#I don't even own photoshop

[bugged13it]

I used my fartsy art skills to edit Lady Noire into a movie screenshot cuz I love her. o3o

I stole Chat's ears and thought this would be an easy edit before realizing I'd have to draw the whole mask, braid bit and suit from scratch if I wanted her to not look like crap, so I took it as a challenge because my love knows no bounds for my platonic lady~

I wanted to do Mister Bug as well, but then this took me around five hours to figure out and my butt is numb.

[cloysterbell]

Pete, I need you to stay here.

[cozylittleartblog]

random note about king on that animation, i got really lucky with how simple his animation was and how clean my sketches were to begin with that i was able to do very minimal cleanup on what i had sketched (and add back. his horn. it's supposed to take place just after echoes of the past, Oops) and call it done that way instead of having to redraw the entire thing like i had to on his dad

first sketch > line cleanup > nearly final animation (i'd added slight eye movements last-second but otherwise that's the final)

[quaranmine]

On Wednesday before I gave my presentation I confessed to a new employee that I was worried it would be too long and she brightly told me her life hack was to just let AI rewrite things for her. She said I should put in all my talking points and ask ChatGPT to give me a five minute exactly presentation. I was like....how is the most polite possible way (since this is a new colleague I shouldn't get off on the wrong foot with) that I can express that I will Not be taking this advice. Ever. I told her that I didn't think we were allowed to use ChatGPT at this job (we most certainly are not, it is a nightmare for any type of protected information) and also that I prefer to write all of my own work. Despite my best efforts the last part of that was still passive aggressive, lol.

Something about being a writer makes it so that it's almost offensive to me for someone to suggest I use AI to do my work instead? Like, the day I reach the point where I let AI write something for me is the day y'all need to be checking me for brain damage because clearly I'm losing it

[bittwitchy]

I'm Thinking Of Ending Things (2020)

[lifcaltcring]

.

[ellcrys]

how has nobody giffed nynaeve's happy fake family??? 😭

[anauwhere]

Can't stand the latest trend of gifsets with the this is how I coloured it gif to prove that giffing is labour and/or that they unwhitewashed someone

[bi-writes]

whats wrong with ai?? genuinely curious <3

okay let's break it down. i'm an engineer, so i'm going to come at you from a perspective that may be different than someone else's.

i don't hate ai in every aspect. in theory, there are a lot of instances where, in fact, ai can help us do things a lot better without. here's a few examples:

ai detecting cancer

ai sorting recycling

some practical housekeeping that gemini (google ai) can do

all of the above examples are ways in which ai works with humans to do things in parallel with us. it's not overstepping--it's sorting, using pixels at a micro-level to detect abnormalities that we as humans can not, fixing a list. these are all really small, helpful ways that ai can work with us.

everything else about ai works against us. in general, ai is a huge consumer of natural resources. every prompt that you put into character.ai, chatgpt? this wastes water + energy. it's not free. a machine somewhere in the world has to swallow your prompt, call on a model to feed data into it and process more data, and then has to generate an answer for you all in a relatively short amount of time.

that is crazy expensive. someone is paying for that, and if it isn't you with your own money, it's the strain on the power grid, the water that cools the computers, the A/C that cools the data centers. and you aren't the only person using ai. chatgpt alone gets millions of users every single day, with probably thousands of prompts per second, so multiply your personal consumption by millions, and you can start to see how the picture is becoming overwhelming.

that is energy consumption alone. we haven't even talked about how problematic ai is ethically. there is currently no regulation in the united states about how ai should be developed, deployed, or used.

what does this mean for you?

it means that anything you post online is subject to data mining by an ai model (because why would they need to ask if there's no laws to stop them? wtf does it matter what it means to you to some idiot software engineer in the back room of an office making 3x your salary?). oh, that little fic you posted to wattpad that got a lot of attention? well now it's being used to teach ai how to write. oh, that sketch you made using adobe that you want to sell? adobe didn't tell you that anything you save to the cloud is now subject to being used for their ai models, so now your art is being replicated to generate ai images in photoshop, without crediting you (they have since said they don't do this...but privacy policies were never made to be human-readable, and i can't imagine they are the only company to sneakily try this). oh, your apartment just installed a new system that will use facial recognition to let their residents inside? oh, they didn't train their model with anyone but white people, so now all the black people living in that apartment building can't get into their homes. oh, you want to apply for a new job? the ai model that scans resumes learned from historical data that more men work that role than women (so the model basically thinks men are better than women), so now your resume is getting thrown out because you're a woman.

ai learns from data. and data is flawed. data is human. and as humans, we are racist, homophobic, misogynistic, transphobic, divided. so the ai models we train will learn from this. ai learns from people's creative works--their personal and artistic property. and now it's scrambling them all up to spit out generated images and written works that no one would ever want to read (because it's no longer a labor of love), and they're using that to make money. they're profiting off of people, and there's no one to stop them. they're also using generated images as marketing tools, to trick idiots on facebook, to make it so hard to be media literate that we have to question every single thing we see because now we don't know what's real and what's not.

the problem with ai is that it's doing more harm than good. and we as a society aren't doing our due diligence to understand the unintended consequences of it all. we aren't angry enough. we're too scared of stifling innovation that we're letting it regulate itself (aka letting companies decide), which has never been a good idea. we see it do one cool thing, and somehow that makes up for all the rest of the bullshit?

[drchucktingle]

Chuck, how do you deal with people who are rude about you and your work? I write queer romance and I want to put my writing out there for people to read, but I'm a very sensitive person and I know it will be hard not to take insults personally and let them affect me. I don't want to let that stop me from expressing myself and sharing my art, but I'm scared!

very good question buckaroo. i am a good example of this as pretty much EVERYONE was rude about my work for many years calling it 'so bad its good' (it is just good) and 'terrible photoshop' (i think it has a great and instantly recognizable style) and 'intentionally stupid premises' (i dont think there is anything stupid about sex being fun and whimsical and playful). even these days the reaction of the VAST majority of buckaroos who discover chuck have this reaction AT FIRST, and then learn to appreciate the tingleverse in a more sincere way over time.

all that is to say BEING DOUBTED HAS WORKED OUT VERY WELL FOR ME. art that changes meaning over time can be very powerful, so if someones initial reaction to my trot is one thing and then it evolves into another thing, well that is just good art. while it can feel bad to get a bad review, i would say a bad review just means you have entered a realm of tension and change and discord and WE ARE TALKIN ABOUT ART BUD so that, in itself, is very exciting.

i think of what i do as 'punk writing', and a big part of that means pushing against preconceived sensibilities. not many other authors will proudly say 'there SHOULD be some spelling errors in my erotic shorts because i wrote it in a day and edited it once. that is the FEELING i want to create', but that is my way. by creating what is in my soul i KNOW i am going to bother some buckaroos and that is okay.

now i am NOT assuming you are also doing punk writing (that is okay of course we all have our own styles. what i am doing with tinglers is pretty rare), but it still stands to remember that there are 7.8 billion people on the planet of this dang timeline and some of them are bound to be bothered by your creations. that is not a problem, that is just part of baring your authentic self.

the other thing to remember is theres no REAL right or wrong in art. it can be analyzed in different ways and i tend to look at it in a way of comparing intention to result, but even THAT is not strictly correct. therefore any bad review of something you make is not actually BAD it is just someones information and feedback for you to take or leave. a one star review is just another opinion, it is no more right or wrong than your own opinion, and that is wonderful. it is freeing.

if i see a bad review of my own book, lets just say CAMP DAMASCUS for instance, i do not get upset because i know this: that reviewer is not wrong. camp damascus is five stars for me, but it is one star for someone else AND THAT IS OK. THAT IS THE WAY IT SHOULD BE. THAT IS GREAT ART. also MAYBE THEY KNOW BETTER THAN I DO. just because i wrote the book does not mean i am the authority on it, and the conversation and tension between those that enjoy something and those that despise it is a creative act. the audience engaging with your work is just your art emerging from its cocoon and saying 'here i am. lets see where i flutter off to now'

do not fear the river of this timeline sweeping away your creations and carrying them where it will. this is inevitable, but it is also beautiful and freeing. you cannot swim against it and that is okay bud, because YOU HAVE ALREADY WON. you have already created something and given a piece of yourself back to this timeline and that is a great honor and privilege. it is literally all there is

by creating ANYTHING you are proving love is real, and that is something to be proud of

[colleendoran]

How Do I Do Stuff

The question was phrased a little strangely, and I don't want to embarrass the person by posting exactly what was said, but I'll answer it and hope this clears everything up.

I do almost all of my drawing by hand. No, I don't trace in Photoshop. Not a judgment on those who do, but I come from a generation of artists who did not use Poser programs or other digital tools. We learned to draw using a technique called the Sight Size method. I know a lot of people assume everyone - including the old masters - traced everything using optical tools, but while it is true some people did, it is just as true that most didn't, and you can draw with great accuracy if you learned how to draw the old fashioned way.

Sight Size breaks everything down into its barest components of geometric shapes and you build from there. Once you learn it, you never forget, and it applies to everything you will ever draw.

I learned it using a set of Famous Artist Course books my mom had since she was a kid, and they are still the gold standard. They're often on ebay. If I were you, I'd buy them.

I actually find using figure reference really annoying because I like exaggerations and modifications from reality in my final work.

This page from Neil Gaiman's Chivalry was drawn and painted without figure reference of any kind.

I don't know why people assume I trace all the time. If you were to try to use photographs to replicate these figures, you would find they are slightly off. There is no tracing here.

This is not to say I never use reference. This page, for example, was referenced from a photo of my mother. Isn't she pretty.

But this page of Sir Galaad was drawn and painted without reference.

He's pretty, too.

If he were real, I'm sure a lot of people would be very happy about it. But he's not. And had I reference, the art would have gone a lot faster. I had a time trying to nail this face that is very alive in my head but doesn't really exist.

Back in the ancient days, all cartoonists had to learn to draw and paint extemporaneously because reference was limited and digital tools didn't exist. While some high end artists had photography studios and professional models with costume and sets on hand, small fry like me were limited to what was in the house or available at my small local library, which was no bigger than a few rooms of my current house.

Artists kept extensive "morgue files" or "swipe files" which were collected from magazine clippings and photographs so we would have as much of what we might need on hand for quick reference. These ephemera collections could get unwieldy. I have thousands of photographs I've simply never sorted. I finally dumped most of my files this past year.

Have I ever traced anything? Of course, especially if I have to re-use a shot or setting over and over. Making extra work for myself is just silly. It's my job to make pictures, not to perform magical feats, like copying one shot after another over and over without making a mistake.

However, for almost 15 years of my career, I refused to copy or trace anything, and did not even own a lightbox. On the one hand, that forced me to learn to carefully examine what I saw. On the other hand, it was a stupid hill on which many deadlines died.

Only after I realized many professional artists had lightboxes and overhead projectors did I finally break down and get one.

The one thing I use my lightbox for more than anything is for tracing my thumbnail sketches to the final drawing paper. Instead of trying to capture the liveliness of the original sketch by copying what I see - only bigger - I blow the thumbnail up to the size I want the final art to be, then I trace over the thumbnail using a lightbox onto the final drawing paper.

Here's a look at thumbnails from the graphic novel Neil Gaiman's Snow, Glass, Apples.

I enlarged these on my computer to fit onto 11"x14" paper, and traced the thumbs before finishing the art which was drawn in pen and ink and colored in Photoshop.

While I obviously made some changes, the essence of the thumbs is there in the final work. Tracing my thumbs retains some of the looseness of the original sketches, which is often lost otherwise.

So, there is a valid purpose to tracing at times, though in my opinion, too much tracing can weaken drawing ability, substitute for developing skills, and make the work kind of stiff.

If you want to, I'm not your judge. But it's weird to me that people think I must be faking my skills in some way.

Ironically, the word cartoon comes from the Italian word cartone, which is a large heavy sheet of paper - also, the origin of the word carton.

Preparatory sketches were made on this paper which was then transferred to the final work surface via either tracing or by stamping little holes in the paper through which dust was sprinkled, recreating the contours of the drawing for the artist to follow.

So the origin of the word cartoon comes from a process often used...for tracing.

[aeyumicore]

EXPOSING MY IMPERSONATOR/HARASSER: @/IZUWUS.

edit: final update to this situation here

edit 2 (9/22): her new blog is @/clitfilms with an alias of naya. be wary interacting with her.

I have decided to move forward with exposing the person I know to be behind the @/exposingaeyumicore + @/aeyumicores (these two are the same account, just renamed), @/aeyumiicore, and @/minimimies accounts.

That person is another large, probably larger than myself, writer in this space. That person is @/izuwus.

The reason I have decided to expose: Izuwus has still not left me alone, since she took down the impersonator blog last Thursday (evidence in doc confirming the blog was self-deleted and not deleted by Tumblr). Yesterday, she stalked my Twitter, saw a tweet I made with an idea I had for a Sylus fic, and proceeded to steal the idea as her own, posting it onto her main. That was my breaking point. (More details and screenshot evidence in the document below).

I have spoken to the Tumblr Abuse Support Staff and they have confirmed that I can post this, and it would not be considered harassment as I am defending myself from the harassment I endured for the last almost 2 weeks.

I do not feel safe on my platforms. I will always be paranoid that Izuwus is stalking me. She will never stop. I have given her MANY opportunities to leave me alone. I have given them opportunities to confess privately. You will see all of those in my document, as well as even on my blog I have warned them publicly to leave me alone.

CLICK FOR LINK: EVIDENCE THAT IZUWUS IS EXPOSINGAEYUMICORE, AEYUMICORES, AEYUMIICORE, AND MINIMIMIES.

Please be warned, this document is 55 pages (and counting should I need to add more evidence). It contains heavy mentions of cyber bullying, harassment, and impersonation. The document contains video screen recordings and lots of screenshot evidence. That is why it is so long. I will try not to edit the document, but should more evidence arise, I will be adding it.

Note, I am not asking you to harass Izuwus, to unfollow, or to spread the word. I could not care less if this person loses or gains followers from this. If you decide to continue following them, I honestly don't mind, I won't hold any animosity towards you. We can still be friends, mutuals, etc. I just want to get my truth out, before she continues to twist the narrative in her favor.

As a note, I have literally almost never spoken to this writer prior to the events of August 17, where @/exposingaeyumicore was released. I am aware Izuwus has told some people that she and I are close (again I have proof). This could not be further from the truth. She literally had me soft blocked prior to this happening on August 17, and then hard blocked me with no warning after I responded to her in our DMs that I did think her new layout was identical to mine.

I also have never had any issues with any readers, writers, anyone on Tumblr prior to this debacle. Not in my asks, not in my messages, not publicly. I absolutely did not start this. She started this, and brought it to Tumblr. So I am letting the people of Tumblr make their own decisions.

I will not be mass-messaging this post to anyone. I will not be commenting this post to any of her posts. I will not be going down her list of followers and sending it to them. I will post it here, and my Twitter, and that's it.

I am posting this on my main blog, and not making a burner, because I have nothing to hide. Should Izuwus refute this, or continue to make ANY claims about me, I will not be responding. It is very clear that nothing she says can be trusted, and I have provided ample legitimate proof (using HER OWN screenshots + taking screen recordings).

Especially after the @/exposingaeyumicore post, I have proven my innocence time and again. I have nothing to hide. No reason to lie.

If any other harassment targeting me happens (impersonation, vile claims, photoshopped screenshots), or any other creators in this space for that matter, I think we know who it is.

I apologize if I am not able to respond to all comments, messages, or asks. I am so exhausted.

Thank you for taking the time to read this, and if you decide to read the entire document, thank you again. Please stay safe online everyone. You could mind your own business and still be targeted. Be careful what info you share about yourself. Just be a good person.

[wileys-russo]

hihi idk if youre taking requests but i had an idea for leah kinda inspired by sockgate (💀)

so basically r plays for arsenal and theyre having kit photoshoots but the kit person accidentally forgot r’s (obviously the photoshoot isnt in colney) so she has to wear leah’s kit because r’s number is 5 and leah’s is 6 so it would be easier to edit and change the number like on the shorts (just say they didnt take any photos of her back because it would be too hard to change the name or something) ANYWAY leah is eating it up seeing r in her kit (especially if it’s like kind of big on her)

and then idk how you want to end it but maybe after the edited pictures are posted, leah cant help herself and also posts the original ones where you can see it’s her kit or something

love your writing <3

the sockgate trauma...never again the new number 6 II l.williamson

"leah catherine if you make us late again you're sleeping on the sofa tonight!" you yelled out impatiently, checking the time and rolling your eyes. "two minutes babe!" your girlfriend called back as you groaned in disbelief.

"they're dressing us and doing hair and makeup there leah, what is taking you so long?" you dropped your bag to the ground and stomped off to the bedroom. "no don't come in i'm-" you pushed open the door and your eyes widened at the sight in front of you.

"tell me that you are not doing a soduku right now." you spoke deathly calm, eyes locked with hers and narrowing. "would that make you feel better?" leah questioned with a charming smile, sat on the corner of the bed.

but the tinkling of her game gave it away as your eye twitched slightly and leah laughed nervously. "leah, i will be waiting in the car. if you do not join me in exactly two minutes, that thing you've been wanting to do?" you stated as leah nodded along.

"you can do it to yourself and this-" you gestured to your body. "-will be off limits, for a week." you warned seriously as leah scoffed and went to speak.

"a whole week williamson, shift it!" you cut her off sternly, turning on heel and marching out of the bedroom hearing your girlfriend trip over with a curse in her haste to hurry.

"ah fuck." you heard a thump and before you could even open the car door leah was skidding to your side, grabbing it for you. "after you darling." she grinned as you hummed and slid inside, tossing your bag in the back as she hurried around to her side.

~

"babe why aren't you dressed?" leah frowned as she returned to the change rooms, having finished with her own media promotion and asked to let you know they were ready for you now.

"they didn't bring my kit. there was a typo on the schedule and they thought less was coming so they've got 23 and not 5." you sighed in explanation as your girlfriend took a seat beside you.

"they just told me to wear your kit, 6 is easier to photoshop to 5 since its one number and not two like 23 is." you shrugged as leahs eyebrows shot upward. "leah." you sighed tiredly at the familiar look which settled on her face as she sat down beside you.

"be an adult and go change, now please." you ducked away from her arm which attempted to slip over your shoulders, standing up and crossing your arms across your chest. "have i ever told you just how sexy you look when you're pissed with me?" leah sighed with a dopey smile.

"yes. you make a point to remind me every time you grovel after you've pissed me off!" you threw a towel at her head and sat back down at your cubby. "no, go change baby." your foot shot up to press against her as she stood and attempted to get closer.

"reminds me of a different position baby, one i quite like." leah grinned wolfishly as she pulled your leg to sit on top of her shoulder and kissed your ankle with a wiggle of her eyebrows.

"you already made me late once this morning and you're doing it again. go and change leah please!" you groaned pulling your leg back and sending her a stern look.

"i know you think this is going to work but this whole annoyed look-" leah wiggled her fingers at you "-is just making it all the more harder to leave you." leah smirked as you rolled your eyes and exhaled deeply.

"alright alright! i'm going. a girl knows where she isn't wanted!" leah spoke dramatically clutching at her chest, ducking down and stealing a kiss. "unless you'd like me to just change here and we can-" leah started to suggest but a dead panned glare had her grabbing her bag and hurrying away toward the showers.

"here you go then sunshine." a bundle of clothes hit you square in the face as you'd started to daydream only a few moments later, leah changed back into the clothes she'd arrived in.

"you are so-" you stopped yourself, leah sending you a smirk and sitting down on the bench. "eyes and hands inside the ride at all times williamson, i'm on a schedule." you warned as you started to strip off and change, feeling your girlfriends gaze locked onto you.

"leah!" you huffed as you pulled her shirt down over your head and her hand smacked against your ass. "what? it slipped babe." leah shrugged with an innocent smile as you rolled your eyes and pulled on her shorts having to roll the waistband a little so they didn't hang so low, already having your boots and socks on.

"wait! you're missing something." leah shot to her feet as you fixed your hair and turned to leave, pausing with a raised eyebrow. your lips couldn't help but curl into a small smile as leahs own pressed sweetly against them.

"sap." you teased, pecking her lips a few more times before heading out of the change rooms hearing her follow after you. "behave leah." you warned seriously as she held up her hands with a wink and you pushed your way into the media room.

"well well well if it isn't our newest number six!" beth teased as she finished up and immediately noticed that you weren't in your own number. "call me vice captain." you grinned, hugging her as you swapped positions and she spoke briefly with your girlfriend before leaving the room.

"so we're mostly shooting graphics for the screens and the lineups today, some celebrations, some serious shots. we'll do everything forward facing since there was some...issues, sorry about that again." jessica the marketing and media admin smiled apologetically.

"you're just lucky i was around to save the day jess." leah chimed in as jess shot her a playful glare and stepped back, calling out a few poses as the photographer snapped away and you moved between the different backdrops.

much as you tried your hardest to stay focused there was no avoiding the shit eating grin plastered on your girlfriends face as she sat back with arms crossed, eyes laser focused on your every move.

leah wasn't shy about how much she adored you, that was given by the constant teasings of the pining looks she threw your way during trainings or the not to subtle kisses she stole what felt like every few minutes.

leah was even less shy about how much she adored the sight of you in her clothes. early on in the relationship she did find it somewhat frustrating how you'd sneak off with her hoodies or shirts or pants hidden away in your overnight bag.

but seeing you wander around colney with what leah knew was her nike hoodie covering your top half had something stirring in her stomach she couldn't ignore.

your girlfriend by nature could be possessive, though most times it never came from jealousy knowing you were just as much as infatuated with her as she was with you, but rather that solidifying assurance that you were hers.

so as she sat there seeing you take picture after picture wearing her name, number and jersey leah was grinning ear to ear and there wasn't much which could be said to wipe it off.

"all good?" you questioned once it seemed things were wrapped up, sending both him and jess a thumbs up and stepping away, boots clacking against the hard cement floor and shaking your head at the look on leahs face.

"don't say it." you warned, snatching your jacket out of her hands and making a beeline out of the room as she hurried to follow you. "leah!" you laughed as she caught up and grabbed your hand, pushing you against a wall.

"you're like a horny teenager." you chuckled against her lips which immediately ravaged yours, her hands gripping your hips as you cupped her face and deepened the kiss.

"baby girl you know what it does to me to see you in my clothes, let alone wearing my last name on your back." leah pulled away and shook her head, making a mind blown gesture with her hands causing you to laugh again and shove her.

"we're at work miss williamson, be professional." you booped her nose and darted away as leahs kiss met thin air and she watched you dissapear into the change rooms.

"oh but miss williamson all my thoughts right now are strictly unprofessional." leah sang out happily with a cheeky grin as you shook your head. "no ring, no wife." you patted her cheek and held up your empty hand causing leah to now shake her head.

"oh no no no, no need to change my girl." leah swiftly grabbed your bag, stuffing your clothes back in and slinging it over her shoulder, holding out her hand for you to take with a sly smile.

"its time for me to make our new number six feel very very very welcome."

[transform4u]

My boyfriend is super turned on by the idea of me turning straight. I don't get it but it's his fantasy.

Is there any way you can do that while letting me still be close to him? Like making sure I'm not homophobic when I turn and I can be his best friend at least?

As the night settled in and you and your boyfriend lounged on the couch, a cozy vibe had enveloped the apartment. You were deeply immersed in Watch What Happens Live with Andy Cohen, your laughter mingling. The comfort of the couch and the warmth of the moment made it all feel perfect—until the sudden, inexplicable noise shattered the tranquility.

A loud, jarring snaaaaaaaaapppp reverberated through the apartment, and the TV screen flickered with an unsettling intensity. In an instant, the show was replaced by a chaotic football game. The teams were a blur of color and motion, their logos unrecognizable as they dashed across the screen. You and your bofriend exchanged a look of utter bewilderment. Confusion danced in your eyes as you both instinctively reached for the remote.

But before you could even touch it, a searing heat shot through your hand. A wave of pain rippled through your entire body, spreading out like wildfire. As the pain intensified, your bodies began to change in ways that defied logic. You felt your legs part involuntarily, the couch seemed to shrink beneath you.

Your once lean and lithe form burgeoned, and you felt yourself growing taller, your muscles swelling like they were pumped full of adrenaline and gym-bagged protein powder. Each inch added to your height brought with it a new layer of muscle—biceps that now rivaled grapefruits, a chest like an impenetrable fortress, and abs that could slice through steel. Your shoulders were so broad they could serve as landing strips for small aircraft. Your face, framed by a sunburn that spoke of endless days in the sun, was marked by a square jawline that could cut glass, and your cocky smirk seemed permanently etched into your features. Your eyes squinted with the kind of intensity only found in those who have lived on a diet of pre-workout and relentless gym sessions.

Beside you, your bro-friend underwent a similar metamorphosis. His transformation was nothing short of Michelangelo’s finest sculpting after a bender of keg stands. His triceps flexed on their own, a testament to his relentless dedication. His quads could have doubled as life rafts, and his torso was a living mountain range, displaying a V-taper so extreme it could have been photoshopped. His face, perpetually adorned with a rugged five o'clock shadow, spoke of late nights and unending revelry. His bloodshot eyes glinted with the anticipation of the next party, and when he grinned—a sight to behold—his white teeth gleamed brilliantly against his tanned skin, an impressive display of someone who’s lived for the sun and the fun. Dumb chuckles bubbled up from within as the football game continued to rage on, the absurdity of the situation only fueling your laughter. You flexed your massive biceps involuntarily, your abs rippling as you shifted on the couch, while your bro did the same, his massive shoulders rolling with every motion. You leaned back into the couch, the heat of the moment blending with the heat radiating from your muscular frames. The game played on, but all you and your bro could do was laugh, marveling at the incredible absurdity of it all.

With a roar of glee, you raise your fist high in the air, colliding with your boyfriend's in a resounding smack that echoes through your aparment "That's right, suck it!" you cheer as the Jets score another touchdown. The entire room quakes from the force of your exuberant high five.

All around you, the once spotless apartment descends into utter chaos - empty beer bottles topple off the shelves, porno magazine covers fly everywhere, pizza boxes accordion out in every direction as the floor shifts underfoot. The pristine couch creaks ominously as it's subjected to a relentless pounding from your giant new bodies. Duct tape peels off the walls, clothes tear as muscles bulge obscenely. The pungent aroma of collegeboy sweat mingles with Axe and Doritos and beer.

A sudden buzz reverberates through your enhanced hearing - your phone. Fishing the device out of the gym bag that used to be your backpack, you swipe open the text message from Misty. She sends a photo accompanied by the simple caption: "miss u 2nite ;)" You show the picture to your brother-in-arms, grinning widely as you bring the screen closer to his face. "Does she have like, a sister or something?" He raises a perfectly sculpted eyebrow, glancing back down at the image. "Bro! That would be sick!"

You let out a snort of laughter as memories of your wildest one-night stand with Misty flash through your mind. That night still haunts you in the best way - the taste of her sweet cherry lipstick smeared across your face, the sounds of her whorish moans filling your ears as you pounded into her tight little holes, the feeling of her nails raking down your back leaving red welts in their wake. She rode your cock like she was possessed, bouncing on it wildly until she threw her head back with a silent scream, tits swinging as you bottomed out inside her over and over again until you both collapsed into a sweaty heap. "Bro…" you say lowly, voice rough with lust, "you gotta see this chick."

Before your bro can respond, a primal hunger rises up inside you as you imagine sinking your teeth into Misty's soft neck while she screams in ecstasy. Your dick immediately begins stirring to life in your tiny gym shorts, straining painfully against the fabric. Adjusting yourself with one massive hand, you give yourself a firm squeeze and groan at the pressure building inside. "God damn…just thinking about fucking that slutty little bitch turns me on," you mutter, rubbing the bulge in your shorts as your brother chuckles beside you.

Memories flood your mind of days as the most notorious frat boys on campus brings back a flood of memories - late nights filled with cheap beer, stale pizza, and even cheaper women willing to spread their legs for a few dollars and a bottle of Pabst Blue Ribbon. You and your bro-in-arms were the epitome of frat house antics, constantly scheming up new ways to get girls drunk on Natty Light and show them a good time.

Whether it was streaking through the quad at midnight, attempting to "flash" the girls walking by, or having a keg stand contest in the dining hall that ended with your bro launching a full Red Cup straight at the RA's head, there was no stunt too wild or stupid for the two of you. The campus police were always on your tail, but you were always three steps ahead. By day you were up to no good, pranking dorm mates and setting off alarms. By night, you were the kings of the party scene, ruling over the dance floor like alpha males. Girls wanted to be seen with you and your bro, even if they didn't always stick around for breakfast.

[eyrieofsynapses]

why Aurora's art is genius

It's break for me, and I've been meaning to sit down and read the Aurora webcomic (https://comicaurora.com/, @comicaurora on Tumblr) for quite a bit. So I did that over the last few days.

And… y'know. I can't actually say "I should've read this earlier," because otherwise I would've been up at 2:30-3am when I had responsibilities in the morning and I couldn't have properly enjoyed it, but. Holy shit guys THIS COMIC.

I intended to just do a generalized "hello this is all the things I love about this story," and I wrote a paragraph or two about art style. …and then another. And another. And I realized I needed to actually reference things so I would stop being too vague. I was reading the comic on my tablet or phone, because I wanted to stay curled up in my chair, but I type at a big monitor and so I saw more details… aaaaaand it turned into its own giant-ass post.

SO. Enjoy a few thousand words of me nerding out about this insanely cool art style and how fucking gorgeous this comic is? (There are screenshots, I promise it isn't just a wall of text.) In my defense, I just spent two semesters in graphic design classes focusing on the Adobe Suite, so… I get to be a nerd about pretty things…???

All positive feedback btw! No downers here. <3

---

I cannot emphasize enough how much I love the beautiful, simple stylistic method of drawing characters and figures. It is absolutely stunning and effortless and utterly graceful—it is so hard to capture the sheer beauty and fluidity of the human form in such a fashion. Even a simple outline of a character feels dynamic! It's gorgeous!

Though I do have a love-hate relationship with this, because my artistic side looks at that lovely simplicity, goes "I CAN DO THAT!" and then I sit down and go to the paper and realize that no, in fact, I cannot do that yet, because that simplicity is born of a hell of a lot of practice and understanding of bodies and actually is really hard to do. It's a very developed style that only looks simple because the artist knows what they're doing. The human body is hard to pull off, and this comic does so beautifully and makes it look effortless.

Also: line weight line weight line weight. It's especially important in simplified shapes and figures like this, and hoo boy is it used excellently. It's especially apparent the newer the pages get—I love watching that improvement over time—but with simpler figures and lines, you get nice light lines to emphasize both smaller details, like in the draping of clothing and the curls of hair—which, hello, yes—and thicker lines to emphasize bigger and more important details and silhouettes. It's the sort of thing that's essential to most illustrations, but I wanted to make a note of it because it's so vital to this art style.

THE USE OF LAYER BLENDING MODES OH MY GODS. (...uhhh, apologies to the people who don't know what that means, it's a digital art program thing? This article explains it for beginners.)

Bear with me, I just finished my second Photoshop course, I spent months and months working on projects with this shit so I see the genius use of Screen and/or its siblings (of which there are many—if I say "Screen" here, assume I mean the entire umbrella of Screen blending modes and possibly Overlay) and go nuts, but seriously it's so clever and also fucking gorgeous:

Firstly: the use of screened-on sound effect words over an action? A "CRACK" written over a branch and then put on Screen in glowy green so that it's subtle enough that it doesn't disrupt the visual flow, but still sticks out enough to make itself heard? Little "scritches" that are transparent where they're laid on without outlines to emphasize the sound without disrupting the underlying image? FUCK YES. I haven't seen this done literally anywhere else—granted, I haven't read a massive amount of comics, but I've read enough—and it is so clever and I adore it. Examples:

Secondly: The beautiful lighting effects. The curling leaves, all the magic, the various glowing eyes, the fog, the way it's all so vividly colored but doesn't burn your eyeballs out—a balance that's way harder to achieve than you'd think—and the soft glows around them, eeeee it's so pretty so pretty SO PRETTY. Not sure if some of these are Outer/Inner Glow/Shadow layer effects or if it's entirely hand-drawn, but major kudos either way; I can see the beautiful use of blending modes and I SALUTE YOUR GENIUS.

I keep looking at some of this stuff and go "is that a layer effect or is it done by hand?" Because you can make some similar things with the Satin layer effect in Photoshop (I don't know if other programs have this? I'm gonna have to find out since I won't have access to PS for much longer ;-;) that resembles some of the swirly inner bits on some of the lit effects, but I'm not sure if it is that or not. Or you could mask over textures? There's... many ways to do it.

If done by hand: oh my gods the patience, how. If done with layer effects: really clever work that knows how to stop said effects from looking wonky, because ugh those things get temperamental. If done with a layer of texture that's been masked over: very, very good masking work. No matter the method, pretty shimmers and swirly bits inside the bigger pretty swirls!

Next: The way color contrast is used! I will never be over the glowy green-on-black Primordial Life vibes when Alinua gets dropped into that… unconscious space?? with Life, for example, and the sharp contrast of vines and crack and branches and leaves against pitch black is just visually stunning. The way the roots sink into the ground and the three-dimensional sensation of it is particularly badass here:

Friggin. How does this imply depth like that. HOW. IT'S SO FREAKING COOL.

A huge point here is also color language and use! Everybody has their own particular shade, generally matching their eyes, magic, and personality, and I adore how this is used to make it clear who's talking or who's doing an action. That was especially apparent to me with Dainix and Falst in the caves—their colors are both fairly warm, but quite distinct, and I love how this clarifies who's doing what in panels with a lot of action from both of them. There is a particular bit that stuck out to me, so I dug up the panels (see this page and the following one https://comicaurora.com/aurora/1-20-30/):

(Gods it looks even prettier now that I put it against a plain background. Also, appreciation to Falst for managing a bridal-carry midair, damn.)

The way that their colors MERGE here! And the immense attention to detail in doing so—Dainix is higher up than Falst is in the first panel, so Dainix's orange fades into Falst's orange at the base. The next panel has gold up top and orange on bottom; we can't really tell in that panel where each of them are, but that's carried over to the next panel—

—where we now see that Falst's position is raised above Dainix's due to the way he's carrying him. (Points for continuity!) And, of course, we see the little "huffs" flowing from orange to yellow over their heads (where Dainix's head is higher than Falst's) to merge the sound of their breathing, which is absurdly clever because it emphasizes to the viewer how we hear two sets of huffing overlaying each other, not one. Absolutely brilliant.

(A few other notes of appreciation to that panel: beautiful glows around them, the sparks, the jagged silhouette of the spider legs, the lovely colors that have no right to make the area around a spider corpse that pretty, the excellent texturing on the cave walls plus perspective, the way Falst's movements imply Dainix's hefty weight, the natural posing of the characters, their on-point expressions that convey exactly how fuckin terrifying everything is right now, the slight glows to their eyes, and also they're just handsome boys <3)

Next up: Rain!!!! So well done! It's subtle enough that it never ever disrupts the impact of the focal point, but evident enough you can tell! And more importantly: THE MIST OFF THE CHARACTERS. Rain does this irl, it has that little vapor that comes off you and makes that little misty effect that plays with lighting, it's so cool-looking and here it's used to such pretty effect!

One of the panel captions says something about it blurring out all the injuries on the characters but like THAT AIN'T TOO BIG OF A PROBLEM when it gets across the environmental vibes, and also that'd be how it would look in real life too so like… outside viewer's angle is the same as the characters', mostly? my point is: that's the environment!!! that's the vibes, that's the feel! It gets it across and it does so in the most pretty way possible!

And another thing re: rain, the use of it to establish perspective, particularly in panels like this—

—where we can tell we're looking down at Tynan due to the perspective on the rain and where it's pointing. Excellent. (Also, kudos for looking down and emphasizing how Tynan's losing his advantage—lovely use of visual storytelling.)

Additionally, the misting here:

We see it most heavily in the leftmost panel, where it's quite foggy as you would expect in a rainstorm, especially in an environment with a lot of heat, but it's also lightly powdered on in the following two panels and tends to follow light sources, which makes complete sense given how light bounces off particles in the air.

A major point of strength in these too is a thorough understanding of lighting, like rim lighting, the various hues and shades, and an intricate understanding of how light bounces off surfaces even when they're in shadow (we'll see a faint glow in spots where characters are half in shadow, but that's how it would work in real life, because of how light bounces around).

Bringing some of these points together: the fluidity of the lines in magic, and the way simple glowing lines are used to emphasize motion and the magic itself, is deeply clever. I'm basically pulling at random from panels and there's definitely even better examples, but here's one (see this page https://comicaurora.com/aurora/1-16-33/):

First panel, listed in numbers because these build on each other:

The tension of the lines in Tess's magic here. This works on a couple levels: first, the way she's holding her fists, as if she's pulling a rope taut.

The way there's one primary line, emphasizing the rope feeling, accompanied by smaller ones.

The additional lines starbursting around her hands, to indicate the energy crackling in her hands and how she's doing a good bit more than just holding it. (That combined with the fists suggests some tension to the magic, too.) Also the variations in brightness, a feature you'll find in actual lightning. :D Additional kudos for how the lightning sparks and breaks off the metal of the sword.

A handful of miscellaneous notes on the second panel:

The reflection of the flames in Erin's typically dark blue eyes (which bears a remarkable resemblance to Dainix, incidentally—almost a thematic sort of parallel given Erin's using the same magic Dainix specializes in?)

The flowing of fabric in the wind and associated variation in the lineart

The way Erin's tattoos interact with the fire he's pulling to his hand

The way the rain overlays some of the fainter areas of fire (attention! to! detail! hell yeah!)

I could go on. I won't because this is a lot of writing already.

Third panel gets paragraphs, not bullets:

Erin's giant-ass "FWOOM" of fire there, and the way the outline of the word is puffy-edged and gradated to feel almost three-dimensional, plus once again using Screen or a variation on it so that the stars show up in the background. All this against that stunning plume of fire, which ripples and sparks so gorgeously, and the ending "om" of the onomatopoeia is emphasized incredibly brightly against that, adding to the punch of it and making the plume feel even brighter.

Also, once again, rain helping establish perspective, especially in how it's very angular in the left side of the panel and then slowly becomes more like a point to the right to indicate it's falling directly down on the viewer. Add in the bright, beautiful glow effects, fainter but no less important black lines beneath them to emphasize the sky and smoke and the like, and the stunningly beautiful lighting and gradated glows surrounding Erin plus the lightning jagging up at him from below, and you get one hell of an impactful panel right there. (And there is definitely more in there I could break down, this is just a lot already.)

And in general: The colors in this? Incredible. The blues and purples and oranges and golds compliment so well, and it's all so rich.

Like, seriously, just throughout the whole comic, the use of gradients, blending modes, color balance and hues, all the things, all the things, it makes for the most beautiful effects and glows and such a rich environment. There's a very distinct style to this comic in its simplified backgrounds (which I recognize are done partly because it's way easier and also backgrounds are so time-consuming dear gods but lemme say this) and vivid, smoothly drawn characters; the simplicity lets them come to the front and gives room for those beautiful, richly saturated focal points, letting the stylized designs of the magic and characters shine. The use of distinct silhouettes is insanely good. Honestly, complex backgrounds might run the risk of making everything too visually busy in this case. It's just, augh, so GORGEOUS.

Another bit, take a look at this page (https://comicaurora.com/aurora/1-15-28/):

It's not quite as evident here as it is in the next page, but this one does some other fun things so I'm grabbing it. Points:

Once again, using different colors to represent different character actions. The "WHAM" of Kendal hitting the ground is caused by Dainix's force, so it's orange (and kudos for doubling the word over to add a shake effect). But we see blue layered underneath, which could be an environmental choice, but might also be because it's Kendal, whose color is blue.

And speaking off, take a look at the right-most panel on top, where Kendal grabs the spear: his motion is, again, illustrated in bright blue, versus the atmospheric screened-on orange lines that point toward him around the whole panel (I'm sure these have a name, I think they might be more of a manga thing though and the only experience I have in manga is reading a bit of Fullmetal Alchemist). Those lines emphasize the weight of the spear being shoved at him, and their color tells us Dainix is responsible for it.

One of my all-time favorite effects in this comic is the way cracks manifest across Dainix's body to represent when he starts to lose control; it is utterly gorgeous and wonderfully thematic. These are more evident in the page before and after this one, but you get a decent idea here. I love the way they glow softly, the way the fire juuuust flickers through at the start and then becomes more evident over time, and the cracks feel so realistic, like his skin is made of pottery. Additional points for how fire begins to creep into his hair.

A small detail that's generally consistent across the comic, but which I want to make note of here because you can see it pretty well: Kendal's eyes glow about the same as the jewel in his sword, mirroring his connection to said sword and calling back to how the jewel became Vash's eye temporarily and thus was once Kendal's eye. You can always see this connection (though there might be some spots where this also changes in a symbolic manner; I went through it quickly on the first time around, so I'll pay more attention when I inevitably reread this), where Kendal's always got that little shine of blue in his eyes the same as the jewel. It's a beautiful visual parallel that encourages the reader to subconsciously link them together, especially since the lines used to illustrate character movements typically mirror their eye color. It's an extension of Kendal.

Did I mention how ABSOLUTELY BEAUTIFUL the colors in this are?

Also, the mythological/legend-type scenes are illustrated in familiar style often used for that type of story, a simple and heavily symbolic two-dimensional cave-painting-like look. They are absolutely beautiful on many levels, employing simple, lovely gradients, slightly rougher and thicker lineart that is nonetheless smoothly beautiful, and working with clear silhouettes (a major strength of this art style, but also a strength in the comic overall). But in particular, I wanted to call attention to a particular thing (see this page https://comicaurora.com/aurora/1-12-4/):

The flowing symbolic lineart surrounding each character. This is actually quite consistent across characters—see also Life's typical lines and how they curl:

What's particularly interesting here is how these symbols are often similar, but not the same. Vash's lines are always smooth, clean curls, often playing off each other and echoing one another like ripples in a pond. You'd think they'd look too similar to Life's—but they don't. Life's curl like vines, and they remain connected; where one curve might echo another but exist entirely detached from each other in Vash's, Life's lines still remain wound together, because vines are continuous and don't float around. :P

Tahraim's are less continuous, often breaking up with significantly smaller bits and pieces floating around like—of course—sparks, and come to sharper points. These are also constants: we see the vines repeated over and over in Alinua's dreams of Life, and the echoing ripples of Vash are consistent wherever we encounter him. Kendal's dream of the ghost citizens of the city of Vash in the last few chapters is filled with these rippling, echoing patterns, to beautiful effect (https://comicaurora.com/aurora/1-20-14/):

They ripple and spiral, often in long, sinuous curves, with smooth elegance. It reminds me a great deal of images of space and sine waves and the like. This establishes a definite feel to these different characters and their magic. And the thing is, that's not something that had to be done—the colors are good at emphasizing who's who. But it was done, and it adds a whole other dimension to the story. Whenever you're in a deity's domain, you know whose it is no matter the color.

Regarding that shape language, I wanted to make another note, too—Vash is sometimes described as chaotic and doing what he likes, which is interesting to me, because smooth, elegant curves and the color blue aren't generally associated with chaos. So while Vash might behave like that on the surface, I'm guessing he's got a lot more going on underneath; he's probably much more intentional in his actions than you'd think at a glance, and he is certainly quite caring with his city. The other thing is that this suits Kendal perfectly. He's a paragon character; he is kind, virtuous, and self-sacrificing, and often we see him aiming to calm others and keep them safe. Blue is such a good color for him. There is… probably more to this, but I'm not deep enough in yet to say.

And here's the thing: I'm only scratching the surface. There is so much more here I'm not covering (color palettes! outfits! character design! environment! the deities! so much more!) and a lot more I can't cover, because I don't have the experience; this is me as a hobbyist artist who happened to take a couple design classes because I wanted to. The art style to this comic is so clever and creative and beautiful, though, I just had to go off about it. <3

...brownie points for getting all the way down here? Have a cookie.

[djarin]

hi i'm sorry to bother you but do you have any tips on giffing dark indoor scenes? yours always look so good!

hi there! not a bother at all :) i can definitely try to explain the steps i usually take under the cut!

this tutorial will assume that you already know the basic steps of gif-making — if you don't, there are lots of great tutorials floating around on this site that can help you out! :)

here's the gif i'll work with to explain my steps, the bottom being the original and the top being the coloured/brightened version.

before we start, a general tip i recommend keeping in mind: if you want to brighten a dark scene, you'll want to get your hands on the highest quality download you can find. 1080p is decent, but if your laptop can handle 2160p 4k hdr files* without sounding like it's about to explode, that'll get you even better results!

(*colouring hdr 4k files requires a different set of steps — the scene will appear washed-out on photoshop, so you need to make sure that you don't end up whitewashing anyone if you do choose to work with this type of file.)

since most of my downloads are 1080p, i'll use this type of file in this tutorial.

the first step of my gifmaking process with 1080p files is almost always the same no matter what scene i'm giffing. i make a brightness/contrast layer and set the blending mode to screen:

now my gif looks like this:

depending on the scene and how washed out it looks after this layer, i'll play around with the opacity. for this gif, i didn't touch the opacity at all. use your best judgement for this, because every scene is different!

i find that dark indoor scenes are usually tinted in yellow or green. one of my first goals is to try to fix the undertone of this scene before focusing on brightening it any further. i go to colour balance for this, and play around with the midtones, shadows, and highlights.

again, every scene is different, so the amount to which you use colour balance will differ, but for this specific scene, my goal was to neutralize the yellow. i focused particularly on the midtones and shadows of the colour balance layer, moving the scales to the opposite of the reds.

doing so will help with neutralizing the yellow. the only reason i moved the scales towards magenta and blue (therefore making it a bit more red than less) rather than green and yellow in shadows was because i wanted a darker contrast in the blacks. moving them to green and yellow made the overall scene more yellow since there were so many dark spots that shadows affected. (you'll see what i mean when you start experimenting with your own gif — this part of the process really just depends on your preferences!)

our gif might not look that much better yet, but it will soon! our best friend channel mixer is gonna help us out. for an in-depth post about how to use this adjustment layer, i recommend checking out this tutorial.

i'm someone who prefers to make more than one layer for the same adjustment layer for a reason i can't even explain (i just find that it helps me stay more organized). so don't think of this process like i can only use this layer once so i MUST fix it NOW. you can create multiple layers of the same adjustment layer, because every layer on top will affect the ones underneath it.

since my priority is getting rid of the yellow tint, i went to the Blue section of the channel mixer and increased it in all of the scales:

this step alone has helped us out so much, because look at our gif now!

not only does the background look less yellow, but so does izzy's skintone.

now i'm going to focus on trying to brighten the scene even more without destroying the quality. the levels layer can actually help out a lot with this.

the amount to which i move each toggle differs per scene, and i think experimenting depending on your gif works best for this layer.

side note: i prefer not to use the ink droppers on the side because the contrast in the result usually ends up feeling too strong for my preferences, but if you find that this works better for you, then go for it! basically, the first dropper with the black ink should be clicked before you select the darkest part of the scene that you can find, and vice versa for the third dropper with the white ink — click it, and then select the brightest part of your scene.

curves is the next layer that does fantastic work! unlike the levels layer, i do actually use the ink droppers for this. it's the same concept, with the first dropper being used on the darkest part of the scene, and the third dropper on the brightest.

try to think of curves as something that not only further brightens your scene, but also helps with the colour neutralizing process.

i grab the first dropper, then click the darkest parts of the gif that i can see. depending on the undertone of the blacks that you're clicking on, the tint of your gif might actually change significantly. this is why i prefer to click once, then undo the action if i don't like what it gives me. izzy's leather jacket was the sweet spot for this gif.

when i'm satisfied, i make another curves layer and use the third dropper to click the bright/white parts of the scene. for this gif in particular, the lights in the background were a good fit because they carried a yellow undertone — this meant that my curves layer actually helped to further neutralize the yellows in the scene as a whole!

(i manually dragged the curves graph upwards for the third dropper to make it brighter. i don't need to do this if the dropper does this for me automatically, but since the lights were pretty bright, it only changed the tone of the scene and didn't increase the brightness — hence the manual step.)

pat yourself on the back, because this is what our gif looks like now!

this is good, but it's not great — there's still just a bit too much yellow in the scene for my liking (sorry, i'm picky! :P)

i created another channel mixer layer and played with the toggles until i was satisfied:

ta-da! the gif as a whole is much less red/yellow now:

this is when i start fixing the colouring now — namely, his skin tone. selective colour will be your best friend here. i wanted to make his face just a tad brighter and less of a yellow-ish magenta shade, so i focused on the reds and yellows.

then, out of habit, i created another selective colour layer and took out more of the "yellow" in the whites to make them whiter, and increased the black (just by +1, since the contrast is pretty good enough already).

note: i switched to "absolute" for these two colours. basically, relative = less vibrant colour manipulation, and absolute = more vibrant/stronger colour manipulation. i prefer to stick to "relative" for fixing skin-tone since "absolute" can be a bit too strong for that.

our gif looks like this now!

his face looks brighter and much less yellow, so i'm satisfied!

this next step is not mandatory at all — again, i'm just picky and despise yellow-tinted scenes. i personally believe that indoor scenes that are yellow/green tinted make them look more dark than they actually are, so i do my best to get rid of these colours.

i also don't always do this, but for this gif, i just simply went to hue/saturation, selected the yellows from the drop-down menu and decreased its saturation.

be careful not to do this too much. depending on the quality of your download, this can significantly decrease your gif quality. i tend to worry less about this when i'm working with 2160p files, but again, those files require an entirely different set of steps when it comes to brightening/colouring.

since this was a 1080p file download (and one that was actually less than 1GB, oops, don't do that), i played it safe and decreased it by -39 only.

note: you also want to be cautious of colour-washing skintone when it comes to this step. i find that another selective colour layer can help perfect the skintone in case the yellow drains out of it too much, but skip the hue/saturation step if it's too difficult to work with — better to be safe than sorry.

anyway, this is the final gif!

that's usually what i do when it comes to colouring dark indoor scenes! i hope this tutorial makes sense, and if you have any further questions, don't hesitate to reach out! :)