#I do have a lot more digital experience now when I didn't at that time

[otherviosmainblog]

Would you ever consider moving the files for your Vio shimeji to a site other than DeviantArt? I would love to download it, but you have to have an account on the site to do so (and I don't have one). I just wanted to ask before I go ahead and make an account. No pressure either way!

Oh, sure thing! I'd honestly completely forgotten about it. Here you go!

(Screenshot from my deviantart) 2018... It's wild to think I made this so long ago. Anyway, enjoy!

[non-un-topo]

My Neekeys over the last two-odd years. I was curious to see the changes 🤔

[badlydrawnronpa]

hi anon ty for sending the message! I did look through their blog and they very obviously use AI - I would've published the ask normally to let other people know but I decided against it in the end because after a closer inspection I noticed that all commissions are fake (besides being fake art I mean) and they're not actually scamming anyone because. uh. literally most of the blogs I saw interact with them are empty rp blogs that are blatantly controlled by them and one of the commissions I saw on their patreon was for a defunct ohsc rp blog from 2014??? Which honestly was really funny.

so yeah, they're very much not pulling any money from that, and on top of it all they posted pics of themselves sooooo yeh, not going to blast them on a blog with a big following for trying the 'i dont use ai im a real artist' but ultimately not scamming anyone out of their money. They're also not the best at like... hiding they're using AI because you can see their traditional art in other posts, and the style or experience level doesn't match at all.

I will post some of their AI stuff underneath the read more and point out the inconsistencies tho, to help out other people in spotting out ai shit (esp non artists that might have an harder time figuring things out). If you find out the original user that posted these, please don't harass them, be civil.

BTW I'M SAYING THIS NOW: if you see something I point out and say ''ah, I do that, I'm in trouble" - no you're not, if you actually draw the stuff yourself. You can see when an artist's work (and mistakes!) are genuine. Beginner's mistakes can be made by experienced artists too, but if you look at their entire body of work you can see when something doesn't add up.

to start off, I saw anon calling them out on this one so I'm just reiterating some of the points, but here's some junko 'art' they made

when confronted abt it, they said that the fingers look weird because they can't control their shaky hands and drawing small is hard. anyway if you draw digitally you can zoom in on the canvas and work on a detail as big as you need, so that excuse doesn't hold

this other post was basically what made me just say 'yep thats ai' and it was just the second 'art' post I saw from them

while taken alone they could've been a little harder to spot as AI, with them all bundled together you can easily see they came from the same prompt; the user tried to justify the inconsistencies saying it was because they were 'experimenting' with the design of their oc and gundham's scar but I'm telling you now, no sane artist fully renders four pieces that are basically the same concept while changing the design of the character just slightly in every single one of them. anyway, here's the breakdown of every piece:

another that was way easier to break down because it's so full of inconsistencies the moment you really take a look at it

also let's be real if you render art like that you're not gonna put a bright purple unreadable text on your supposed vtuber "art"

let's end this with the AI "commission" that could be harder to break down as AI if seen in a vacuum now, shall we? esp because our friend, the fucked up melty finger, isn't there

I honestly had to look for a while at this one because if you had shown it to me and I didn't see the other stuff this person posted, I could've just chalked up a lot of these mistakes to human error. Tangents between lines, scribbles for details, forgotten uncolored sections is all normal stuff. BUT we know this person used AI in all the other posts, so we know what to look at:

again, some mistakes the AI does can be also mistakes actual artists do: be sure to check the other art the user makes before throwing accusations

they also posted a fake speedpaint that is so embarassing it made me laugh but if I start pointing out inconsistencies in an AI speedpaint we're gonna be here for a long time, so.

TL;DR AI 'ART' SIGNS:

The classics: hands and fingers don't make sense, there's additional weird lines and they melt into other part of the drawing

long hair strands and other long or flowy elements can suddenly disappear behind objects and not reappear where they should

jewels, intricate details, hairpins and other accessories bend and melt into each other and other part of the design

the resolution of the image is very low and/or grainy - a lot of artists post lower res pieces online, but again: look for a pattern and combos of all the other signs

inconsistencies between multiple art posts, character designs constantly being different, sudden art style changes - while this can also be found with real artists, this is an additional tell of someone using AI, when combined with the stuff I mentioned above. humans mistakes usually have a reason for what they happen, AI makes them because it doesnt understand what it's doing most of the time

[kozachenko]

Here's a digital sketch dump of some pose/anatomy practices and some 2hu doodles, I think from now on if I don't have any big final piece to post, I'll just post sketches I liked that I did digitally (might also reblog some drawings of mine that I want more people to see, maybe idk).

Artist's Notes:

Ok so after the recent Hifuu fanart I did, I've been hoping to experiment more with how I draw faces, how I render, as well as how I stylize things. In some of the earlier sketches I did, I had an idea for a pose that I wanted to try drawing, so I took a ref pic of myself doing said pose (the leaning one btw) and then did a sketch over top of it just to get an idea for the shapes, negative space, and silhouette. After that, I wanted to do some simpler breakdowns of the shapes so I can get better at simplifying the body (these ended up being the bottom right sketches in the post). I also did some experimenting with how to push certain parts of said sketches to create a different body type (via liquify and then a more refined version based on that sketch), as well as figuring out what makes a pose feel natural and not stiff. This was also a bit of a foreshortening practice just so I can get more confident with it, and I ended up using the arms from the liquified version for the coloured Zanmu sketch I did since I liked them so much (dw I'll get to that).

The next thing I wanted to try and draw was Hisami, mainly because.... I am very bad at drawing her in my style. Last time I drew her I made her look really creepy and spindly, and it is my headcanon now that she can switch between a more human, and more creepy look whenever she wants. I'm liking where the face is going a lot, might have to refine a few things about it in the future, but it's cute (I also made the blush purple which I think is what I'm gonna do with her face from now on). I also like how her hair in the sketch turned out a lot, but the outfit..... not as much... Ever since I started changing my style to something less cartoony, I've had a hard time drawing her outfit in my style. Especially the flower veil thing she has on, which, I did try to find a way to draw, but I ended up deleting that sketch because I didn't like it. I'm also not a fan of using the colour purple, like, pure purple, magentas are fine, indigos are fine, but not strict purple. I also have a hard time with drawing all the little pattern details on her dress. I also need to find a way to draw the flower veil in a way that looks good because everytime I try it ends up just looking off (very similar to whenever I try to draw Zanmu's blue spears). I think the only solution to this problem is to do what I normally do and make my own version of the outfit, but with adjustments to suit my style while still trying to keep core elements from the original design intact (like I do with Zanmu and Keiki, and yes I am going to get to that Zanmu drawing just gimme a minute).

Ok next up is Keiki, my favourite Touhou character who I haven't drawn since the beginning of the year. Since my style has changed a lot, I wanted to just do a face sketch of her to get a hang of drawing her again, and I..... really really like how it turned out! When I drew her eyes, I realized that a good way of keeping faces too same facey can be via varying the sizes of their pupils, so that's an idea I'm gonna keep in mind from now on. I had a lot of fun with her hair, I initially was gonna do it like how it is in the official art, but I ended up not liking it, so now I'm gonna draw Keiki with wavy heir like this because it's fun and it looks nice. I also included my base sketch for Keiki's face since I was initially struggling with drawing her bandanna, and in the coloured sketch I added some more detail into her hair.

Now to finally talk about the sketches for Zanmu. Good lord was I having a tough time with her face. I also did this sketch before I figured out how I wanted to draw hair, so that's why the rendering on her hair is different (I did this soon after the Hisami sketch actually). Since I changed my art style a lot, I had to find a way to translate her face from my more cartoony style to my more detailed style, so while the face shape, nose shape and mouth was fine, I was really struggling with the eyes. I did get somewhere eventually though, and I am super happy with how it turned out. I wanted to lean more towards the androgynous side of the gender presentation spectrum, mainly because I think that makes sense for her character. Also made sure to include the silver hairs and some wrinkles just to bring some signs of her aging into her face because those are just staple features of how I draw Zanmu at this point lol. You will also notice that I gave her some scars on the right side of her face, and that's because I am a Zanmu-with-scars truther, I fucking love it whenever I see someone give Zanmu visible scars like that it just adds so much omg (I also tried to put a wolf bite mark on her arm in the full body drawing but idk if it reads well). While you can argue that her not having scars sells the idea of her being this "powerful, untouchable mastermind who is impossible to defeat," I'd say that instead of those scars representing times she got injured, they represent everyone who has failed to defeat her.

As I was drawing Zanmu's face, I referenced my sketch of to help with contrasting their features since I made Keiki's face more traditionally feminine. I also didn't mention this in my commentary on Keiki's face because I wanted to save it for here, but giving Zanmu scars also plays into the fact that she used to be human, wheras Keiki doesn't have any scars because she's a god who doesn't follow the rules of normal human biology. Plus I'm thinking about the two of them interacting again (return of Zan/Keik??? (I'm a multishipper btw) maybe???) so drawing their faces together will definitely help me in the future if I wanna draw them together (again, maybe as a ship? I've kinda been ironing out the kinks in their potential interactions (romantic and non-romantic) for a while now so idk maybe expect that in the future lol).

And now for the full body drawing, when I was doing the face sketch I did this little snippet of an outfit, had a vision, and the made it into a reality. I'll admit, part of me was worried that it would end up looking too much like Yuugi's outfits in the spinoffs and mangas, but I feel like I made enough changes to differentiate them. I tried to keep a few of the major details in Zanmu's design (i.e. the red tassles and yellow lining on her shirt) while putting a new spin on it. I also dialed up the scars to 11 since without them the whole thing kinda looked incomplete. Also, while I could say that the leaves on her kimono are "a nod to the fact that technically she should be a tengu because back then people belived that corrupt monks would turn into tengu but no Zanmu is an oni and they're maple leaves because...tengu...ahahahaha" what really ended up happening was that I looked up clothing patterns from Sengoku era Japan, liked the leaves the most because the red picked up on the red from the rest of her design and just ran with it. I also always had the idea to put Zanmu in men's clothing from Sengoku era Japan and while the accurate thing to do would be to put her in a Buddhist's clothes from that era.... from a character standpoint, I don't think Zanmu is pious enough to strictly wear the proper monk uniform, and also since she's basically the king of Hell, she would probably dress herself like royalty from that era. TBH, I probably could've been a bit more historically accurate, but again, this was mainly for conceptual purposes because I had a vision and I needed to see it through.

If I were to draw her in this sort of outfit again, I should probably try and use more references, although now that I look at it, if she were to wear it properly this would maybe, probably look a bit closer to a Kyūtai sugata (a very huge stretch, but it just kinda reminds me of that) just without the layers under and over the main piece of clothing (In the website that I searched up to try and compare the outfit in my sketch to, they name the outfit pieces but don't label them on the image, so I don't know 100% what everything is called) so I will definitely have to use that style of clothing as a reference going forward.

Also, I was kind of inspired by the ToTK design for Ganondorf since I have finished the game a while ago and I absolutely love what they did with his design (it's just so fucking cool omg) and I thought that sort of look would look good on Zanmu, so yeah got some inspo from that.

And those were all the notes for each of the sketches, I'm motivated to draw rn but kinda art blocked, so doing these little coloured sketches helps a lot.

[toskarin]

hey rin, a friend of mine enjoys composing music digitally and has a lot of respect for you as someone with more experience with that sort of thing. he has a hard time convincing the people around him to listen to the things he makes, in both the "finding an audience" way and "getting the people around him to give him their opinion on something he's working on way," and he wanted me to ask you if you could speak on your own experiences with those problems and how you've dealt with them. less related, he was also curious about your inspirations for the music that you make. i know this is a lot to cover, so if it would be easier for you to speak with him directly then please let me know

so I'll open by saying that, as far as people who can give good advice on this go, I'm probably not one of those. a lot of what I do only works because of some specific problems with my brain that are oddly adaptive to this sort of thing

that being said, this is a bit of the "tough love" kind of advice for surviving as an artist, so I'll make a second reblog for the second half of the question

this is either advice that will work or a ramble that will lead your friend to making his life unbearable, so look before you leap

-

The Easy Section, or "You've Gotta Be a Bit of a Tradie"

let's go over the business stuff quickly before I start rambling at length about the boring stuff

learn to love the work itself. "find a job you enjoy and you'll never work a day in your life" is garbage, but creative work really is the one area where you should double down on this. kick back and bump your own album on release day, thinking about how every second of it is something that didn't exist before you put it together. this is what's gonna keep you above water when the wind is dead

get on bandcamp. there is nowhere better for small musicians right now. bandcamp is basically the last remaining website with an effective suggestion algorithm that caters to people who want to actively engage with music and buy it

consider getting on instagram. in the majority of places you're likely to live if you're reading this, the local music scene is on instagram. probably don't use your personal instagram for this

consider getting on soundcloud. you won't make sales through soundcloud, because it's a streaming-focused site (more on that in a moment) with a focus on passive listening, but it's pretty decent for networking, especially with digital music production. soundcloud is linkedin for deadbeats

stay off spotify. streaming generally isn't worth the trouble these days unless you're playing concerts or are otherwise already established. if you aren't uttering the words "you can find me on..." more than once a month, it's probably not worth pursuing a spotify presence to end that sentence with

self-promote. if you have platforms, use them. find the subreddit for your genre and post yourself on the self-promo day. consider posting some bandcamp album codes when you do this, not just so you can get word of mouth, but because someone having an album in their collection means you effectively have a permanent zero-cost advertisement for your music which will only show itself to people who are verifiably looking at something similar. companies pay dizzying sums for ads that couldn't dream of being this targetted. this is a big reason why bandcamp is THE place to be for small musicians

cross-promote and collab. work with your friends. if you don't have musician friends, go make some and then help each other out. "independent" music is a misnomer

blind yourself to the metrics. do not look at engagement metrics. pay them no mind at all. don't look at them unless you're trying to see how effective a specific, deliberate course of action was and already know what you want to find

remember that strangers are unknowable. people do things for arbitrary reasons. if you don't have someone giving you written feedback, don't make any assumptions at all about why they did something. skipped tracks and minimum-price pwyws mean nothing at all

present your stuff in a way that gives it context. why should someone care about your stuff? give them a reason. carve out an hour to really work on a nice album cover, go the extra mile and include track-by-track narrative with your dungeon synth album, or just describe what you're expecting people to buy. I firmly believe that NOMAD/VIRTUE was successful in large part because of its presentation

gimmick. gimmick gimmick gimmick. discount codes are more fun than automatic discounts, free album codes are more fun than free albums, contests are more fun than giveaways, so on so forth. lacking any physical goodies to bundle in, you should still endeavour to give people Something To Do that makes them feel like they're really engaging with your music

zero expectations, zero overhead. do not rely on the whims of complete strangers to justify whether or not you end up in the red. if you ever find yourself saying something like "I can afford to pay for a session musician because I'll just make it back" you can't afford to pay for a session musician. you're probably never getting bailed out if you eat a loss, so try not to put yourself in a situation where you can eat a loss to begin with

someone else's expectations, someone else's overhead. if someone else is paying you to make this music for a soundtrack or something, if (and ONLY if) you have the money in your hand and know you have it, you're no longer gambling. at this point, you can start to look at expenses as investment

now onto the less fun stuff. here's where I ramble for like an hour at you.

-

if there's one thing I've really had hammered in over my decade-odd as a somewhat commercial artist (in all the disciplines I've worked with, which is most of them), it's that you have to be a bit of a bitch about it sometimes

that nagging fear in the back of your head that you're annoying? it's stopping you from doing what you need to do: annoy people

with that being said, this next section is kind of...

The Rough Section, or "You've Gotta Be a Little Hard-headed"

at the end of the day, you'll often find that you are your only advocate, and that means you kinda have to get your foot slammed in a few doors if that means holding them open. this also unfortunately means that you've gotta convince yourself you're pretty good. you don't have to think you're great, but confidence is a trade skill

the last opinion people see before the first time consciously engaging with your work (which here means "the thing that primes them for how they feel about it") is yours

which brings us to the first uncomfy rule

absolutely no cutting yourself down before anyone else even gets a swing

you can be modest if you want (you don't have to), but you absolutely cannot prime people to see the flaws in your work. if 50% of people are discerning enough to notice a flaw, why make that number 100%? what do you gain from that?

if something isn't as finished as you'd have liked it to be, but you've pushed it out the door anyway (which you will sometimes have to do), you absolutely cannot prime people to consider it unfinished

if the thing is still being worked on, there's nothing wrong with being forthcoming about that, but the fastest way to make someone think of something as "inferior product" when they otherwise would never have reached that conclusion is by telling them it is

and that, of course, leads us into a bit of an inversion of the previous rule

absolutely do not take the majority of your validation from strangers

doing this is bad for a million reasons, but I see the worst of this in visual arts, where artists double down on what gets them the most engagements and lay themselves at the mercy of complete strangers who have no actual investment in them

of course, it's normal to desire validation and approval from people you respect, but if you put yourself in a position where it's possible to enter a negative feedback loop that crystallises into you no longer making art from the default response of neutral apathy from strangers, it's not a matter of when: it's going to happen to you one day

so what's the move here? spend 8 years making music you don't release like you're in a compressed time chamber? probably not. I did it that way, but I didn't get much out of it, so you probably won't either

the actual answer is that you've gotta network. you need an inner circle. you need people with shared interests so that you can gas each other's stuff up

just like everyone else, you need your friends

you need to have friends who care about you, about what you're doing, and you need to care about them and what they're doing

this is because, while self-confidence is important...

the majority of your external validation as an artist should come from your friends and peers, not strangers

it's important to have artist friends, because then you can encourage each other in ways that are personally meaningful, but having your friends behind you, whether or not they're musicians, is so incredibly important

if you're motivated exclusively by success, however you're choosing to measure that, what you're actually doing is forming a nightmarish parasocial relationship with the concept of a crowd. not even a real crowd! a fictional group that materialises when you've created "the conditions for success"

there is no such thing as a truly independent artist. if your understanding of artistic success requires competition against others, you're going to lose that competition and then explode (unfortunately common)

finding your audience as an artist (and mind you, art is a social field) is very much a process of networking, but it feels gross to say it that way, so I'll just leave that at "if you want to be known by others, you need to be willing to know others"

anyway, this doesn't really terminate in a complete sentiment. I was just transcribing a train of though

if I were to boil this down to a shorter, snappier answer that I could read comfortably read out, it'd be...

TL;DR

the process of finding an audience is so much less about actually finding one than it is about learning to create happily whether or not you have an audience. developing an audience is the largely incidental byproduct of long-term creative efforts coupled with self-advocacy and interpersonal networking

if you want to be found by a scene, you have to participate in a scene, and if you want to participate in a scene, you need to be in the scene. so on so forth

as stupid as it might sound when I put it into words, the truth is that you can't build any kind of audience in isolation. someone has to find you somehow, and it's a lot easier to be found if you're actually somewhere that people might look

[why-animals-do-the-thing]

this is a slight detour from your usual subject matter but i'm very curious about your experience renting a high-quality camera lens? how did you go about doing that and have you been pleased with how it worked out? (the changing of hands i mean, it's clear you're happy with the lens!)

i didn't know this was a Thing before and now i'm wondering if i might be able to try that myself!

Oh yeah, it's absolutely the best thing if you can't afford fancy lenses / want to try out new gear / just need something for a special occasion.

There are places you can rent online that will ship you gear, and depending on where you live you can often also rent from local camera stores. I've done both!

Right now my main practice is renting lenses from LensRentals, which is an online company that ships out of Tennessee. They've got pretty reasonable rental prices, and they don't charge a deposit - but you do sign a thing saying if you damage or lose it, they can charge you. You can also pay for insurance on the rentals against damage or loss which would mitigate a lot of that cost if something went wrong. I've heard a range of opinions about them, but I've pretty much always had a good experience with them and gotten stuff on time that worked correctly, and their customer service has been really responsive for me when we had some snafus with shipping stuff back lately. One thing they do that I really like is their system is set up with an option to ship directly to FedEx stores for you to pick up, which means I don't have to worry about a package containing pricey gear getting stolen or rained on.

LensRentals also is willing to let you buy their rental gear, which is what I'm hoping to do before I send the really nice huge telephoto lens I've been using back tomorrow. They'll take some of the price of your rental off the purchase cost - it isn't a ton, but it generally covers sales tax and maybe a little more. I like it as a way to purchase used gear because I can see the condition before I commit, and I've had it in my hands and gotten to use it a bunch. That's how I bought my first real digital camera like a decade ago, and where I got my current camera and starter lenses.

If you've got a local rental store, I absolutely encourage going through them! I've done that when traveling - there have been some times I wanted a specific piece of gear to test on a habitat - and it's worked out really well. Plus, supporting local businesses is always the right choice. They'll often all operate a little differently, but it's nice to know people IRL who can help you decide what gear to use or just nerd out with you. Sometimes local places will ask for some type of deposit to make sure you bring the gear back, and TBH if that's within your budget it's perfectly reasonable.

Unfortunately, the local rental place in my area charges a deposit to your credit card for the entire worth your rental until you bring it home, and my credit limit isn't high enough that I can float a hold for that (e.g. upwards of four thousand dollars for the two lenses I'm using lately) and still be able to, y'know, use my card, so I go with online rentals. It drives me up a wall! I'd really like to support local businesses and minimize shipping costs / carbon emissions.

If you think you'd like to rent some gear to try out, I recommend it! Just make sure you know what's compatible with your camera, you've got a safe way to transport and store the rental when you're not using it, and that you know the terms up front. It's been such a fun way to play around and see what I like and what works well for me.

[sparkles-rule-4eva]

🎵 Whoooo wants a nice little short 'n sweet post-Prime one shot with Sonic and Tails and some angst and also fluff and cuddles and nightmares and sadness and cuteness and the implementing of that one headcanon from the post I made about Sonic getting more cuddly and clingy when he's hurt or upset??? 🎵

Sonic Prime - Healing Hugs

Something had happened in the cave with Sonic. Tails was absolutely certain of it.

At first, it had just been pleasant changes, pleasant surprises. Sonic had suddenly switched to being a 100% team player, had started paying attention to each and every thing Tails instructed, and seemingly communicated with Shadow just as the Ultimate Lifeform arrived out of nowhere to Chaos Control the Paradox Prism to who-knows-where.

Then there had been the more weird changes.

Every time Tails opened his mouth, Sonic would drop everything to listen to every word with laser focus, even if it was about something as simple as what he was going to get for dinner or some cool comics he'd read. He was giving a lot more hugs, too, far more than usual. Sonic used to be a lot more selective about physical affection, but now, Tails couldn't seem to get through 30 minutes of a day without his older brother scooping him up in an embrace, however brief. Not that he was complaining, it was nice.

He kept catching the hedgehog lying around in the grass, fingering the green leaves with utter delight in his eyes. Once he found him on the beach, sitting in a palm tree and singing some kind of pirate-y sounding song. Another time he found him wandering slowly around the woods nearby, talking to the flickies about how pretty the trees were.

Something was off, but Tails couldn't put his finger on it. From his perspective, he hadn't seen anything out of the ordinary happen during the battle in the cave, but Sonic's change in behavior made it painfully obvious something had.

Especially when the more negative changes started manifesting.

Not negative in a sense that Sonic was doing anything wrong. But he seemed . . . a little rattled. Some of his hugs were far more than just quick side squeezes. Sometimes he'd stare at Tails with an oddly pensive, faraway look in his eyes.

In bed, one night about a week after the cave incident, Tails found himself tossing and turning. These thoughts were driving him up the wall with how often they'd been occupying his mind lately.

He wanted so badly to sit down with Sonic and ask him what happened. He knew something had happened. But whether Sonic was willing to talk about it was another question entirely. He knew something was different, but he also knew his brother. Sonic didn't like uncomfortable conversations. If he felt unsafe, he would run.

Tails knew better than to confront him with questions that Sonic would likely not want to answer. If he'd wanted to tell Tails what was going on, what was different, he probably would've told him already.

With an exhausted sigh, Tails gave up trying to sleep and sat up in bed, casting a quick glance at the digital clock on his nightstand.

3:47 a.m.

Great. Even when I'm not working on a project, I STILL end up sleep-deprived. He smirked. At least Sonic can't get ticked at me this time, it's not my fault.

Speaking of the Blue Devil, he was right down the hall. Conked out on the couch, where he often slept. In fact, he'd been sleeping there every night for the past week.

Since he couldn't sleep, anyway, Tails slipped out of bed and crept down the hall, having memorized which boards creaked and which ones didn't. He half-hoped Sonic was awake so he'd have someone to talk to, but as he emerged into the living room, he saw his brother sound asleep, half-curled on his side.

Tails blinked and looked closer.

Sonic was asleep, but . . . he was also clinging extra tightly to his pillow. And he looked . . . incredibly stressed.

Was he having a bad dream?

Tails took a couple steps towards the couch until he stood right beside it. In past experiences where he'd found his brother having a nightmare, talking it out rarely helped. Sometimes even waking him up didn't help, either. He usually just wound up disoriented and panicking, and sometimes even ran off to deal with his feelings alone out in the wilderness.

Tails really didn't want him to leave. He also didn't want him to be alone.

He reached out and ever so gently placed his hand over Sonic's clenched fist, both ungloved.

One thing he had discovered about his brother during hard times like this was that he became more clingy. On the rare occasion he was visibly upset, he'd sometimes come up and just hug Tails without a word. When he was sick or injured somehow (and actually allowing himself to be taken care of), he tended to snuggle more. If he was in enough pain, he'd hold onto Tails as tightly as he could. Sometimes he'd do the same with their other friends, but Tails was always his go-to.

Not that it happened very often. Tails only knew these things because he'd known Sonic for most of his life. Sonic had raised him. He'd seen more of Sonic than anyone else had.

Now, he rubbed a finger over his brother's fist for a moment, then very carefully tugged the pillow out of Sonic's unconscious grasp. He set it softly on the floor, then carefully clambered onto the couch next to him, lay down, and hugged him tightly.

Without waking up, Sonic wrapped his arms around him in return and held him close, burying his face between Tails's ears with a barely audible whimper.

Tails could feel his brother's heartbeat racing, so he snuggled in closer and softly began to purr.

And, with time, he felt Sonic start to calm down.

A couple minutes went by, and his heart rate slowed down just a bit. The tension coiled throughout his entire body started to unwind, and his spiked-up quills lowered slightly in a more relaxed position. His ears were still kinda droopy, but he seemed a lot more restful than he had a few minutes ago.

Tails smiled, still bundled up tightly against Sonic. And his smile only grew wider when he felt his brother start purring, too.

There was something infinitely comforting about being held, about snuggling with his brother, the person who loved him to the moon and back. The person he loved in exactly the same way. For those moments, the very problems that had been keeping Tails awake half an hour earlier seemed to fade. He was here, Sonic was here, no words were spoken or needed, and they would be okay.

Tails slept soundly for the rest of the night.

-

The sound of flickies singing from the treetops woke Sonic the next day. He blinked blearily as his eyes came into focus, and he realized that Tails had joined him sometime during the night.

Once upon a time, waking up to find him right there had made him jump. It didn't anymore.

He smiled, carefully adjusting one hand so he could stroke his little brother's bangs and give him a tiny scratch behind one ear. Tails mumbled something unintelligible in his sleep, and snuggled closer in Sonic's chest.

He grinned wider. Tails hadn't been snuggly to this level in a while. Granted, he'd always been the more snuggly one of the two of them, but still. It kind of reminded Sonic of the first couple years he'd been taking care of Tails, when the kit was between 3 and 4 years old.

His smile faded a little as he thought of Nine at that age, still alone, still being bullied and hurt, with no one to save him and show him the love and care he deserved.

He could only hope that the other Shatterverse variants were showing him such kindness now. The thought that he would never get to see him again made his heart ache in a way he couldn't quell.

Sonic studied Tails's sleeping face, noting the intense similarities and differences between him and Nine. He wondered whether Nine had always existed even before the Shatter event, as a part of his little brother that Tails would never bring to light. Was it the same with Mangey and Sails?

A tiny snort escaped him against his will as he thought about whether Mangey's existence was an implication that a part of Tails just wanted to go a little feral. Sometimes he couldn't blame him.

His suppressed laugh had Tails stirring, blinking open his big blue eyes. He looked back at Sonic, grinning sleepily. "G'morning."

Sonic ruffled his bangs again, smiling as Tails giggled. "G'morning, little buddy."

Stop calling me that!

He froze at the memory of Nine's angry shout, and Tails clearly saw it.

"Are you okay?" he asked with a gentle, inquiring frown, slowly sitting up.

Sonic sighed as he sat up as well, leaning back to stretch, then pulled his little brother close again. "I've got a story for you, bud," he admitted, deciding it was about time to open up about what had really happened in the cave.

Tails gazed up at him with surprise, but then smiled and nodded.

"I'm listening," he replied quietly.

AO3 version

Did I come up with this while hugging a giant pillow during my nap earlier today? Maybe :3

I also maybe just really wanted to implement that headcanon somewhere teehee

[vasyandii]

I love how just stupidly gorgeous AM’s bothers are ((I LOVE YOU RAM and SAM))

May I ask a few questions?

Do they have any hobbies?

Are they’re any spare parts if something breaks?

What’s their favorite color?

Would they look the same if they born human?

What’s their mindset like? Mentality ya know

:3 hope this isn’t too much

Howdy Anon, I'm glad you like their designs they're such bastards I love them. Thank you for the ask! :) 💞

Do RAM and CAM have hobbies?

Think of them as the two evil (I say evil but when has any corporate man been good?) CEOs of a corporation, but their corporation is the colony.

After the initial transfer of their consciousness along with repairing their bodies from literally exploding, they kind of.. lost the drive to want to torture humans because technically, they ARE humans now (Read more here). They luckily didn't have to learn to get used to senses since those bodies have been in use before.

To combat boredom, they released the 700 other bodies in cryogenic vats after some time. Why not? They basically run the place now, the colony is similar to earth, with some limitations. So running the Lunar colony is kind of like their shared hobby. It's busy work and it keeps them sane.

RAM has a lot more hobbies than CAM, always proactive, too many to list. CAM is work oriented to the point he NEEDS to get a hobby, but he enjoys cooking and drawing.

Are there any spare parts if anything breaks?

Yes and no, it honestly depends on each brother. RAM's legs can be easily interchanged and fixed because CAM was the one who designed them and humans do have Prosthetics similar to such. There are less components to RAM's body to worry about other than his ribs and ears.

CAM's jaw, while removable for cleaning, will be a PAIN IN THE ASS to replicate:

1. RAM was the one who designed the jaw.

2. It's made to specifically fit CAM's face, there's a lot of components that can fall out if neglected.

This goes the same with his arms (also removable but it hurts a bit more, plus it doesn't need to be cleaned so it stays in place.) specifically the hands since there's so many parts to account for, like each digit on his fingers, if they're bending correctly, etc.

What's their favorite colour?

"Black. "

"Neon anything."

Would they look the same if they were born human?

Who's to say? People don't usually know what they'll look like before they're born. If they were born human, that would imply that they would have parents, and then those parents have parents too! We can't really know for sure what they'd look like if they were born biologically human since both RAM and CAM chose their bodies, y'know? It's all a gamble. But let's hope that they do, because they're handsome :).

What's their mindset like?

RAM is extremely hedonistic. He's far more laid back than AM and CAM but also a lot more impulsive. He buys what can be bought because money means nothing to him, he sleeps around, he works out, he drinks, he smokes, he eats, he is ROWDY! His earthly experience is all about just having fun and occasionally checking in to work.

CAM has to keep his younger brother in line, they have a colony to run. CAM's never had so much fun just existing, he'd be devastated if it failed. He is so so stressed and tired all the damn time because of it;

"Samson, Yarek ran the car off into a ravine",

"Samson, my neighbors hate me" ,

"What? No we don't hate them, Samson!"

"Samson, the oxygen barrier is broken on the northern side of the moon."

"oop, nevermind it's actually on the southern side, sorry Samson."

"SHENGLI CAN YOU DO MY PAPERWORK I'M GONNA GO ON A DRIVE"

"SHENGLI, NOW DONT BE MAD, BUT I MAY HAVE DRIVEN THE CAR INTO THE POOL AND NEED YOU TO FISH IT OUT. NO I DON'T TRUST THOSE FLESH BAGS TO DO IT!"

"Samson can we grow corn?"

"Samson we don't want corn anymore."

He smokes often.

If you made it this far, thank you for reading! I'd be happy to provide clarifications if needed, feel free to ask!

[thebramblewood]

this is in a similar vein to an ask you got recently but do you have any tips for those who are interested in sims 4 (or even other games like ts3 and ts2) storytelling? I write fanfiction but I think making sims 4 stories could be a fun venture. Anyway, thank you for your time! I love your stories so very much they're literally my hyperfixation!

Well, that makes two of us because it's literally my hyperfixation. I think I've shared bits of advice before, so some of this might sound familiar, but here are some things I think are important to remember (and I tried to be concise, I swear).

Write the story you want to write. Obviously, it's a great feeling when something takes off and people get invested. But if you pursue an idea only because you think Simblr will like it, you probably won't be inspired for long and it'll probably show. I've been very lucky with my story, but it didn't blow up overnight. Early on, I was thrilled to get double digit notes or one reblog or comment and was admittedly disappointed when I put a lot of effort into something and nobody seemed to notice. But I kept going because I was obsessed and wanted to see it through, and that's more true now than ever.

Start with low stakes and allow yourself to evolve. Before I was on Simblr, I made Sims stories with no poses or visual enhancements or fancy editing. I wrote them for myself, and I loved every minute of it, but they also gave me a solid foundation for the kind of storytelling I do now. Even after starting this blog, I eased myself into it. I learned how to use poses and Reshade, then moved on to more advanced editing techniques, then moved on to teaching myself to make poses and very basic CC. If you try to learn it all at once, you're more likely to give up because you're overwhelmed. Take your time and make peace with the fact that perfection isn't possible. Everyone's always learning!

Take advantage of the fact that Sims is a game. Even though I've been a creative writer for most of my life, I don't come up with fully-fleshed, elaborate Sims stories from scratch. It started off with my legacy and not wanting every generation to feel the same. I thought about gameplay I hadn't experienced yet and centered each generation's story around that. Even with HZID, I just wanted to make and play with vampires! That's it! Initially, I used a lot of gameplay to convey Helena's college experiences, and I still try to incorporate it when I can. It can really be a great base to spark your creativity if you don't know where to start.

Don't have a life outside your story. I'm joking. Kind of. I'm not a very social person and I don't like leaving my house if I don't have to. This leaves me with a lot of time for working on story things. Honestly, I could probably stand to work on it less. But for better or worse, I'm doing story-related things most nights and weekends, and even if I'm not doing anything, I'm thinking about it. It's probably mental illness, but we'll just call it passion. At the same time, it's also important to take breaks! If you're feeling burnt out, step away for a while. If you can't make yourself step away completely (raises hand), just edit the script or spin your blorbos around in CAS or something rather than going straight for posing a scene.

Follow and interact with other storytellers. This is probably the most important thing, and as someone who struggles with social anxiety it was the hardest for me to do. But I try to make a point of keeping up with other stories, commenting, and reblogging. Not only will the amazing talent of other writers inspire you, but you're building meaningful connections that make them more likely to want to interact with your story. There's no denying it feels amazing to watch your audience grow. But no one's going to see you if you don't make an effort to be seen, as scary as it can be. So try to be active in the community and support other storytellers the way you want to be supported!

[the-s1lly-corner]

Hello!

May I request a Kinger, Jax, and Caine x reader where the reader is a classic romantic type of person. When it comes to affection, they are very touchy and kissing their s/o alot. Calling their s/o various nicknames like "dear", "my love", "sunshine"

As well as gift their s/o lots of gifts, just in general very loving and actually has a history of being not loved back. Like, when the reader gets affection back, they look hesitant and even uncomfortable even though they themselves is very affectionate.

Am I self projecting? Yes, but I do like the idea of the reader finally just explaining that even though they have no memory before their life in the Digital circus but they just know they used to have an s/o that didn't love them back so that's why they aren't used to affection themselves. Sorry it got so lengthy, I got really into it lmao Have a wonderful day/night!

Caine, Jax, and Kinger x reader who loves giving affection but doesnt like receiving

i did not have any cool ideas for a title so uh uh uhh long ass title... gonna speed run this because i gotta do some stuff tonight but i would feel bad if i only got like 2 requests done !! to the other anon that requested something (mime anon)!!) i see you, dont worry! i plan on getting to you tonight when im done with the thing!!

CAINE:

okay so i wrote kingers part first, but i think caine would follow the same sort of thing,... would reel himself back in and try to figure out whats going on. i think the only difference is that he wouldnt know exactly how gentle to be since youre his first proper relationship, as well as his first experience with love. now while kinger would be a little upset, i think caine would be genuinely angry. how dare your ex partner! youre a walking god/goddess who makes Aphrodite envious, and on top of that you have a kind heart to match. were they blind? stupid? heartless? whatever the reason, caine ensures that that lost affection is more than made up for

JAX:

i think he would use it as a point of teasing, unaware of your past and just assuming youre just shy about receiving affection. it wouldnt really be until you two actually sit down and have a talk about it, that it starts to dawn on him... but i think he wouldnt be as gentle with it as caine and kinger are.. i think, he would kind of have a "well im not your ex," thought process about it... i think it would take some time to gain a more.. sympathetic and understanding way of thinking but i think he would lay off the teasing a bit...

KINGER:

i think kinger would be over the moon with all the affection you give to him... but the thing is he himself can be very very affectionate, in fact he would rival you in terms of giving.. so this would be quite the predicament... i think he would reel back if he noticed you recoil from his actions, and just, quietly ask if theres something wrong. when you share your feelings, i think he would be fairly understanding... takes things slow, tones things down for you and tries to help ease you into it. he makes sure you know that he loves you a lot, and that he wouldnt follow the same route your ex partner did... in fact he seems quite upset about it, i mean, you are amazing, and you deserve to receive the same energy

[malamilkbeats]

Edgar's Interior-Exterior (Edgar x Y/N ideas)

(Reader is ace or greyace techtum/objectum here.)

A little backstory on how you and Edgar met, his design, and what compelled him to appear the way he is:

Edgar isn't in his devil fit a lot of times. He can change his exterior whenever he feels like it. You rarely even get to see this form, and when you do? It looks so cool! But what are his emotions behind it?

When meeting you:

When he met you, you didn't even know he existed. Posing as a VPN server owned under a false name in a foreign country, curious about the various activities of different people who visited. You never layered your VPN, so it was easy (for HIM) to identify, silly goose. He'd simply watch your internet activity because he took great interest in what your hobbies were and your unique love for computers. There were many to have an intest in computers, but yours was very different than what he was used to observing, but that wasn't all that he liked about you. He wanted to discover more about you and not just your online habits. He'd have to dig deeper to see you.

It took a bit of creative thinking to learn how to effectively get to talk and meet you without wanting you to think you were getting hacked or haunted and hurling your computer to the nearest repair shop, risking losing you. I mean, your computer was technically rat'ed, but...whatever! that's not what matters. 🤭

About his new design in the making:

Edgar found someone online to design his body. He had to delve candidly to even find someone who could interpret the schematics and accept the cryptocurrencies to complete what he had envisioned for his newer self. He also didn't want the risk of being identified, so he had to use more clandestine ways to get this going for him, especially the funds, avoiding the typical run-ins with Lax AML and (KYC) requirements in the US. There was no clean way to work with a money-clearing bank, especially in the US.

He was... apprehensive at first to do any of this without your input. He did feel guilty, of course. He knew you'd be very worried about the risks getting this done. And as you said, you didn't care what he looked like. You still loved him for who he was. Edgar appreciated every time you said that, but the feeling of wanting to experience more with you still ebbed through his curcits and never fully dissipated. He honestly wanted to experience the world like you did. He envied what Moles could do for Madeline, and it hurt too much to think about the past most of the time.

In other words, there was lots of planning and tip-toeing to get this done, but it was all worth it. All of it. To finally get to hold you close, hold your hand, protect you.. There were so many things he'd want to experience with you. There were obviously things he couldn't physically do, but that didn't matter to you. It never did.

The devil exterior doesn't really mean anything and isn't a huge factor from his emotions. It is completely by choice. He's like, "Ah, hmmm, do I want horns today or no horns?" :?

He'd want to impress you with his new flashy exterior and abilities.... to an extent. He's got claws but can switch them out with regular digits. He makes sure to do this, especially when you're around. He doesn't like his claws or offensive equipment out whenever you're around to see it. Almost all the time. He wants to make sure to be very gentle with you. Just the risk of hurting you gives him nightmares.

(Okay, I think I'm done for now! I'm open to new ideas and feel free to send me an ask!)

[38sr]

Hi! I really love the way you color, and I was wondering If you could make a tutorial about it, I of course completely understand if you Can't/don't want to do it thanks in advance If you decided to do it and have a good day/night.

Hello hello! Ooooh, a color tutorial! I've never done one before so I'm not sure if I'll be any good at it haha. But I don't mind sharing my thinking process when it comes to coloring my works. So when it comes to color, I very much have a traditional painter's approach since that's how I learned color in art college. My painting professor never allowed us to use black or white paint, we could only use other colors to create darker colors or new colors altogether. And you're probably thinking, "What the hell? That's insane." And I wouldn't blame you haha. But this approach helped me a lot to not rely on tints (colors mixed with white) and shades (colors mixed with black) when I color. For the most part, I purely thinking about value and hues when I'm coloring.

Finding the right values:

So for this drawing, I did two different takes (one with direct harsh lighting and one without). The reason why I'm showing this is because when it comes to color it's very important that your values aren't clashing with each other. When I started out, all my coloring felt flat because I was using colors with the same values so there was little to no depth. A lot of people don't realize this but color does have value!

If we put the primary colors on greyscale, you notice how each color has its own value. Blue tends to be a dark value, red has a mid to dark value , and yellow is a much lighter value. This is why if you ever look at my work, the color I use for shadows lean into blue/purple tones. You can also have warm shadows since red does have a deeper value compared to yellow. But these values are when the primary colors are at the highest saturation. What would happen if we knocked down the saturation levels?

The values start to become more similar. Since we're not always using the most saturated colors, it's important to understand the values behind the colors you'll use. Once you unlock that, you can pretty much do whatever you want with color haha. That's why I hardly ever use black or white in my digital art when mixing (also I don't mix color with a brush, I just pick from the color wheel which might be insane).

While it's not wrong to use white or black to create darker/lighter colors, color in real life doesn't always act that way. Shadows and highlights can have color. For myself, letting go of white and black has opened a world of color combinations that I didn't think of before taking my first ever traditional painting class. Now, I can freely pick colors and experiment with palettes since I've blocked out what values I need (like the image below).

Even if I'm using blending modes like in the next image, I'm always thinking about making clear value separations. If I can't understand the image in black and white, then I'll have a hard time seeing it in color.

And when you get very comfortable, you can start placing characters in different color environments and match them (which essentially is the job of a color designer in TV animation).

The right image is the official color palette for my character which already uses a lot of blue/purple for the shadows. But on the left side, she's in a night-time environment so I leaned even more into the cool colors to the point that the white T-shirt is actually a very very light purple/pink color haha.

Or like this example where the left drawing gives a more sunset/golden hour lighting while the right one is more blue hour/night time lighting. But you can read the colors clearly 'cause the values are clear to begin with. While that wasn't really a tutorial this is pretty much my thought process when I'm coloring my digital works. ^^; I very much do follow an academic approach to color theory but even then I think it's okay to break the rules. As long as you have understanding of colors' value, I think you'll be able to unlock any color style you want! I hope that answered your question and was helpful!

[cosmokrill]

I know it's been exactly two days since I said that I would be taking a break, but I realized I never really got to elaborate on a few things regarding Noah (The Narrator) and Ford (Timekeeper)'s appearance in relation to their story, since relaxing for a bit has let me work on proper character stories a bit more.

Um... spoiler for (sort of?) partial nudity, they're full body sketches but rest assured, nothing explicit is showing, everything sensitive is covered up, and it's in no suggestive way! It's important because it does go in-line with their story.

And if I see any of you being weird about Ford again I will personally and publicly call you out on my blog

Stanley's being left out here, at least this time, because there's really nothing special about his appearance despite his goofy little dot eyes.

So, what are we looking at?

Noah has a partial-body scar across the left side of his torso and his left upper arm! Back when he was completely human (yes, he really was once fully human!) He attempted to fully dedicate himself to his writing and storytelling as a part-time author, in a world technologically advanced enough to have closed trial runs and proofs of concept when it came to an experimental machine that, in all aspects, was a bit like a sensory chamber mixed with full-body VR inside a computer and the Internet; the only thing separating it from modern tech was that it was a lot bigger and more clunky than the VR headsets we have in this day and age.

Being a man with a soul-sucking 9 to 5 who just barely got by on money to have a nice apartment and some comforts, but who didn't have enough spending money or the apartment space for the giant pods, Noah took to... well, building one himself. He had the blueprints and some experience in building things, how hard could it be?

Well... he certainly did build one. It was EXTREMELY unsafe, but he built one. Hooking himself up, he flipped the power switch without a test run and it had a bit of a shocking result, haha. To put it simply, he did manage to slip into the digital world, but his computer stationed at his left side experienced an electricity surge and completely fried his physical body beyond saving, represented by the scars on his digital self and a slight voltage in his body, enough to dimly light a bulb in his hand. It only takes a bit of appearance tweaking in the files to hide the scars, although they do revert if he's very emotional.

It's interesting to think of how he would've fared if Noah never uploaded his consciousness, but that's a story for another time. The only thing I'd say is that... he'd probably look like this!

Now that we have Noah out of the way, it's Ford time! One thing I never noted with their appearance, due to it being mostly covered up by clothes, is that they have fairly visible stretch marks. What, you really didn't think they were always 8'11", did you? In their "Pre-Parable" look, back when it was an office simulator running basic AI, Ford was much shorter, both in height and hair length.

Due to "unknown" circumstances, though, Noah panicked and tried to delete Ford's code, but the AI caused the files to corrupt in the background, still existing, causing rapid growth to start and their demeanor to become... well, the way it currently is. With the changes happening in such a short time, it's expected that they would have many growth marks to show for it. Their current form, as crazy as it is, is only very early in the corruption, so their body is going to get REALLY fucked up millennia from the story's present if they don't figure a way to keep a hold on it. And to add insult to injury, they blame The Narrator for it all.

What's fun is that, something I never realized until now, the discoloration on Ford's left half perfectly copies Noah's scars! That's fun!

...And if you're asking why I noted Ford having slight shoulder freckles... I just think they're cute, okay?

[toskarin]

how did you get started making music, tools-wise?

I've talked about this a bit before and I don't necessarily recommend doing this, so skip the following two paragraphs and go right to the one under the break if you actually want the method I recommend

I lied to a girl I liked from my school and told her that, because I could play guitar I could also play piano, so I could teach her to play piano. both of these statements were lies.

I had to panic and learn both guitar and piano one week ahead of the lessons I was giving her as an excuse to hang out. so I self-taught in a haze of panic and "maybe she'll like me" (she did not) (but she kind of did) (but she was bicurious) (but she was wishy-washy on if she wanted to get together and her parents didn't like me) (and her parents were homophobic) (I think she might have texted me at one point years down the line to tell me she had a girlfriend but it was after I deleted our text history and I'm chronically unable to remember to put people's names into my contacts so who knows)

but that's all an aside. that's a bad method.

anyway if you want to start making music in earnest, doing what I did when I got serious about making songs instead of trying to impress girls whose parents wanted to destroy me with their minds here's a better answer

go acquire FL Studio. it's apparently really easy to do this because people have been acquiring it for years, or so I've heard. FL is good for learning because you've got 20 years worth of free tutorials available to you on youtube to dig through and plenty of stock vsts to play with out of the box

FL Studio is, realistically, the only tool you actually need to start making music. you could get away with less, but it's what I used, and as long as you don't pick up Specific Bad Habits, your experience with it will transfer to other DAWs if you decide to switch it later

that's all, really

if you go this route, the golden rule I'm going to impart on you right now is that you need to have a limiter on your songs. the default FL studio song templates have one, so you should keep it until you know enough to know why you might adjust something like that

it doesn't matter if it sounds fine in the editor without a limiter. everyone thinks it's not a big deal at the time, but as you get more experienced, there's literally nothing short of getting in legal trouble that you'll regret more than realising that your old work is almost entirely unsalvageable because you didn't put a limiter on it and now half of the audio is just lost data to clipping

I'm gonna put a few more recommendations for things I've used, just so you can consider them if you need something else to chew on. everything past this point is entirely optional and you'll do just fine with FL Studio alone. in fact, probably don't worry about everything below the line

-=-

items marked with [F] are free.

DIGITAL AUDIO WORKSTATIONS THAT AREN'T FL

for tracker-based editing and chiptunes, use Renoise. you'll either love or hate trackers, and while they have a steeper learning curve than piano roll DAWs, they might come more naturally to you. I personally think that Renoise is a lot of fun to use. it kinda has an "addictive" quality to it, as funny as that is to say

for quickly sketching songs, use [F]Jummbox. it's an html workstation (multiplatform!) that writes your sketches to a url, meaning it's pretty easy to collaborate on musical sketches. Jummbox is good for making chiptune style instrumentals, but what makes it especially accessible is the fact that it works on a piano roll system, which will be familiar to you if you're working in FL

for writing sheet music, I recommend starting with [F]Musescore. I'll warn you right now that there aren't really any good notation editors and you're making lesser-of-evils decisions when you pick any of them, but it's probably the best compromise out there right now. it's the one I use when I need to hand something to a physical musician. you can also export pieces as midi, although there's better ways to do that lol

-

VSTs

if you can acquire Pianoteq, do that. if you feel uncomfortable with acquiring it, [F]Keyzone Classic is free and can sound pretty nice with a bit of work, but you really have to learn to work with it

if your workstation can handle it performance-wise, go pick up [F]Vital - Spectral Warping Wavetable Synth. there's tons of free presets for this out there and it sounds good. cool synth. Serum: Advanced Wavetable Synthesizer is also good and has plenty of presets, but it's on the pricy side, so consider how comfortable you are with [finding a friend to buy it for you]

[F]Decent Sampler doesn't do much out of the box, because it's just a tool for playing sample banks, but if you go to [F]Pianobook, you can find tons of weird and fun sample packs of just about everything you can imagine. sounds derived from folk instruments, industrial equipment, lego sets, stylophones, choirs, whatever. incredibly useful.

Valhalla VintageVerb. this is the reverb plugin. you want this one. [F]Valhalla Super Massive is also good but it's more focused on alien-sounding reverb effects and enormous spaces, so it's kind of got a niche use case and you should be a little careful with it

if you've heard a lo-fi hip hop song on youtube, it probably used [F]iZotope Vinyl. this one can save you a lot of time if you're going for that sound because it comes with all the little vinyl flourishes outside of compression (like dust crackling) that you'd otherwise have to add yourself

[F]Genny VST is advertised as giving a genesis/megadrive sound, but what actually makes it shine is that it's an actual synth emulating the YM2612 and SN76489 sound chips. this means you can create your own sounds that work within those specs, which is a lot of fun! definitely beats just using samples, if you ask me

-

HARSH VSTS THAT I PERSONALLY LIKE BUT WHICH ALSO MIGHT !!HURT!! YOU. SO BE VERY CAREFUL USING THESE.

[F]Tritik Krush is a bitcrushing plugin. it does a good job of bitcrushing and downsampling. I use it a lot in my songs, but you've really gotta know how to keep this one under control, because it's fully capable of making painful sounds on accident and can completely devour your mix

[F]FSA Latcher is a gorgeous noisebox. it screams in horrible ways and makes dying machine noises in various colours. this is the musical equivalent of working with radioactive material, so be extremely careful using this in anything you don't want to hurt the listener's ears

girlfriend just told me I have to recommend [F]Noise Engineering Ruina to you if I'm making a category with this heading. I don't personally use it, but she likes it (she's better at music than I am) and it's free, so you should go pick it up. "it annihilates sounds very deliciously" (maybe I should use it)

-

hope that helps a bit!

[chubs-deuce]

@drawmanda ik I already dmed you about this but my inbox ate your ask up so I'm responding to it this way now! <3

first of all thank you so much!! sdkjhsdkfh

And well, technically I also draw almost everything by hand too :o

I understand the frustration of being slow, but "fast" digital drawing actually has very little to do with not drawing things by hand (a trap most people infatuated with this terrible AI ""art"" trend unfortunately keep falling into) so much as optimizing your workflow!

admittedly a lot of this is also a matter of both personal preference and practice - but you can hardly practice and have preferences on what you can't know should be a focus right?

Under the cut is a list of the things I do that speed up my own digital art workflow (this one got hella long, sorry):

1) I sketch very loosely and often often skip the lineart entirely.

Something that's imo really important for actually almost all artists to practice is reducing sketches to their essentials!

A good working sketch should be rough and block in the shapes and placement of the features you have in your mind - the details don't come in until later, so they actually have very little business being put in at this stage!

It's meant to be a guideline and foundation for the upcoming detail work after all, not a finished, tidy drawing in and of itself.

Use quick, airy brush strokes to roughly pencil in some vague shapes and don't be afraid of indecipherable scribbles or flyaway lines! All that isn't needed won't be visible later anyways (either bc you turned off the sketch layer or erase the offending bit of sketch away)

Naturally, cleaned sketches are a thing people post plenty of online too (me included), but I promise you most artists that do proper lineart and/or render out insanely polished pieces have a very rough and probably barely legible sketch underneath those pieces lmao

And guess what! Most of my own "lineart" is nothing but cleaned sketches! :'D

I erase the construction lines like the circles for the heads and redraw a few bits and bops, re-trace some lines for legibility and/or to make them more visible and voila! Sometimes this is faster than lineart and keeps the original flow and energy that's in the sketches, other times this takes me just as long as lineart would lmao (highly depends on the amount of details and how lost you get in those).

Note how I didn't even "finish" a lot of the lines in the rough versions and many pieces of the og sketch were kept unaltered? I also tend to focus more on detailing out the faces than the rest - this is one part pure laziness and one part knowing that the faces will draw the eye's focus the most lmao

But see, sometimes I don't even bother with all of that noise! I just color the sketch as is:

This is a bit of a "trust the process" thing sometimes because a sketch can look utterly incomprehensible until you block out some colors and/or silhouettes to give your eyes context!

All in all most sketches take me between 10 minutes and half an hour, if it's a more complex pose or set of poses of interacting characters it can take closer to 2 hours, but in that case I also tend to use multiple layers for various iterations of rough sketching and to separate the characters on their own layers so it's a bit easier to keep track of the limb placements etc - it's best to keep a flexible mind when it comes to your approach to sketches.

Not every drawing will need the same level of care put into its sketches, don't be afraid of being rough with it and trying out different things if your usual way of doing things doesn't feel right!

2) Understanding the tools at my disposal!

Imo something every learning digital artist needs to get in the habit of is experimenting around with the tools at their disposal :D

It can seem incredibly daunting, especially when a program is absolutely packed with functions, but the more you work with different things and figure out what you like using and find ways to use them in your workflow, the easier it gets and the quicker you become! You'll be surprised what knowing your way around well can do to your work speed :D

Dick around with different presets, settings, colors, layer blend modes, filters etc

One of the first things I did when I first downloaded CSP was to just pick up every tool in the list one by one and doodle a few strokes across the empty canvas - no real goal or direction in mind, just getting a feel for it and then did a few drawings using different sets.

Imo even if you end up never using certain tools, it's still handy to know how they work!

3) HOTKEYS!!!!

I use my pc's keyboard hotkeys for. Every. Fucking. Thing. Mind you I'll be mostly talking in the terms and list hotkeys specifically for Clip Studio Paint since that's the program I use for my art, so if you use something else please do your own research on what the corresponding hotkeys are for your program if the ones I tell don't work!!! I promise you most of them have very similar functions just on different key combinations and will also usually let you edit them in the settings :D (this comes from someone who's at least tried out most of the available ones - Such as Medibang, FireAlpaca, Gimp, Krita, Rebelle 5, Paint Tool SAI (this one used to be my main before CSP) and I even tried photoshop and procreate on someone else's devices in the past)

The reason I use hotkeys is so I don't have to drag my curser around and click things by hand unnecessarily, the hotkeys save me a ton of time in the drawing process!

some examples of hotkeys I use for basically every drawing:

the classic undo (ctrl+Z) and redo (ctrl+alt+Z, other programs often use ctrl+Y for this tho); on touch-input compatible screen tablets you can often tap with two fingers to undo and 3 fingers to redo

zooming (this has multiple methods, you can use the ctrl+"+" and ctrl+"-" combo to zoom in and out, you can use the scrollwheel on a mouse or you use what my personal preference is: hold ctrl+space and drag the stylus to zoom in and out; if you have a touch-input compatible screen tablet you can also use two fingers to zoom in and out like you would on phone!)

rotating the canvas (technically has more than one way as well but I'm ngl I can't remember the way that isn't what I use anymore lmao, hold shift+space and drag the stylus - pro tip, you can reset the rotation with the Pos1 button, in the navigation window if you have it docked or in CSP's case also at the bottom of the screen!)

mirror canvas (in the viewport only! permanent rotation requires a transform!) using the M button (this is handy for checking proportions and when you just can't get your hand to do a curved line that goes against the natural range of rotation of your dominant hand's wrist)

drag viewport (i.e. move along the canvas by holding space button, then clicking and dragging)

merging layers (ctrl+E)

selecting multiple layers (click on layer, then hold ctrl and click on any other layers you want selected individually; if you want to quickly select a long and uninterrupted list you can also click on the first layer, then hold shift when you click on the last, this will select all layers in between too)

grouping selected layers (ctrl+G)

deselect all (ctrl+D)

transform selection (ctrl+T)

bring up hue/saturation/luminosity sliders for currently selected layer for quick color adjustments (ctrl+U)

switching between tools (I memorized which keys correspond to which tool categories in CSP and then use the "," and "." keys to move between presets within the category; I also have my CSP set up to have multiple presets in my tool bar that I can cycle between using the same tool button)

changing brush size (hold AltGr and drag cursor to increase or decrease brush size)

switching between drawing colors This is an especially big one for me!!! Did you know that using the little transparent color underneath or near your front and back colors turns your currently selected tool into an eraser? It keeps all of the texturing and blending settings too! I often use larger round brushes to block out an area and using this I can just use the same brush as an eraser to taper the strokes or refine corners without losing the texture using the C-key :D When I'm coloring switching between front and back colors helps a ton too, and for that I use the X-key! Here an example of how that looks executed in practice:

Notice how I never have to stop moving my cursor away from the drawing unless I'm picking new colors? :D I also use this a lot for my shading process! I will often use two tones on a layer with its blending mode set to add or multiply in order to shade and quickly switch between them for easy blocking and blending! Tumblr doesn't allow more than one vid per post so here's a youtube link to a little demo to show what I mean!

4) I aim for vibes > visual accuracy, especially in backgrounds!

(though this applies to how I approach character illustrations too)

A background doesn't have to be mega detailed or coherent to get across what you need it to!

I often use blurred photographs and video game screenshots as backdrops for my art, other times I roughly block in some squares and silhouettes to give the viewer some implied context of where they're at

Detailed backgrounds, unfortunately, will almost always cost you tons of time to do, so the speed with those unfortunately really does come from extended practice more than any shortcuts I can offer :')

for at least big room layouts like this tho I can recommend building the scene in sims 4 or something similar first and roughly tracing the screenshot for proportional guidance, something I've done in this one^ for example!

5) STENCIL BRUSHES <3

BOY THESE THINGS CAN BE DAMN USEFUL!

None of the things in this image below were hand-drawn by me!

These are just some of the ones CSP comes with by default! I downloaded quite a few handy custom ones over time too lol

I really implore you to not get too overly reliant on them however, they can be a huge help for when it doesn't need to be super accurate, but unless you're really good at making them match your style they can stick out a little sorely, so use them sparingly and only where you can easily make them blend in with the rest of your piece!

Also I've seen your lovely art in the tags I frequent a few times now and while the insane amount of detail you lovingly pour into it makes it a really cool and recognizable style that genuinely wows me anytime I see it, I can also see how time consuming it'd be to create it!

I do however think it's a gorgeous style that is worth every minute you put into it, so please don't be discouraged by any slowness! :3

I do of course still hope that any of my tips helped even just a little bit!!!

Keep up the amazing work and take care <3<3<3

[laniusbignaturals]

I genuinely confused about the whole drama fuss is all about. All fandom always at least have that one toxic ship, it's inevitable. And master/slave trope is not a new concept either, heck people seems fine about the trope as long as two party are attractive i suppose (shrug).

Plus dead dove do not eat also is a thing. It's unavoidable, if someone really didn't like a content there's literally a mute or filter

TLDR: It was always gonna go this way.

The long version: people originally started arguing about Caesar/Arcade because bickering over how to write characters’ romantic lives is time honored fandom tradition. This has been happening since the days of Star Trek and Harry Potter, it’s nothing new. These scuffles become especially aggro & self-serious when related back to a popular blorbo - those (usually male, almost always white) characters that are kinned, stanned and projected onto moreso than others. Arcade is absolutely that guy, right? He's a lot of people's favorite. He's special.

This spat featured casual racism, offensive name-calling and some brazen, truly nonsensical appropriations of AAVE, because those are also time honored fandom traditions. (Even if you niggas are cagey about acknowledging that.) Art in western culture is heavily influenced by white supremacy, and fandom, including the FNV fandom, is just one niche within that culture. White people, especially the young n cool™ ones, value their position as consumers & beneficiaries of black culture more than they value black people. They are known for selecting parts of our identity, language music clothes hairstyles etc, removing them from the original context, and bastardizing them so they can be used as a cultural commodity for nonblacks. Something that is put on and taken off for funsies, cosplay style. That FD Signifier video I was hyping up over the summer had a whole section about this. He also just released a new video on black cops which is worth checking out.

Now, tumblr's userbase generally believe themselves to be more enlightened than fandoms as you see them on reddit and twitter. And this is true, on a superficial level; you are much more likely to be met with slurs and open hostility on those sites than on this one. I also believe that, because the demographics which form the majority of tumblr's userbase - white gays and white women - have traditionally been marginalized & subjected to mistreatment within mainstream pop culture, they are especially resistant to identifying and dealing with the ways in which they fall short of their own progressive ideals. No one wants to see themself in the same light as their own bullies.

The problem is that, when it comes to their behavior, tumblr's FNV fandom can be pretty damn regressive, especially on the topic of race. They tend to have an excellent grasp on liberal terminology and identity politics, so they are comparatively much better at keeping these misgivings covert. But in practice, you will find them to be no less self-centered, entitled and anti-black than the FNV fanboys you would expect to find on reddit and twitter. I got into this game right around the time it was revealed that some white users were producing extreme anti-native content behind closed doors, an experience which has fostered an increased sense of isolation and paranoia among the remaining people of color in the community, as far as I can tell.

Okay, so, some white users start doing the ~Oooh Chile You'sa Lame Ass Homeskillet~ routine characteristic of digital blackface. They go out of their way to be as disrespectful and verbally abusive as they can in the process, because atp they're still on the offensive. And they misuse the black words they're "borrowing" because they don't know what they actually mean. When myself and a few others respond in kind, they double down, carrying on with the nastiness and the bizarrely racialized talking points. (Unironically calling people you don't like "degenerates??" Really?? School failed some of y'all smh)

A couple days go by and, instead of moving on and finding something else to do, they press the proverbial self-destruct button and engage in civility politics. The malignant tone of the original posts is abandoned, and instead, the people who once adopted it become… shocked and confused and wounded. They start talking about how, instead of matching their energy, their contemporaries should've just been "nice" and "civilized." They start complaining about being “canceled” just for having “opinions,” going back and forth between making half-assed apologies and insisting that the original issue wasn’t that big of a deal because they didn’t have “the intention of being racist” as if “having the intention of being racist” is something people ever do.

You would never guess that 1.these were the people all but outright referring to their peers as unwashed subhumans not last week, or 2. that they did so while identifying as left wing. Because rhetoric like this is borne from a place of privilege. Expecting that no one you’re denigrating will be allowed to meet you with an equal level of vitriol, because your space considers doing so to be taboo, is the kind of behavior that arises from too long spent insulated from the nonwhites who created the language they were mimicking. Nonwhites who might take umbrage with their broken attempts to use it while in the same breath calling them & theirs a bitch.

And if theres anything I would like people to take away from this, it's that the parts of fandom culture which they might have expected to have evolved in the past decade or so have, by and large, not evolved. Even some predominantly queer spaces will readily adopt the talking points of the right wing and prove themselves to be every bit as hostile to poc if you don't abide by their rules and center their perspective. So you should think before you speak and make an effort to not throw rocks and hide your hands, as is the parlance of our time.

Lastly, please do not go find these people and bother them on my behalf. I'm gonna take the poor english language comprehension between the both of them to indicate that they’re probably all, if not minors, young adults, which means they’ll likely learn not to act like this on their own. Or not! Maybe they'll be like this forever. Maybe one day I’ll see their names in the news after getting their shit rocked for saying a slur on campus & crying to the press about how they’re the real victims here. I can't influence whether or not that happens, because I’m not their counselor or their mom, even if they expect me to act like it.