how to draw something than others, that's alright. No artist has been born as such. They all overcame at least some of those "art obstacles" in order to get to where they are. Every artists basically starts from zero. Slowly building their way up.

It's alright to set yourself some small goals and things you want to achieve. In fact, for some this will be extremely motivating. But for others, this will only make it harder to actually do them.

When I'm in that situation, I'll try to focus on something else first, before getting back to the drawing I'm working on. If I realized that drawing something makes me only frustrated, I'll try out something else instead.

You can also try to give yourself some small rewards for everything you've achieved that day. Including, but not limited to drawing something. Did you doodle something small today? That great! Have a treat! Especially if it's something you really like such as chocolate. Because over time, you'll associate drawing with something joyful such as the thing you reward yourself with.

Get as comfortable as possible. Change your clothes, if must. Play music in the background, if you like. Draw on a place you always feel safe and comfortable in, such as your bed or a cozy couch. Set the light bright enough so you can see what you're doing without difficulties, but dimmed enough so it doesn't blind you. Make yourself some tea or coffee and place some snacks near you. Light some candles and turn on some fairy lights to get in the mood. Those are just some of the things that I really like to do to make it easier to motivate myself.

Looking up some motivational or inspirational videos and pictures can also help a lot to find the motivation and eventually passion you want to have.

Or, similar to that, you can also try to comfort you with something you enjoy. Like listening to music, watching your fav show, meeting your friends, talking to your family, etc.

And most importantly:

If nothing else helps always ask for help. It's ok to have a bad day in which you don't feel motivated to do any of your hobbies, including drawing. Even if they usually make you feel joy. But if you realize that, even if you do them, you can't enjoy them for whatever reason and it becomes harder and harder to motivate yourself to do anything, for an extremely long time, I'd recommend talking to relatives, friends or even a doctor. A mental health professional, to be more precise. It might be that you struggle so much to motivate yourself because of some underlying issue. Such as stress, grief, anxiety, depression or similar. In those cases, asking for the help that you deserve is the best next step you can and should do, as soon as possible.

Your mental health matters. And so do you. Always remember that you're not alone and they're countless of other people struggling to motivate themselves to do something as well.

And you should never feel ashamed of not wanting to go through such struggles by yourself, wanting to have somebody by your side and/or getting support.

You deserve to get help. You deserve to reach out for it. You deserve to ask for it.

You deserve happiness. You deserve to be safe and alright. You deserve to be emotional and rant about the things that are bothering you. You deserve so much more than being afraid, ashamed and feeling depressed. You deserve to be loved and comforted.

And you deserve to get motivated and passionate again.

If anyone wants to talk about something that is bothering them, I'm always open to listen and give some advice, if you want. I enjoy helping people and if it makes you feel better, I will feel so too. Because I care about you. And I know that you're a great person who deserves to life and take up space.

And maybe, just maybe, you'll be just as motivated and passionate about drawing as you were before in the end.

Feel free to add anything based of your own experience and struggles. I'd love to hear your thoughts.

Summary:

Don't drag yourself down

Take breaks

Always do things at your own paste

Set yourself some small goals

Focus on something else first, before getting back to the drawing

Try to give yourself some small rewards

Get as comfortable as possible

Look up some motivational or inspirational videos and pictures

try to comfort you with something you enjoy

If nothing else helps: always ask for help, because you deserve better

Introduction

Chapter 1: Practice

Chapter 2: Time

Chapter 3: Inspiration

For more original series, as well as reviews, discussions and similar, check out my master list of series.

[ruvviks]

What's the shortest amount of time you've taken to be happy with a drawing, and what's the longest you've ever spent on a piece?

ohh interesting question!! i draw insanely fast (it became a meme at my internship last year LMFAOO) and i usually don't really keep track of like, how long i take with drawings so i'd say i've spent about an hour or two on most of the pieces you can find on my blog! i am pretty easily satisfied as well so i usually don't need to do a lot of revisions, usually when a sketch already goes wrong i just leave it in my drafts for another time and start on something different in the meantime LOL

the longest i've ever spent on a piece... oof... i think i worked on a painting for one of my dnd ocs which took me several days to finish, but that was also a one-time thing LOL never doing that again <3 other than that i have some environmental pieces and some schoolwork pieces (concept art and render targets and stuff) that have taken me Several Days which is also why i tend to like. not spend too long on my oc drawings and stuff?? because i like drawing as a hobby as well and i like to still kind of separate my more professional work from my personal stuff to keep it fun for myself :D