#I have misplaced my eraser so you can still see my little sketching notes for the words but y’know it is what it is

[idrawgaystffs]

[Cave Johnson: Aperture Science only delivers the best of course! *Cough Cough* Cave Johnson, we’re done here. *Cough*]

[tinycozycomfort]

rest in the cup of my palms (part one)

pairing: no outbreak!joel miller x art student f!reader

chapter one: drawing from life

series masterlist | next chapter

series summary: you went back to school to find out who you are—to make another leap in the hope of self discovery. when you finally find that first glimpse of yourself, it’s in someone else. what happens when the mirror tries to pull you in? or  you’re everything joel could’ve hoped to find. he doesn’t let go easily.

chapter summary: ellie volunteers joel to model for a drawing class on campus. you find someone worth dreaming about.

warnings/tags: no outbreak, no use of y/n, (for everything) -> mutual pining!, possessive behavior, smut (w individual tags to come), unnecessary descriptions of joel being beautiful, ellie is joel's daughter, ellie and reader attend the same university but reader is in post-grad, age gap (joel is late 40s, reader is not), alternating pov, slow-ish burn, joel miller wins girl dad of the century via unanimous vote (for this chapter) -> masturbation (f), intense feelings of loneliness, existential rumination

word count: 7.2k

rating: explicit (18+ only! mdni)

A/N: some good ol' work up, necessary to explain the rated r plans i have for them. ive been terrified of writing a series but i'm also tired of editing everything down to be one-shot appropriate, so today we try. im full-swing into my fixation era and on my 'i cant be loved + ive known how to love you for 1,000 lifetimes' bullshit. this fic is as self indulgent as they come, but i hope you can enjoy it! and for those of you willing to trudge through this with me, i love you.

read on ao3

“To photograph people is to violate them, by seeing them as they never see themselves, by having knowledge of them that they can never have; it turns people into objects that can be symbolically possessed.”

Susan Sontag - On Photography 

───────

A halo of hot light falls through the pane of glass above the sink. Joel’s got one eye pinched semi-shut, trying hard to focus on not burning himself while he drains boiling water out of a pot of pasta. 

When he woke up this morning, the blinds on every window in the house had been strung up to the lip. He’d barely gotten a hand around one of the strings in the glass frame above the couch before Ellie appeared out of nowhere to literally slap his wrist, ‘I’m drawing’. Still groggy, he tried to challenge her, ‘Do they all have to be open?’, to which she patiently explained—for what she probably feels is the millionth time—that she needed the extra light, and if she had them all open when she started, they’d need to stay that way until she was done. 

So he left her to work, knowing she’s got midterms to finish, walking around with his eyes closed until he felt his way back into his bedroom. He came out once for coffee, and not again until dinner. This is their weekend.

Joel spoons out some of the food into bowls, leaving them to stay warm by the stove before he steps into the dining room. He stops himself half-way, hanging back in the archway to give his daughter another minute as the last shreds of strong sunlight start to wane out.

Ellie’s right where he left her: at the table, cross-legged in her chair with an eraser-less pencil held tightly in her fist. She’s hunched over a large pad of paper, the back of it lifted at an angle under a pile of old books and dog-eared tool catalogs. The sketchbook she uses as a reference guide is propped up on the corner of her left knee, leaned against the edge of the table. She rifles between two pages of it, eyeing some of the quick sketches—visual notes, as she puts it—that she took in class to help her navigate the larger, more detailed version with ease. Silent save for her short huffs of breath, she’s concentrated, wrist-corner lifted to not misplace any graphite. Her process is always the same; a little creature of habit.

She’s wearing her headphones, the cord winding dangerously low, threatening to dip into a cup of water she’d placed in the empty triangle between her lap—the same one he’d seen her with six hours ago. She hasn’t even touched it, still full nearly to the brim. He wonders if she’s gotten up at all. The girl works herself a bit too hard, he thinks, always falls head first into whatever project she’s working on, nothing if not like her dad. The corner of his mouth tugs up so tight it hurts. What is he going to do without her?

He just stands there, feet crossed on top of each other and arms in a twist over his chest, and watches her while she’s not looking, knowing she still gets shy sometimes when he catches her like this. She’s the sweetest reminder of everything good Joel’s ever done; another life he’d gladly offer his own for. 

It’s always come naturally—to be what someone needs of him—in a way that transcends reward or expectation. 

Joel had been his brother’s primary caregiver first, from birth and then well into their adulthood—always around to bail him out of jail or lend him money he didn’t have. Because he cared. Loved him. He couldn’t ever really say it, always had a problem with the wording, but he knew that at least some of what he wanted to explain had come across. He can see it in the way Tommy is with his own family.

His brother has Maria now, and the kids, and seeing how happy Tommy could be in spite of their upbringing was the first time Joel had ever put his priorities into question. Somewhere in all the caring-for he did, he’d forgotten about himself; the possibility of having his own wife and child and home. He’d always ached for that, deep down, but didn’t even know it was an option until he saw it happen. By that point, he wasn’t sure if he could do any of it, or if he even had the time to start. Then came Ellie.

She entered his life when a close friend of Tommy’s had died unexpectedly and no one came forward to claim her, unknowingly giving him a second chance; one he worked to make count. She was tough to crack at first—also like him in that way—but the love had always been there, waiting its turn after all the awkwardness and misunderstanding and adapting before finally showing its face. She’d needed him then, as much as his brother had all those years ago, carrying on the torch of purpose that Joel so feverishly searched for. 

He rolls his eyes at himself; he’s been having too many misty-eyed moments about her lately. It’s so unserious, the actuality of it; of being her dad. Going to work and the supermarket and museums, being there to chaperone field-trips and take one-thousand mostly-blurry photos of her graduation. But it’s been everything to him. He’s desperately clung to the five years of her life that she’s shared with him, and he’s so proud to witness it, but he knows she’s getting to a point where she needs to be her own person. He’ll miss her when she’s only home for summers, then only home for Christmas, then only home once in a while—so he holds on to every bit, and tries not to think about what’s next for him. 

He walks closer to her, tilting his head to try and steal a glance of what it is she’s working on. He catches a glimpse of the face of a woman, a portrait from shoulders-up. She’s pretty, with a soft and thoughtful expression, looking downward off the side of the pad. From what he could make out between the movements of Ellie’s hand, she even looks a little shy. His daughter rubs at the cheeks and nose of the girl on the paper, imitating the shadow-less areas where light would fall. Joel is mesmerized by the way she creates so effortlessly, like breathing. 

Without moving her head, she pulls a tiny white bobble out from her ear, “I know you’re watching me, weirdo.” 

Joel laughs, wet and thick in his mouth with the emotion he’s still climbing down from, “Is this how you treat me when I’m trying to feed you?” 

She smiles, he can see the fat of her cheek rounding out even from this angle, “You should’ve just said that.” 

Ellie leaves her set-up untouched, just getting up and moving down to an empty seat while Joel goes to bring the food out. 

She shifts around in her seat, feet folded again on the flat of it, eating too fast—ill-mannered—and it reminds Joel of all the nights they spent at Tommy’s for family dinner, right at the beginning, back when they’d just begun to become close. When she’d push his patience with her behavior to see if he’d say something, to see if he still paid her mind—he always did, still does, “Jesus Christ, kid. Have I taught you nothing?”

She holds back a laugh, mouth full of tomato sauce, “You love it. I’m charming.” 

He snorts, the two of them falling into a comfortable quiet for only a few minutes before she breaks it again, “Speaking of how much you love me, I need to ask you for a favor.” 

“Oh no,” He jokes, “What now?” 

“Remember those drawings I turned in of you last month?” She starts pushing around the last bite of her spaghetti, never a good sign, but he nods anyway for her to continue, “Well my teacher really liked them. And there’s been an issue with finding people to sit for the drawings. Sooo,” she really drags it out, “I signed you up.”

“What do you mean, you signed me up? For what?” 

“To model,” Joel’s mouth pops open in an immediate attempt to oppose, but Ellie’s quicker, “Didn’t you say you’d always support me in school?”

“You know that’s not what I meant.” Joel finishes his plate and then they’re both just clinking their forks against porcelain for a heavy eightnineten seconds before she gives it another shot.

“C’mon, seriously. I’ll get extra credit if you do it,” She lets out a long sigh like she can’t believe she has to explain anything more than that, “My professor teaches a Monday session for the master’s program and they need people. It’s just one time.” 

“Ellie. It’s Sunday. How are you gonna tell me this now?” 

“Please, you just sit there for, like, two hours while they draw you and you don’t have to talk. That’s two of your favorite things. Three if you consider that you’d be helping me out.” she looks at him with a sticky-sweet smile, eyes crinkled—like she knows she’s getting away with it. 

She might be. 

“Why don’t you ask one of your friends to do it?” Joel gathers up their plates from the table to carry them into the kitchen. Ellie picks up their still half-full glasses as an excuse to follow him.

“Because we all have class together tomorrow on the other side of campus. Plus, you’re easy to draw and—” 

“Hey.” 

She ignores the flat look he shoots her, flipping on the sink, “That’s a compliment, by the way. But really, it’s no effort and you’d be getting me into a good place with my professor ‘cause she’ll be super grateful. The budget’s kinda tight this semester.” 

“Then what am I payin’ for, if you’re gonna make me do this stuff myself?” It’s a half-hearted dig—he’s mostly annoyed because she probably already figured out he’s going to agree.

Her little smirk graduates to a shit-eating grin, she knows it, “Best dad ever.”

“You’re a pain in my ass, y’know that?”

“Just because I knew you were gonna say that, I actually signed you up for two.”

───────

Joel stumbles out of the elevator, filing hurriedly through groups of students with a new-found purpose now that he’s managed to make it to the correct floor. Ellie made a point of not mentioning that he had to be at the school at 7:30am until she was saying goodnight to him a few hours ago, because she thought it would dissuade him—she was right—so now he’s running late on top of everything else. 

He’s got the little scaled-down, splotchy-printed version of the campus map gripped tightly between his hands. Room 14B is seemingly only two turns and one corner from where he stands—if he’s holding it the right way. He wants to ask for directions, but he feels too out-of-place to set aside his embarrassment. He’s older than at least half the staff, and some of the attendees are even younger, and he doesn’t want to run the risk of looking incapable, as foolish as it is. He wishes Ellie would have just offered to show him where to go before she headed off to her own class. 

For someone who prides themselves on their ability to parent, he feels hopeless now without his daughter; not for the first time, but it’s especially harsh considering the circumstances. It hurts something bittersweet, to think about how much more they’ve bonded since he started working less and she decided to live at home her first year of college (though it’s coming to an end sooner than he’d like). Again, too many sad thoughts, and she’s not here, so he trudges on. 

He walks in two more circles before he finds the right place—down a fucking hallway and hidden behind a door he didn’t know he was allowed to open, of course. A woman with long, dark blonde hair is sitting at a desk by the door when he enters. She doesn’t look up at him.

“Good morning, ma’am. Sorry I’m late. My—uh. You teach my daughter? I’m here for—” 

“Ellie’s dad,” She cocks her head without meeting his eye, “Late? You’re about twenty minutes early, she told me you probably would be.” 

She knows me too well, the brat. He chastises her in his mind but outwardly he corrects himself, “Yes, right, sorry. I’m a little turned around.” 

“That’s alright. There’s just a waiver you need to sign, and you can get undressed in the bathroom down the hall. I’ll give you a cover-up to wear until I come to grab you.” 

Right, he’d have to be naked. He already knew that—sort-of—having seen dozens of Ellie’s sketches from semesters past. He knows the students don’t see it that way, knows that they’ve all drawn the same things so many times they would be desensitized to his nudity. They’d probably all be desensitized to him as well; in their eyes, he was just a reference, as familiar as any of the memorialized piles of fruit or arrangements of glass that Ellie's also brought home. 

Still, Joel feels a wash of anxiety come over him. He’s more than comfortable in his body, after putting it through so much, but this degree of vulnerability is severe in comparison to vanity or sex—it’s a state of living he hasn’t participated in for a long time. He doesn’t like to be seen, and being documented—having physical evidence of how he’s interpreted by others—makes his stomach turn. He hasn’t looked in a mirror for more than a moment in months, but it can’t be that bad, right? Ellie’s always given him a favorable light, but he worries she has a bias beyond belief. What if he sees something about himself he doesn’t like? What if everyone’s been able to see it all along?

Caught in his thoughts, he doesn’t realize the woman is still talking, “We have a scheduled break halfway through class. You can leave then. Next week it’ll flip and you can come for the latter half so they can finish.” She slides the form and a swath of black fabric across the table, and almost like she can sense his apprehension, finally raises her head to give him a meaningful look, “Thank you again for doing this. I know it can feel weird, but it makes a difference for them. There’ll be a joint show at the end of the month, too, with Ellie’s class.” 

He just offers her a little nod of his head, thank you, signing the form and padding to the bathroom to unceremoniously disrobe in an empty stall.

It’s just two hours. 

───────

If they make you take another figure-drawing class, you’re going to scream. 

You’d think this far into a second degree, the school board would stop requiring you to take what is essentially the same class every semester. Sincerely, the only thing that changes is how long the session runs and what number follows the class title. It’s getting old. 

To be fair, it’s not necessarily that you dislike drawing—it provides a pretty firm foundation for your personal work to stand on—it’s just tedious. Nothing is inspiring about assignment-based work, especially when they’ve decided the only way you can prove your skill-set is to make you draw the same three objects five-thousand ways. 

But it’s not up to you. 

So here you are again, two weeks from spring break, back in this frigid building after surviving another forty minutes of traffic, body still stiff from fighting the urge to fall asleep at the wheel. 

It’s important, you remind yourself, to show up and put your fullest effort into everything, no matter how much you don’t enjoy it. Even if just to prove to yourself you can still finish things.

Coming back to school was an idea you’d toyed with for years after graduating. 

There had been a lot of pressure on you to go in the first place, from your parents and your teachers and your nightmare of an ex, because according to them you’d get nowhere without it. After enough pressure and in a need to appease them, you folded and went; suffered every long night and pushed through every period of self-doubt and smiled for every ‘worth-capturing’ moment right up to the end. And then when it was over, gone faster than you could comprehend, you felt like something was taken away from you, even with how low it had made you—the worst kind of stockholm syndrome. 

In an attempt to keep some momentum, you were over-eager for more right out of the gate. There was an initial need to continue, because you’d been reliant on academic structure just by the nature of familiarity, and maybe a little ill-prepared to face who you were without guidance. Without the instruction of someone with two degrees and a smoking addiction and no teaching license. Now it sounds silly, but then you spent a few too many nights uncontrollably looking into post-grad institutions or internship programs, googling professors and reading forums for first-hand accounts. 

Then, after a year, the thought of continuing got a little less exciting, and you became comfortable in the freedom of nothing after being in school your whole life. So you pretended to research, emailed everyone about how great the options looked, signed up for one-on-ones you didn’t show up for—until people stopped asking. 

It was at that point that you finally had the time to process what you were doing and why, and accepted that you didn’t have to have all the answers, despite what everyone had led you to believe. Truthfully, you still had no idea who you wanted to be and that’s okay—living with it and living alongside it weren’t mutually exclusive. You just took time to practice being yourself—sucked up the embarrassment and did the work, little exercises in unleashing yourself onto the world instead of letting every experience be done to you. If you were going to do anything anymore, even something like continuing your education, it had to be on your own terms, to try it all in the effort of self-discovery.

So yes, applying and getting accepted and attending every class—even this one—this time around was for you—to better yourself instead of just filling an expectation. You’re determined to make good on the opportunity.

And it has been better, so far. You even have friends this time around. Okay, two, and one of them is your roommate, but it's more of a support system than what you had going into undergrad.

You say yes now, too; not to everything, but to more than before. Which is maybe how you got roped into getting ‘introductory’ drinks later this evening with everyone, now that more people have joined the program as winter thaws out and it’s easier to commute. It’ll be nice to swap ideas and catch up and maybe even get laid instead of spending hours staring at the ceiling and willing time to pass. That thought alone is enough to keep you here.

It’s just two hours.  

The room this semester is a little bigger, at least; probably the only perk that moving up so gracefully from Drawing II to Drawing III had earned you. It’s still unfortunately just another classroom; windowless to protect it from outside influence and drenched in fluorescent light to create a controlled environment. Old, stained art horses form a circle in the center of the space, crowding around a painted-gray wood pallet like an audience. A metal stool sits atop the make-shift stage, providing a seat for the subject. It’s clinical, the way the elements come together; a perfectly disarrayed scene that’s been neatly curated to emulate every ‘socratic seminar’ model you’ve seen in education since you can remember. Always the same.

You’re hoping for someone new today to rest on the chair; the department has been in less-than-preferred financial standing lately, so you’ve seen the same faces interchanged for  most of the term.

Your professor is at her desk when you make your way in, greeting you with a grin despite the tired look on her face. A hardworking woman, the shadows under her eyes gave her a beauty you could only explain as determined. You knew she cross-taught for both sections of the department, and you respected her for it. It couldn’t be anything short of a struggle to toggle between those modes of seriousness—to have the patience to answer the younger students’ unending questions and the passion to keep the post-grads engaged. 

Moving to get a seat as far on the outskirts of the cluster as possible, you watch as your classmates arrive slowly until all the slots are filled. No one really talks, probably all similarly bogged down by the early start and the cold weather outside. Ian, your friend who’d invited you out tonight, waves at you from four horses down and you halfheartedly nod back at him. 

“Good morning everyone, we’ve only got two more classes after this until your week off, so we’ll make this next one a two-parter and have critique on the twenty-first. I want you guys to focus on composition more than anything else,” She turns in her seat to write some names on the board behind her, “We’ll go for two hours then break. If your name’s up here we’ll have a conversation about your thesis. The rest of you can go.” 

Thankfully you’ve been spared this time—granted another seven-nights-straight writing the segment of your thesis that was meant to be finished two months ago. Your brain hurts inside of your skull. 

You set up your little station, sketchpad raised against the easel, body straddling the drawing horse as you fiddle with some dirty erasers in your pack. 

You can hear the slap slap slap of the model’s feet on the concrete floor as they enter—a long gait paired with hard, thudding steps; probably a man by the sound of it. Tall and heavy. 

“Okay guys, we’re starting,” She winds up the dial on a plastic kitchen timer and sets it on the edge of her desk, “Let me know if you need anything. I’ll be making a few passes throughout and we’ll exchange thoughts.”

You roll your neck, knowing the model tends to take a minute to find a comfortable position, and that people watching didn’t do anything to help. A tempered soundtrack—the poorly contained buzzing of the clock and the moan of the air-conditioning—plays on in the background. Your leg is asleep. It’s cold in here. You count to thirty in your head. That’s enough time, right? You shift again, stretching your arms once more just in case.

Looking up, you peer over the side of the easel to get a quick look at the model’s pose and immediately do a double take. 

It is a man.

He’s sitting on the chair, facing the girl a few seats down from you so that you can only see him from a three-quarters view. He has one long, thick leg pushed against the lower bar of the stool, the other one, closest to you, hiked up on the seat, folded so that his knee points towards the ceiling. His arms are crossed, hugging his erect shin with his wide back wrapped over his thigh, effectively shielding the ‘naked’ parts of him from view. He looks shy, but not uncomfortable; either like he’s done this before or he’s accustomed to protecting himself—to hiding. 

The frame of his body is captivating; he looks strong but used, little nicks and scars littering his shoulders and hands. Weathered. As you make your way up his torso, you find it’s a similar state of experienced, tan profile and neck bearing the slightest difference in color from the soft of his side, and you can see the faintest curve of a hem-shaped tan-line across the dip in his shoulder. Little wisps of gray-dusted brown curls frame the edges of his face. He’s beautiful in a gentle way, with a dark, heavy brow that leads into the sharp slope of his nose, plush lips pursed like he’s concentrating. 

Part of you feels bad about staring, but it’s easy enough to disguise it as working, so you map him with your gaze again and again until you can still see him when you blink. It takes the constant movement of your classmate’s hand sketching something in your periphery to remember you’re being timed. 

You choke out a cough, repositioning your body and grabbing some charcoal. 

The way you usually approach this task is simple: get down the general gist of the body, careful to keep out the details of the person in favor of capturing light and weight—there’s a graded challenge to be considered, after all. 

Yet as you watch him, you decide you can fulfill the requirements in a way that gives him more room to exist. You crop the drawing tighter, paying careful attention to the landscape of his face; the hills of his cheekbones and the valley between his lips. You want to immortalize him. 

You’re suddenly deeply concerned with the history that’s woven itself into the shape of him, in what happened to make him look this way. It seems like life has been useful to him, but that he’d had to grow from something to make it so—like he had to work for it. He’s the living manifestation of his own grief and enjoyment and passion, and you want to know all of it.

Countless minutes pass as you take him in and spill him out, fingers moving quickly to recreate the weighted feeling of his posture, exhausted and heavy, muscles held together on the string of bone that runs through the center of his back. You write him down, again and again, flipping to a new page half-way through to get in one last version of him—one for yourself. 

You’ve never seen him before, but you see part of yourself in him. He mirrors the anxious peace you’ve been operating under for the last few years, humming with energy but willfully stagnant. It makes you feel seen, less burdened by your recent inability to connect—he makes you want to keep trying.

You wonder if he writes or draws or makes, and if he’d show you. You want to hear him talk. You want to see the other side of him, literally and metaphorically. You want to feel—

The tinny ring of the alarm sounds off, and you’re taken out of the fantasy. 

The second drawing is only really half done, but you didn’t make it with the intention of sharing it anyway, so you flip back to the original to hide it.. 

You try not to watch the man when he stands—remembering that just because he’d been hidden before doesn't mean he wasn't naked the entire time—maybe more for your sake than his. You peek around the room instead, taking a healthy, albeit competitive, glance around for other interpretations of the man; did they see him too, the way you do?

When you look up to take a comparative look, he’s gone. You’re a little disappointed, admittedly, but there’s still one more chance to interact with him, and you can make up for it then. You start to pack up your things in an effort to make it to the parking lot before the crowd. A sudden rise in the volume level in the room tells you that the shock of the early morning has started to burn off. You try to tune it out, so much so that you don’t hear someone walking up behind you. 

“Wow.” It’s a man’s voice, deep and smooth. You pivot in your seat. 

It’s him, in all his communal-robe wearing glory, even more gorgeous from head on. It’s a pleasant surprise, this reveal; his beauty is evenly distributed, like a handwritten note that extends into the margins or when a movie’s ending is just as good as the start.

“Oh. Hi. Thank you.” You feel exposed, like you got caught doing something bad, even though there are ten other people in the room with even more detailed portraits of him.

“Can I see the other one, too?” 

“What?” 

“You flipped your page. I didn’t see anyone else do that. Did you make two?” 

You just nod, shocked that he was watching you back, peeling back the paper to reveal to him the unfinished drawing. He won’t question it if you don’t give him a reason to. 

“Are you gonna finish it?” He asks, eyes rolling over it with an intense curiosity.

“Uh, probably not. I don’t like it as much as the first one.” Maybe lying your way through this would provide better reasoning than ‘I wanted a part of you that no one else could see’.

“Can I have it?” 

When you can’t find something to say fast enough, he just continues.

“I’m sorry, is that rude? If you’re just gonna get rid of it, I’ll take it. It just… looks like me. I mean they all do, I’ve been told I have a ‘simple face’,” He coughs awkwardly in acknowledgement of his own tangent, “I just mean to say that it feels a lot like me. If that makes sense.”

“You’re actually very visually interesting.” Is the first thing you can think of, and fuck, did that come out really fucking wrong, but he doesn’t seem to mind. Maybe it’s better if he takes it, if it’ll stop you from fumbling, “But yeah, you can have it.” You pull a little plastic mail-tube out of your bag, ripping the drawing free from its perforated tether and rolling it in on itself. 

The edges of his mouth pull up, a cute little thing, free of laughter or judgement, “Thank you. I’m Joel.” One of his hands drapes across his stomach, palm spread over the knot of the wrap—he’s holding himself at length again. Why? 

“Hi Joel. You seem to know a fair amount about this whole thing. Not your first time, then?” You offer him your name in return, and he parrots it back—guard still up, still standing too far away. 

“It is, actually. The closest I’ve come to this is sitting in the yard for my daughter,” He watches as you slide the drawing into the cylindrical case, “You’re very talented.” 

“Thank you.” It feels weird to hear the praise twice, “How’d they get you to pose for no money? I heard the department’s a little strapped. I’ve been subbing in for the undergrads too when I can.” 

“My daughter volunteered me, she’s on the other side of the program. Your teacher was giving out extra credit.” He takes the roll when you pass it to him, going out of his way to grab it from the middle, his thumb grazing yours. Your skin heats up where he’s touched it, and you look down at the floor, suddenly nervous. 

“Wow, this is the first time I’m hearing anything about that.” You continue to pack away items into your bag, “I’m owed quite a lot if that’s true.” 

His face falls in on itself in a wince, “Oh. Didn’t mean to do her in like that.” You can feel him looking at you for a few beats too long, and his eyes narrow like he’s about to say more. 

In the same moment, as if summoned, your professor turns on her heel, walking over to your bench. 

“It’s okay. I’ll be okay without it. I’ll see you next week, right?”

He shakes a little, releasing his stare, and throws a thumbs up in your direction with his protective hand, “Yeah, see ya next week. Nice to meet you.” 

───────

After another four-hour class and a too-long nap and a break for dinner, everyone from this morning joins together in a few cars to head to a bar downtown. You meet up with Ian, who offered to drive as a bargaining chip, because he knows by now that you’d back out if you had to show up on your own.

The bar is dark and divey and perfect for being overly-observant in secret. You’ve warmed up to this crowd enough, but you’re still on plus-one basis with a lot of them, Ian serving as your invitation. You like to just listen to them at first during these outings, strategically planning your involvement so you don’t feel put on the spot when they give you a turn.

It’s a lot like being in class; the group of you occupying a dimly lit corner, a round-table of bodies, with the person in the center alternating as the topic changes. Tonight you stay at the furthest end.

You cling to the single tequila soda you ordered, watery and flat by now with pea-sized ice chips bobbing around in the center to avoid the heat of your fingers. You watch them swim, tipping your cup to see them swirl in a frenzied circle until they disappear. 

Some guy from your English class—Andre or Andrew or who cares—is talking at you, making his best attempt at what you think is supposed to be flirting. It’s really just him asking your opinions on his five favorite books, not hiding his disapproval when you mention you haven’t read one or the other. 

You watch Ian, who left you twenty minutes ago in search of the bar-top for another drink. He’s caught now on his third conversation on the way back, maybe thinking he’s doing you a favor by taking his time. You try relentlessly to catch his eye instead, and he bounds over without question when he sees you. The glass of wine in his hand is already half empty, and the English-class-guy spooks at the sight of what he probably thinks is competition. So much for that.

“Having fun?” he prods when he slips in the chair beside you, already aware that you are absolutely very much not having fun. 

Ian’s a nice guy, and he means well. You met him a week into your first semester—almost a year ago now—at orientation, because your last names were the beginning and end of the line of their respective letters. He was from somewhere in Canada, studying photography with a minor in painting and drawing. He’s maybe a year or two older than you, though you’ve never asked to confirm; tall and long and pretty, for lack of a better word, with big eyes and a permanent split in the little bangs that cover his forehead. He’s the first man in years you’ve been comfortable around, never initiating anything or pushing too hard for your friendship. All in all, no one’s been as welcoming to you, except the person you literally live with, and you’re happy to let him drag you out if it means he’ll continue to look after you the way he does.

“Of course, when have you ever known me to have a bad time?” 

“No luck with Adrian?” Adrian. You were close.

“Just likes to hear himself talk, I think. I wasn’t interested in being an audience.” 

He hums, “Someone else on your mind?” 

“Like who?” You lean the lip of your cup against your mouth.

“Saw you making eyes at the model today,” He teases, nudging you in your rib when you take a sip of your drink so that you keel over slightly. You sputter, unamused with the tactic to get you to fess up.

Was it that obvious?

“Isn’t that the point of the class?” 

“Yeah maybe, smartass, but that’s not what I meant. I saw him talking to you, saw you give him a little gift,” He bobs his eyebrows at you suggestively, “Excited for him to come back next week?”

“So I can stare more, you mean?” 

“So you can get his number.” 

“Ian.”

“I’m just saying you should try and find someone outside our section of the building. No writers, either, obviously.” He gestures to where Adrian is already trying his shtick on some girl from your class.

“He’s a little too old for me, don’t you think? His daughter goes here.” You muse. He’s mostly right about you needing to expand your reach, but you won’t let him off that easily.

“Maybe. But if you don’t care, and he doesn’t care, what’s it matter? He’s not too old to fuck you.” He makes a face and you roll your eyes. 

The thought is nice, but you know forging relationships is unlikely when you’re concerned, at least as of late, “I don’t want to spend my night talking about people I’m not going to fuck.” 

“Whatever you say.” He slinks out from his seat, mumbling something about a glass of water. A few steps away, he looks back over his shoulder, “You’re not doomed, by the way,” the asshole can read your mind, “You can enjoy yourself without feeling guilty. You’re allowed to like people.” 

And then you’re alone again. 

It’s like that for another hour, small attempts at chatter and meetings until you realize you’re too tired to fuck anyone, let alone continue to sit upright. Being up so early this morning took more of a toll than an hour nap could fix, and you're begging Ian to take you home. He agrees, spending the trip trying to plan another outing later in the week before everyone’s gone on vacation.

You give him a sleepy goodbye when he pulls into your apartment complex, making sure he’s still going to class tomorrow before letting him drive away. Once you’re inside, slipping quietly in through the front door, you realize your roommate isn’t home. She’s probably still in a late class or at her boyfriend’s or somewhere else. You enjoy the quiet enough to not think about it too hard.

The five sips of tequila-mostly-water has settled into your stomach by now, making you a quarter-second slower when you strip all your clothes off and climb into bed. 

You twist under the sheets, and after a while your skin starts to feel too hot, even in the cold air of your room. Breathing deep, you try to think of something boring to get your mind to still, but when you sense the sleep about to take over, it switches.

You see his face behind your eyelids, the man from today, strong and pretty and delicate, remembering all your favorite details—the length of his fingers and the depth of his voice. You curse yourself for assigning this importance to him. He’s just another page in your portfolio, if you even keep him, yet you can feel a slow heat bubble up at your core when you remember the stretch of his body under the robe. It’s okay to be taken with him, you think, he’s objectively gorgeous. 

Your conversation with Ian replays in your head—less about his sincere advice and more about how you need to get laid. It’s been too long; maybe you are just horny, and maybe taking care of it just this once could be enough to stop this hollow interest from growing. 

You reach a hand down under your blanket, the tips of your digits pushing into the slit of your cunt. You’re wet, arousal tacky and pooled so much that the light pressure you meant to be exploring with is enough to have you accidentally slipping inside. Okay, he’s really hot. So what? Was it really that bad if you thought so?

You dip a finger further in, timid at first; you’re used to keeping quiet for this kind of activity, and even though your roommate was gone when you got here, it doesn’t mean she hadn’t come in in the thirty minutes of rolling around you’d done before giving into your desire. You lay your free hand over your mouth just in case, teeth biting into the meat at the base of your thumb to keep yourself quiet. 

You slide in a second finger to the knuckle to join the first, the light stretch of it enough to make you pant. You see him again, hard and soft and beautiful. You think about what his skin would taste like, if he’d let you sink your teeth into the sinew of his neck. It feels weird to know what he looks like without his clothes, and you’re weirdly proud of yourself for holding back from seeing him fully; it's easier to dream about that way. You wonder how he’d present himself to you, how he’d want to fuck you. You imagine him winding a hand around the hinge of your jaw, fingers pressing hard into the soft of your cheeks. Would he be gentle? Would he make it hurt? You suspect either would be too much. You feverishly palm your clit, hips canting in an effort to climax. The pictures flash faster—his cock in your mouth, his tongue in your cunt, the way he’d spit and grip and hold—and you’re coming, drooling over your hand as you hear him say your name in your mind. 

You take your hand away after a minute, breath pushing out heavily from your nose. It’s fine, you needed to do it, just one time. No shame in that. It’s out of your system now. 

And if you see his face one more time before you fall asleep, it’s probably an afterthought.

───────

By the end of the week, you come to a horrible conclusion. 

It starts the next morning when you take your sketchbook out, itching to get a handle on the many writing assignments you’ve been dutifully ignoring, hoping for an outline or a free-flow of ideas. Nothing comes to mind. You draw a little bit to fill the space while you think, just a mess of material on the page, strokes of your hand that leave barely anything behind. 

Then on Wednesday you’re at your laptop, typing with one hand while the other one slides against the wood of the dining table, down and around in a loop, mimicking the same shape each time. 

And again last night in the shower, letting the shame of a different semi-failed night-out wash over and off of you. You slosh your foot around in the water in the basin below, catching it as it runs down and pools, ankle dragging in a tiny, controlled movement. 

It’s not until now that you put it together.

You’re sitting at your desk, with creative materials at your disposal this time, trying to make sense of what it is you’re forming. You find that no matter the medium, your hand automatically makes a single hard line. The same line, from memory. It’s negligible at first, just a light press of pen or pencil or crayon, until it drags down, down, down. It’s not until you lift your utensil that you recognize it. The hook of a nose and the crest of a top lip. 

A hard pit forms in your stomach, blood draining from your head to gather in the center of your chest, a blooming sickness of obsession you haven’t felt in a long time. You’re drawing him. You’ve been drawing him. You know this feeling, have participated in this kind of behavior. These are the actions that cause the humiliating dregs of attraction to bleed over into fixation—juvenile and universal and unavoidable.  He’s going to be a problem.

[howtodrawaeyes]

Drawing a female face

In this tutorial I want to show you how to draw a face in a relatively small space. If you want to draw the entire body of a human on a sheet of paper, you need a lot of space. The head requires only a very small area, which complicates the drawing of the face.

In this Turorial I only go to the face. The Turorial, in which I explain to you how the lady Draw lady in the whole, you can find here… The goal is to draw a face like this:

Tutorial

A few info in advance: The face takes on the entire drawing sheet a very small area. This has advantages as well as disadvantages. The advantage: You do not have to draw all the details in the eyes, mouth and nose. Also, the hair does not have to be worked out in detail. The downside: even a tiny change can change the entire face or facial expression. Drawing on such a small area can be extremely difficult. You need a very steady hand and a good eye. You should be very careful with a change to such a "face small" face! As always, you should start here with a sketch. A sketched face usually looks quite different than later the finished one. So that the sketch resembles the desired face, it is best to think of all the shadows, make-up and small details of the face when drawing the sketch, and then try to grasp it roughly. On the sketch you can try to your heart's content. On the drawing sheet you first draw only outlines and rough facial contours. Do not press too hard, so you can erase mistakes later. With elements such as eyes, nose, mouth and hair an indication is sufficient for the time being. Draw them fairly symmetrically. There are still some mistakes in the drawing. The headband flies out later - it did not fit. You see, it's not a problem if the drawing does not really go down in the beginning. You can easily pre-shade the nose. Keep the nasal bone bright in the middle and make the gradient on the side slightly dark. The same thing you do at the tip of the nose. You'll leave the "bump" bright while darkening the slope slightly.

If your image has a dark background, it's best to draw it now, in such a way that the background protrudes a bit into the hair. This is illogical, but later corrected by erasing. A too-drawn background has the advantage that the outer hair appears a little transparent and the background shimmers through realistic. In addition, the object in the foreground is no longer so misplaced or "copied in". For the moment it is enough to darken the background.

Now it goes on with the face. Ignore the headband - it was a stupid idea. First, you'll darken the "outside" of the face (cheeks, chin, outer forehead). These places must be dark, because here is the most shadow and the face bulges outward. In addition, the hair cast a small shadow.

Forehead:

The forehead should remain bright in the middle. Hatch them outward dark.

Eyes:

Draw the outline of the eyes slightly . Do not create a panda eye woman. In my example, this is far too violent, one recognizes the similarity to a panda bear. No: the lady is "overworked". Details like the pupil and the iris are also easily traced. Note that the whites in the eyes should also be shaded! The further out the eye you are, the darker you have to draw the eyeball, because it archs here more. Eyelashes and eyebrows you should not draw, at best only hint. They would only cause problems in later blurring of the underlying skin.

Nose:

Again, less is more! The highest points, such as the tip of the nose or the bridge of the nose, should remain light, while the nose edge must be slightly hatched on the slope. The underside of the nose (at the holes) and the outer part of the nostrils should be dark.

Mouth:

First, erase the strong, dark strokes that sketched your lips so that they are only slightly visible. Then you draw the underside of the upper lip dark, as well as a bit of the "top piece" of the top of the lower lip. That was a great sentence. Meaning, the more the lips lead to the mouth opening, the darker you have to shade. The middle piece of the lower lip lets you shine brightly. Basically, you can do that for the middle section of the upper lip too. Thus, both look moist and shiny. The outer areas of the lips let you softly leak into the normal facial skin. If the lips are to be emphasized with lipstick, you can draw the contour more clearly. Under the lower lip is always a small shadow over the chin - do not forget it. You do not have to pay attention to the small size of the teeth, it is enough to shade the "toothed strip" outwards and under the lips.

Neck:

The neck is darker and shadier. Under the chin, you make the skin a shade darker than the rest of your face. The outer areas are also slightly darker than the middle ones.

Face in general:

Blur your hatching (if you want to blur) from the previous steps with a brush or a clean handkerchief on which there is still no graphite. Be very careful - tiny mistakes can make the entire face appear inconsistent. Go very carefully. If you cover up wrong, you can mess everything up! I erased my eyes a bit lighter. In the previous step, they were just too dark.

Mend error:

First, I removed the headband and drawn hair over it. That was terrible.

The cheeks:

They should be blurred dark on the cheekbones. The spot above the cheekbone to the nose and under the eye you leave bright or erase it brilliant, because that looks very lively.

Pony / Hairstyle:

To draw the pony, you just have to smudge the hatched brow. Then you erase the hair with a very sharp / thin eraser or an eraser. That was the whole trick with the pony. If you do so, you have a realistic vaulting of the shining brow and can later continue drawing the pony at will.

Long hair:

Shadow the long hair first with a hatch, which you then blur. Try to follow the shadow of the head on the inside of the hair and make the hair darker there. After you have roughly shaded and darkened your hair, draw a few strands with a very sharp pencil over it. Just drag down a few lines as you like to create a coarse texture. The border on which the hair falls over the face, I erased again bright. Similar to the pony.

Please compare this picture with the picture of the previous step. It now becomes very clear how much shadow and darkening (is there the word?) Affect the look of a face!

Eyes:

The eyelids are now softer - the black is no longer dominant. The eyeball looks much more real, as he is a little lighter. I also reduced the size of the pupils, which deprives the lady of the "paralyzed drug look" of the previous step.

Nose:

On the nose, the biggest change can be seen. It is not for nothing that I wrote before on the nose "less is more". The strong shadow is now much softer and less noticeable. The nose is now less dramatic. The more shadow she casts, the bigger and more striking she looks. The rest - apart from the body - remained unchanged. You can see how much shades influence the look of a face. That's why it's so hard to "sculpt" an unshaded sketch that resembles your desired face. As you will see in the next step, the face should be brightened even more.

The whole face and the eyes have lightened again (with erasing). With less contrast between the light and the dark facial parts, the face looks much younger, fresher and softer.

The eyes:

The contrast pupil / iris should be clear. If the pupil is not too small, a light reflection is mandatory, it gives the eye a lot of life. It is still missing, but the contrast pupil / iris is already better.

The hair:

Shadow the gray area, as described above, just a bit more. After that you erase light strands over it and draw their edge with a very sharp pencil and very thin lines. These lines should be peppy and drawn in one go. They can be set "randomly" in the direction of the hair and should follow no pattern. Orient yourself to the hair structure you worked out in previous steps. If your image has a background, it must now have all the details that are adjacent to the face, because it continues with the hair and the hairstyle. Some too strong dark strokes, I have removed again and erased particularly bright spots even brighter. The blond hair now looks much brighter and shinier.

If your image has a background, it must now have all the details that are adjacent to the face, because it continues with the hair and the hairstyle. Some too strong dark strokes, I have removed again and erased particularly bright spots even brighter. The blond hair now looks much brighter and shinier.

The individual differences to the previous picture are not immediately noticeable. Nevertheless, the face appears alive throughout.

The hair:

Since they are blond, they have to be bright. Logical. Thick dark pencil strokes are counterproductive. They have to be erased again - but only so far, until you can see light strokes. Furthermore, the hair is much better shaded in this step than before. This is particularly evident at the point above the shoulder and at the top of the crown. The head is now more self-contained, because the dark background is present and a bright, clear contour "framed" the entire head. The contour can be easily erased.

The eyes:

The eyelid and the area above are now much softer shaded / make-up. I have minimized the strength of the eyelashes by erasing. The same applies to the pupils and the eyes. They look much brighter and more natural now. Very important is the shiny point of light in the eyes. It gives the complete face a lot of vitality and freshness. The nose and the mouth are basically unchanged. In my opinion, her hair was a bit too "greasy" and dark in the step before. The strokes were just too dominant for blonde hair. That's why I erased a few strands of hair again and brightened up places that hit a lot of light. By better shading the hairs throw light waves and fall more realistic.

In my opinion, her hair was a bit too "greasy" and dark in the step before. The strokes were just too dominant for blonde hair. That's why I erased a few strands of hair again and brightened up places that hit a lot of light. By better shading the hairs throw light waves and fall more realistic. That's it already". As you have seen, when you draw a face you can lose yourself in many details and endlessly wander around it. Shadows and light allow the extraction of many optical effects and are able to hide a lot. I hope my tutorial helped you and made a bit of fun.

Should you want to see me like the rest of the picture and the complete one Lady has drawn throughout, please click here … Read the full article