#I like my art as a tool for me to talk about characters. I do make it appeal to me of course which is why I spend like

[luck-of-the-drawings]

POOR GABRIEL MONTEZ! YOU NEVER SAW THIS COMING DID YOU? ALL YOU WANTED WAS POWER. SECURITY. SAFETY. & THATS EXACTLY WHAT YOU GOT! JUST IN EXCHANGE FOR YOUR BODY. LETS JUST HOPE NO ONE FUCKS THIS UP. LETS JUST HOPE YOU WONT HAVE TO CLEAN UP THE MESS.

[crimson-rain-smoked-flower]

I’m not trying to attack you, but do you know that proshipper means someone who supports and romanticizes pedophilia, incest, and abuse? Your reblog on that post seems to read that you think antis just hate on people for having ships they don’t like. But it’s completely different than that. Just looking on the proshipper side of Tumblr and the internet and you can see people happily shipping children and adults and making nsfw content of such things.

i appreciate that you're not being outright hostile, but i have to say, that on its own put you above basically every anti i've interacted with.

i understand where antis are coming from, i really do. there are a lot of things on the internet that make me deeply uncomfortable, including the minor/adult ships that you mention. i don't want to anything to do with those kinds of ships and i would be happiest if i never saw them again. which is why i'm proship.

nine times out of ten, if i see that kind of ship brought up on my dash, it's because i was following an anti without realizing it, and they brought it up unprompted and untagged, to talk about how bad it is that they exist. they are the ones putting that kind of content in front of my face and making it harder to avoid.

the thing about people who ship those ships is that they're generally very aware that not everyone wants to see that kind of content, and so they tag it. they make sideblogs to talk about it. they don't go out of their way to shove it in people's faces. that means i, and everyone else who doesn't like it, can avoid it.

what antis want is for it to not exist at all. they want the tags to be purged and blocked, and for anyone who uses those tags to have their accounts deleted. and sure, that might get rid of some of it, but do you know what would happen to the rest? it would stop being tagged. people who don't want to see it wouldn't have the tools to avoid it. this isn't just a hypothetical, that's what's happened any time a fan space has tried to do that.

that's not even getting into the rabbit hole of what should be banned and what shouldn't. obviously any content that depicts real children or real life abuse shouldn't exist and shouldn't be allowed to be posted, but basically any platform that people use already enforces those policies, and there's not much of a slippery slope to go down there. if it involves real living breathing people being abused, it's bad. end of discussion.

but the same can't be said for fiction. ask ten antis for a specific list of all the content that should be banned, and you'll get ten different answers. what about kink? what about roleplay? what about horror and murder and anything that involves fictional characters being graphically tortured? what about people using art to process terrible things that have happened to them? what about art that uses dark themes as a horror element? if you just want to ban anything questionable to anyone, that's the line of thinking that gets any mention of lgbt existence banned. and again, this isn't just a hypothetical, this has happened before, and that's generally where it leads.

i know, from personal experience, that antis do, in fact, send harassment to people just for shipping things they don't like. i've gotten accused of absolutely vile shit for shipping two fictional characters who were both consenting adults. i've seen ship wars turn into moral battlegrounds, over ships that an average person wouldn't bat an eye at.

the thing about "romanticization" is a whole other can of worms. the anti logic goes like this: if someone sees something (even if it's very obviously fictional) in a positive light enough times, they will start thinking it's okay in real life, and go on to hurt real people. the problem with that is that it's just. blatantly untrue.

if it were true every horror movie fan would be a serial killer, every person that studies dark media would be an unhinged psychopath, and everyone who is into ddlg would be a pedophile. but they're not. they just aren't. people have directed movies just as fucked up as the darkest shit on ao3, and are still capable of being normal human beings who know right from wrong in real life.

even if someone is that impressionable, scrubbing away the existence of every piece of questionable content isn't going to solve their problem, because they're still going to be vulnerable to con men, scams, and cultists. the only thing that would actually materially help someone like that is developing their own morals and critical thinking.

children are also more impressionable, and there's a lot of content that's not suitable for them, but that doesn't mean that content shouldn't exist. it just means that they should stick to spaces designed for them (which most social media sites, tumblr included, are not) or, if they're old enough to be responsible for their experience online, they, or a trusted adult in their lives, should block and filter out things that they aren't comfortable with.

which is what everyone on the internet should be doing. it's what i do, and it's made the internet a much more pleasant place to be. and it's why i sometimes worry for antis mental health, especially teenagers, because they're being told it's right and moral to seek out content that makes them uncomfortable and to engage with the people making it. and that's just. really bad. it's not good for the creators that they're harassing obviously, but it's also really bad for them! it's not healthy to seek out things that make you feel bad, and it's a terrible internet safety lesson to teach minors that it's okay for them to seek out and engage with people making adult content.

individual harassment and crusading is never going to succeed at removing dark content from the internet. it just isn't. at best you might get a small percentage of people who create that content to stop sharing it, at worst you're just going to make people stop tagging it, and either way, you're exposing yourself to things that make you feel bad, when you don't have to.

if you want to materially change the type of content you see, you can. the block button is your friend, use it liberally. same with content filtering and tag blocking.

[kozachenko]

[Click for better quality]

Ok yay I'm back from my vacation yipeeeeeee. I started this drawing of Keiki before I left and I was half considering just giving up on it.... until I did a short study of facial planes and then got motivated to work on this again! I'm glad I didn't give up on it though, as I'm actually really happy with this one!

Artist's Notes;

So as I mentioned in my last post about Touhou 17, I wanted to finish this by the game's five year anniversary but with how progress was going I didn't want to rush this so I decided to take a long break from it. Mainly because of the face. For a while now I was kind of feeling like I was stagnating with my drawings, not really in the clothing but in the bodies. There was something about the way I was rendering them that I just wasn't happy with, and after talking with someone else about this issue, I realized that the reason I felt this way was because the faces were too flat and didn't match the rest of the drawing and that I needed to find a way to make the rendering of the face feel consistent with everything else. So after doing a short study of the plains of the face (I used this 3D head model from art station as a reference for my short study, please go give this person some love as they are a lifesaver) I went back into this drawing and applied what I learned here. It was only after that that I finally became motivated to finish the piece, and while it started off as just a simple character sketch like Saki and Yachie's were, the moment I added in Keiki's little fire dragon I knew I had gotten in too deep and now here we are with a full on background. OK it's not super crazy or anything, but it gets the job done and it's better than there just being an empty void behind her. It's rare moments like this when I use brushes other than the Clip Studio Default Charcoal Brush and use the Clip Studio Default Paint Brushes as well (god bless the oil paint and dry gouache clip studio brushes, they were amazing). I don't know why but painting fire has always been really fun for me, there's something oddly satisfying about it y'know? I do think that another reason for this problem was because I was drawing faces like I would in my more sketchy style that didn't mesh well with my lineless style, so I'm glad I've started remedying that.

After adding in the fire dragon I had an idea to kinda make it feel like splash art in the way the composition works... probably because I have been playing Reverse 1999 again and it has taken over my brain. I do feel like Keiki's tools get a little lost in the composition, and I didn't fully render the metal parts of them mainly because I didn't feel like they needed it, but that's just something for me to improve on later down the line.

If you guys are wondering where I went for my vacation, I went to New York and got to go to the MET and the Museum of Natural History. In both places I found Kofun period stuff and I was so happy to see it you have no idea. I remember one of the Haniwa I saw had some neat face paint under the eyes that I tried to replicate with the makeup under Keiki's eyes in my drawing, though I think I'll gave to figure out how to draw makeup on characters because this reads more like blush to me than anything. While drawing this I also looked up some references of Kofun period jewelry and really liked the stuff I found, which also meant that now she has proper Kofun earrings instead of earrings shaped like Kofun tombs. I put some of the things I referenced with a closeup of Keiki's face as well down below. I made her outfit more reminiscent of the outfit I gave her at the beginning of the year with the buttons and all, though I do want to try and draw her in some more period accurate clothing like the Haniwa I took a picture of at the Museum of Natural History. I wish I could find a way to make her handercheif look better though as I wish I made it a little bit bigger, though I think I'm saying this because I've looked at this drawing for too long lmao. Once again something to work on for when I next draw her. Also want to get better at rendering hair, as some details (like the little strands in front of her ears) kinda got unreadable due to the similarities in colour lol.

Now you may have also noticed the little cracks I added onto Keiki's face, and that's because I have fallen in love with the idea of Keiki's body being made from ceramic and that she crafted her body herself. While they aren't very visible I also tried to add some doll joints to her body, which is an idea I played around with in the past but never went to far with. I also want to get better at rendering cracks in ceramic, porcelain, etc, as I'm not sure how those read in the drawing. I also have a headcanon where the cracks in Keiki's face show up because of heightened emotions, and while Keiki is aware of this and does her best to make sure her face doesn't break off.... she will still end up with at least a few cracks during any given day, and she can often forget to repair her own body quite frequently so Mayumi has to remind her quite a lot. Mayumi even taught herself some basic sculpting techniques to help repair parts of her body that are so badly damaged to the point where Keiki can't repair them herself, i.e. if both her arms broke off, Mayumi would put them back together for her so Keiki can at least have something to repair herself with rather than nothing. I also like to imagine that if Keiki created her own body, if you took a look at Keiki from the beginning of her life she would look completely different compared to now.

BTW If you guys are wondering what a very very angry Keiki looks like....ok in order for this to make sense have any of you read volume 11 of Land of The Lustrous? Am I bringing back some memories for those of you that have? Ok good, glad we all got that mental image brewing in our minds, I'll probably draw a version of Keiki that is somewhat inspired by that one day as it's an idea I've had for a little while now. And to those who haven't gotten to that volume yet and are confused.... don't worry about it, just keep reading :)

[tofupixel]

Okay so, got any advice on making pixel art? Anything at all?

I want to draw two of my characters in a style of the game they're based from, which happens to be a high-detail pixel game called Coffee Talk (for example, this is Freya, one of the regulars)

I don't have much experience with pixel art so far, I have some, but only minor stuff.

Sure!

If I was planning to do this, I would first search for a clean reference of a character from the game. That means without any jpeg artifacts and not blurry at all.

Then i would bring it into Aseprite (or whatever program you use), take my marquee select tool (M in Aseprite) and select one "pixel".

Doing this I can see that the pixel is actualy 2x2 px, which means the base sprite was scaled up 2x. So I will go to my image settings and scale the image by 50% (ctrl + alt + i) so I can have the art at its original resolution.

This is much much easier to work with and study for a pixel artist.

Then I would do my art side by side like this:

Studying from the original and mimicing stylistic choices when I can

You could also just edit the sprite (this is totally ok to do as long as youre honest/upfront about it, just like any study. So many beginner artists get started with sprite editing, its such a great way of learning).

I want to make a special mention to this website called Spriters Resource, if you're looking for game sprites (especially retro stuff) you may find it here!

If i don't know how to do something i always go on spriters resource and search games I like, so I can learn how they do it. This website is a goldmine for beginner pixel artists

Feel free to ask me any specifics in the future!! and GL

[yukipri]

Some thoughts on Cara

So some of you may have heard about Cara, the new platform that a lot of artists are trying out. It's been around for a while, but there's been a recent huge surge of new users, myself among them. Thought I'd type up a lil thing on my initial thoughts.

First, what is Cara?

From their About Cara page:

Cara is a social media and portfolio platform for artists. With the widespread use of generative AI, we decided to build a place that filters out generative AI images so that people who want to find authentic creatives and artwork can do so easily. Many platforms currently accept AI art when it’s not ethical, while others have promised “no AI forever” policies without consideration for the scenario where adoption of such technologies may happen at the workplace in the coming years. The future of creative industries requires nuanced understanding and support to help artists and companies connect and work together. We want to bridge the gap and build a platform that we would enjoy using as creatives ourselves. Our stance on AI: ・We do not agree with generative AI tools in their current unethical form, and we won’t host AI-generated portfolios unless the rampant ethical and data privacy issues around datasets are resolved via regulation. ・In the event that legislation is passed to clearly protect artists, we believe that AI-generated content should always be clearly labeled, because the public should always be able to search for human-made art and media easily.

Should note that Cara is independently funded, and is made by a core group of artists and engineers and is even collaborating with the Glaze project. It's very much a platform by artists, for artists!

Should also mention that in being a platform for artists, it's more a gallery first, with social media functionalities on the side. The info below will hopefully explain how that works.

Next, my actual initial thoughts using it, and things that set it apart from other platforms I've used:

1) When you post, you can choose to check the portfolio option, or to NOT check it. This is fantastic because it means I can have just my art organized in my gallery, but I can still post random stuff like photos of my cats and it won't clutter things. You can also just ramble/text post and it won't affect the gallery view!

2) You can adjust your crop preview for your images. Such a simple thing, yet so darn nice.

3) When you check that "Add to portfolio," you get a bunch of additional optional fields: Title, Field/Medium, Project Type, Category Tags, and Software Used. It's nice that you can put all this info into organized fields that don't take up text space.

4) Speaking of text, 5000 character limit is niiiiice. If you want to talk, you can.

5) Two separate feeds, a "For You" algorithmic one, and "Following." The "Following" actually appears to be full chronological timeline of just folks you follow (like Tumblr). Amazing.

6) Now usually, "For You" being set to home/default kinda pisses me off because generally I like curating my own experience, but not here, for this handy reason: if you tap the gear symbol, you can ADJUST your algorithm feed!

So you can choose what you see still!!! AMAZING. And, again, you still have your Following timeline too.

7) To repeat the stuff at the top of this post, its creation and intent as a place by artists, for artists. Hopefully you can also see from the points above that it's been designed with artists in mind.

8) No GenAI images!!!! There's a pop up that says it's not allowed, and apparently there's some sort of detector thing too. Not sure how reliable the latter is, but so far, it's just been a breath of fresh air, being able to scroll and see human art art and art!

To be clear, Cara's not perfect and is currently pretty laggy, and you can get errors while posting (so far, I've had more success on desktop than the mobile app), but that's understandable, given the small team. They'll need time to scale. For me though, it's a fair tradeoff for a platform that actually cares about artists.

Currently it also doesn't allow NSFW, not sure if that'll change given app store rules.

As mentioned above, they're independently funded, which means the team is currently paying for Cara itself. They have a kofi set up for folks who want to chip in, but it's optional. Here's the link to the tweet from one of the founders:

And a reminder that no matter that the platform itself isn't selling our data to GenAI, it can still be scraped by third parties. Protect your work with Glaze and Nightshade!

Anyway, I'm still figuring stuff out and have only been on Cara a few days, but I feel hopeful, and I think they're off to a good start.

I hope this post has been informative!

Lastly, here's my own Cara if you want to come say hi! Not sure at all if I'll be active on there, but if you're an artist like me who is keeping an eye out for hopefully nice communities, check it out!

[cupcakeslushie]

Do you have any tips on for people starting a comic and wanting to post to tumblr? Like pacing ect. Or well any experience you’ve had with your comics? Love your content as well ❤️

If it’s simply for fun, and you’re just trying to gain experience, my biggest advice would be to just START. Don’t worry about it looking perfect. Don’t worry about comparing it to other’s comics. Just try something, and if you find it’s not working, you can always change things up. I have gone through several styles and page layouts since starting. Do I wish those first pages of EW looked just like what I’m doing now? Yes, but if I’d waited around for perfection I would have never started. And I wouldn’t have had nearly as much fun creating it! If people like it, that’s great, but your art is for you. If you’re growing and learning and having fun, then you’ve accomplished something!

Now for some less preachy advice 😂…

—If your comic is gonna be hosted on Tumblr specifically, I would say, make sure you keep the 10 image limit in the back of your mind when you’re pacing things. That can definitely cause some headaches down the line. If you don’t plan ahead, and end up hitting it, you’ll have a sudden cut in your flow. This last update I knew it was gonna be long, so while I did plan, but I could’ve planned better.

—Variety is key!!!!!

Composition changes keep your viewers from getting bored. Sometimes I’ll find myself falling back into the bad habit of just doing the simple back and forth with two characters talking straight on, but changing the camera angle, making establishing shots when you change locations, and over the shoulder shots, etc etc…All these will make for a more interesting viewing. You may think a character needs to be in every single panel to make it interesting, but if you have a lot of dialogue, a simple plain shot—either in top of a solid background, or just over something boring, like a glance at the set, etc—this will let people focus on the words rather than splitting their focus.

Variety applies to shading as well—whether you’re using color or black/white. Variety in values are SO important for comics. You’re shoving a ton of information in a limited space, so try to keep your values different for items that are close together….it can make things very confusing and turn your line work into indistinguishable blobs if you shade without this in mind.

(Using this panel as an example….)

The top two panels have a variety of darker values and a halftone background—so the next two with Venus, I kept rather simple. I could’ve colored the buildings behind her, but then, she might’ve gotten lost amidst all the grey. There’s not really any trick or solid rule to this, but once you develop your creative eye, you’ll make these choices without even thinking about it.

A few links to helpful tools (they’re all procreate centered I’m afraid 😅)

Outline brush — a free tutorial for Procreate users. This brush kinda mimics the CPS feature that lets you create panels with a nice black outline. I used this brush very often, and it really gives your panels a professional look. Fair warning, it can be glitchy, but it’s free…

Manero Comic Bubbles and sfx — These brushes are not free, so I would recommend maybe getting in your groove before you try them out. They’re by no means necessary, but I’ve just started using them, and they save me so much time. There’s a HUGE selection of shapes, and they go on with a solid white background, so you don’t have to worry about coloring around your dialogue balloons.

[bobbile-blog]

Okay so I've finally gotten to Jessicalter's Oprec and now feel qualified to talk about Come Catastrophes or Wakes of Vultures. holy shit. This went straight into my list of top Arknights events. Fantastic event, spoilers will be under the cut so I HIGHLY RECOMMEND reading the event first. It's really good and worth your while.

Anyway, what follows is a scattered mess of thoughts about this event and things that stuck out to me.

First off, plot stuff! I'll probably cover this when I do my next plotline recap post, but what I took away from the end is that Clip Cliff seems to want to make Blacksteel independent, or at least more self-determining than it is now. He seems to be gathering resources and assets like mobile city plates and investing in long-term infrastructure like merc training, so he definitely has a long game he's pushing for. I don't think we know enough go speculate about his goals, but we'll definitely be coming back here again. After all, Tila has an infection monitor in her art, which probably means she's going to be playable at some point in the future.

Next, having looked into this a little on my own, I was interested in some of the previous places Raythean has shown up. Specifically, the ones that stood out were the drones in the Kazimierz Major and arming Silverash's forces in Kjerag, which might be referring to the Tschäggättä. It's not just notable for their apparent level of technology, but also as a faint connecting thread between three separate capitalism plotlines. I don't know if that's going to be meaningful in the future, but I found it interesting enough that I thought I'd bring it up.

Now on to more narrative things. While I love Liskarm and Franka, I do think it was the right choice to give them less screen time in this event. They're both (for the most part) fully-realized characters who understand their own motivations and morals. This is above all else an event about Jessica learning to stand on her own as an adult, so it makes sense that they're more here to support her than they are to play their own roles in the story.

Speaking of said roles, I liked the event's commentary on cops. It pointed out an interesting distinction that I wouldn't really have ever thought of, that between mercenaries and cops. To start: cops exist to protect property, not people. The police exist to protect things and do not have an obligation to err on the side of people over things, and in fact are supposed to do the opposite. This event understands that, and that role os the core of how the bank treats the Blacksteel mercs. CV, however, raises an interesting point that mercenaries are bound by the letter of a contract and not the larger obligation to property cops are, so they can actually raise moral objections and point to their contracts, sort of a Lawful Evil/Lawful Neutral to cops' Neutral Evil. The independence of their position with respect to cops allows for more of an independent morality than you'd get in a cop story and I like that, I think it's a really smart direction to take your writing in.

On a (mostly) separate note, holy shit Arknights is really good at writing cowboy stories. Between this and chapter 9 (and I would argue An Obscure Wanderer), Arknights has repeatedly made it clear that they Do Not Fuck Around with their cowboy stories and I'm surprised I haven't heard more people talking about it. It kinda has everything:

- It takes place in a rural, working-class setting undergoing a larger imminent societal shift that can inform the larger narrative, and deals with a semi-mythologized past that is rapidly disappearing.

- It has a protagonist and an antagonist that serve as foils, both very heavily affected and defined by the (same) violence in their past that they've both had different reactions to. Our protagonist has come to terms with the violence as a tool to maintain order, while our antagonist has used it for personal gain and in some ways lost control of it.

- It's a story about community, and heavily emphasizes local and personal community over larger artificial corporate "community". That's my reading of the recurring motif of the cold btw, warmth represents the close, personal community Davistown used to have and the cold that now pervades it comes from how the bank has systematically dismantled that community.

- And, I'd argue most importantly, it understands the narrative power of a bullet. The Showdown at the end of a cowboy story is powerful because we've spent the entire runtime of our story with these characters, and they are now facing each other down with the intent to end one of their collective two stories. The entire weight of the narrative so far comes to rest on a single moment of tension. It's really hard to gather up the kind of narrative momentum you need to make that hit like it does in CV. For example, it requires a really light hand with actual action in the story, so that it really does feel like it's an even standoff between our protagonist and antagonist. On the other hand, though, you do actually have to establish the relative skill of both parties and actually sell the danger of the moment to the audience. It's really hard to toe the line between tension and actual action in a way that makes for a satisfying resolution, and CV does it extremely well.

Honestly, Arknights just seems really good at getting the vibes of American media right. This is something I noticed in DV and Lonetrail too, and I haven't really been able to put my finger on what it is about them, but the vibes are just really on-point. I want to write more about this at a later point once I actually figure out what it is that I'm feeling, but maybe it's the setting, maybe it's the cast, maybe it's the plot points, maybe it's something in between — it just seems to understand the spirit of period cowboy stories in a way that I can't describe. Good shit.

Finally, I wanna end this with where Jessica is now. The events of CV take place In between the events of Loneterail and Ideal City, so the current "now" of the story is a few months ahead. Jessica left for the frontier along with Woody, Helena, and Miles. They live together in a small new settlement, building the place from the ground up with Woody and Jessica acting as town sherrifs. At the point we're at now, rhe town is fairly well-established and Woody has temporarily left on other business, leaving Jessica the sole sherrif of their new settlement. However, she's risen to her new station, and is growing into a stronger person than she ever was before.

[mourninglamby]

i would pay insane money to hear about your thoughts on ctommy girlism because it’s actually such an important part of his character analysis to me

I’ve been wanting to make a patreon for stuff like this + art I don’t wanna post, so I’ve decided to go this route with the essay I will likely end up with based on this thesis. But I’ll use this post to summarize some thoughts im VERY confident about (and could be a sneak peek into what else the paper will entail)

C!tommy is fem-coded based off of fandom interpretation and reception, textual evidence, and meta analysis (will get more into meta in the big doc).

To start, a lot of this coding has to do with how he is victimized and why, which mainly concerns him craving approval from these older men (c!wilbur, c!dream, and even c!techno,) that he views as role models. Power imbalances are something that can also affect boys, yes, but this is where the coding comes in to set them apart. PLEASE REMEMBER Coding is used to identify traits that align with minority experiences, both good and bad. That does not mean c!tommy is LITERALLY a girl. It is a tool utilized in rhetorical analysis.

In this case, the constant subjugation of c!tommy by the men he yearns to trust, and subsequent self blame and denial when they hurt him fit into an experience closely associated with misogyny, and to go even further into the meta, a misogynistic view of feminine victimhood. The way c!tommy’s trauma interrupts his psychological and emotional development is received by thousands of fans who still deny his abuse even happened as “annoying”, “mean”, and “just as bad” as his perpetrator(s). This is observed from the existence of c!dream apologists and sympathizers, and to a more complicated extent, c!wilbur apologists. But I digress.

C!tommy is coded as feminine because in the majority of media centering victims of this kind of abuse, the character is a woman, and a woman can and will always be blamed for what happened to her. In the case of DSMP, this blame comes from the man who is protected by the spoils of his privilege as an oppressor, status in his community, and the many other people (predominantly young women) he has managed to manipulate to be in opposition to his victim. Fiction affecting real life and all…. Which is why I think this evidence of coding is so important.

To add another disclaimer for the bad faith warriors, being a victim does NOT make a character femme coded, however, the way he is treated in canon and the way the fanbase reacts to how he grapples with the lasting trauma is certainly rooted in misogynistic talking points.

Looking forward to writing more ^__^ thank u for being so interested anony. I’ve welcomed some friends who I trust very much to help me write it and I’m very excited.

addendum: there is no right or wrong way to interpret ctommy or dsmp or the response to how he was depicted... i only wish to start a conversation and get my thoughts out. if u disagree that is ur prerogative and i respect it <3

[comicaurora]

These have been pent up for a while, so there's a whole list lol. Some are Aurora, some are not.

1) Can lacrimas carry out multiple purposes at once? Or will they blend them? I'm assuming that this is possible, considering that the automaton in the ruins was using a lacrima as a brain

2) Has anyone tried to make tools or weapons out of lacrimas? I'm talking like chisel that needs no hammer. Or maybe a Fire lacrima on a bow that sets your arrows on fire

3) Can you engrave runes on lacrimas to make them affect themselves?

4) Where can I read more about the Twins? If I'm not wrong they're the creator gods, aided by the Light dragon and the Void dragon to create life, but I might be getting a wrong read on that

5) Since we see Erin successfully become the first Void mage, does that now mean there's potential for him to make a Void lacrima? The dragon probably won't allow it, but still

6) What exactly does elemental corruption of each element do? Fire literally burns you up, as we saw in Arc 1. I can infer that Life likely makes you a chimera. Void corruption makes you a cave crawler. But what do the other one do? Does Earth make you a statue? Does Wind disintegrate you, Thanos style?

7) Now onto the non-Aurora questions, is your art vector or raster? I believe it's vector, but it's always better to confirm

8) What are your opinions on reading into the environment and the character design to infer things about the character themselves? In any type of media

9) Have you played Baldur's Gate 3?

10) Do you have any music that you'd recommend? I've listened to every song I liked so many times that I hate them now.

11) I'm new to Tumblr, anything that I should know? You don't have to answer this one if you don't wanna. I think I know some of the basics already. Reblog what you like, and avoid the terfs, right?

You might be able to tell that I like the idea of the lacrimas a little bit. Just a teensy bit. The artificer in me definitely isn't obsessed. I appreciate any answers you can give :3

Cheers!

Ooh, lots of stuff!

Yes, it's possible. A lacrima can be engraved with multiple spells, set in a casing engraved with commands, or some combination of the two. Typically, all spells engraved directly on a lacrima will activate at once when the lacrima is "switched on", but a spell can be quite complex, and conditional activations are possible - "if-then-else" statements, basically.

Yes, magic items exist.

Generally no. If the lacrima is disrupted or broken, the spell generally stops functioning, so a self-affecting lacrima will run only as long as it takes for the lacrima to distort or break.

There's an extra lore page about them!

He probably could if he wanted to (and the Dragon allowed it) but Void energy is very dangerous, so he likely doesn't want to.

Each form of elemental corruption agitates the presence of the element in the mage's body. Earth corruption can damage or alter bones, encourage unhealthy petrification of soft tissues, etc. Wind corruption can have physical effects but it often most obviously produces breakdowns in the person's ability to speak or understand language. Lightning damages, numbs or intensifies a person's physical senses.

Raster, I draw with CSP's digital pens. I've only very briefly experimented with vector art - I don't like how it simplifies the lines.

I think it's a fun school of analysis but, like all literary analysis, it runs into trouble if it tries to lock down exactly what the writer was thinking or intending (which is an objective fact that one can be incorrect about) rather than trying to analyze the story on its own and what meaning might, intentionally or unintentionally, be factoring into it.

Nope

don't trust my taste in music it's 90% nu metal and sonic OSTs

Like what you like, reblog what you want, generally it's considered dubious form to add a comment to a reblog unless you have something profound to contribute (commenting in the tags is fine), steer clear of discourse and callout posts and generally the sectors of the site that are constantly on fire, blocking someone for any reason is 100% fine

[noctvrnal9999]

Ascended Astarion, Cazador Szarr and how they are NOT alike (at all)

Some of you probably saw this coming already, that I would go out of my way to talk about the whole "Ascended Astarion is Cazador 2.0" thing because it's such a ridiculous notion. Here it is, my personal take on why I disagree.

First and foremost I will address the whole: "Oh my GOD Astarion follows the Four Rules right from the beginning!" mindset. Here they are, the rules as Vellioth passed them down onto Cazador:

First, thou shalt not drink of the blood of thinking creatures.

Second, thou shalt obey me in all things.

Third, thou shalt not leave my side unless directed.

Four, thou shalt know that thou art mine.

Rule one is pretty obvious - don't drink blood of thinking creatures. That's one of the tools Cazador used to keep his Spawn subservient and demoralized. We don't get any in-game information that Cazador went back on this rule in any instance whatsoever, seems it was very much set in stone for him. Ascended Astarion (which I will shorthand to AA from this point on) breaks this rule the moment he Ascends with his Blood Bride/Groom. Not only he gives player character his blood (willingly, I will mention), he speaks also about drinking PC's blood and they drinking his:

Already breaking the very first rule he himself had to obey for two centuries. And in-game mechanics support this of course, PC can use Bite action on anyone who is not classified as undead (like Astarion, for example, PC can freely chomp on him if they wish so).

Rule two is also obvious - Cazador compelled his Spawn through his bond as their master. That is evident in the scene where Astarion's siblings attack the camp:

They have no choice but to obey Cazador's command even if they struggle. The only reason Astarion is free because of the tadpole. We could apply same logic to Bride/Groom PC, that Astarion cannot compel PC only because of the tadpole. However, PC can ask Astarion about this:

To which he replies:

The implication here is that he thinks he can compel PC but he's choosing not to. Now, whenever you subscribe to the theory I presented before that he can't compel PC and is lying or not, it's up to you, but if we're taking this line at face-value only it's very very clear - AA is not going to compel PC, to him it's a ridiculous idea (Why would I need to?). He trusts that PC and him are on the same page (and personally I read the second part of his sentence as being cheeky, but maybe that's just me.)

Rule three, just like first two, is simple and easy to understand - don't leave your "master" unless directed. Cazador sent out his Spawn to lure victims for two hundred years, however, Astarion, if we believe he can compel PC, is not even attempting to make PC stay by his side (or send them away, for that matter). All he says is this:

And this is in conversation about not being able to walk in the sun, which is about his newfound powers being extended to PC. Nothing in any dialogues (that I can remember) suggests that he commands PC to stay by his side. The only such dialogue option appears in the epilogue (keep in mind that epilogue was added later) and if you legitimately argue with AA (I would never do it but there's some crazies out there, stay safe xoxo) but to be completely honest you can ask for your freedom:

To which he replies:

Even if we take this as "daunting" as some people portray it to be, we still see AA acting more like a brat-tamer than a cruel master Cazador has been. Try putting these lines into Cazador's mouth and tell me they work lol.

Rule four is self explanatory. And this one we can definitely apply to AA. From the moment of Ascension he insists confirming to PC that well, they are his, but he also emphasizes that he is theirs in turn (if blood drinking line is anything to go by). Vampires by nature are possessive, it makes sense that AA feels the need to speak about it. PC is the only person he ever loved, now he's expressing that love, albeit maybe a tad intensively (according to some).

But on the flip side, where AA can be seen as possessive as Cazador, AA does 180 and shares his power and status with PC. There's an incredible amount of lines in the game where he speaks about being equals, sharing power and standing side by side, unlike Cazador.

And these are just couple from same conversation, there's so many more, but pay close attention how many times he says "we" or "you and me". PC is not just a spawn to him, not someone to be controlled but a true equal, sharing power, wealth and goals.

Which leads me to another point that needs addressing and emphasizing - AA is still a vampire, just like Cazador. Yes, these two creatures are power-hungry, that's in their nature, in any vampire's nature. I'll draw attention to the fact that even as a Spawn, Astarion is hungry for power and freedom. Once he has freedom, his goal still remains power. While Cazador's goal was to become Ascendant, AA's is well, world domination, basically. He surely has the time if not power to try and achieve that. However, this doesn't make him "just like" his former master, it just makes him a vampire.

And let's not forget that even before becoming a vampire Astarion was already power-hungry, which is clear from his choice of career as a Magistrate. Albeit a far shout from world domination, he still sought positions of power even while alive.

So to summarize before this becomes too lengthy - AA is simply a vampire. Not a reflection of his former master. They share some traits because they belong to same caste by the end of Astarion's personal quest, but that doesn't make him any more similar to Cazador than any other Vampire Lord or even Strahd.

Simply put - AA is a monster. Vampires are classified as monsters and they are Lawfully Evil aligned in DnD. Just because he has unpleasant traits, it doesn't mean he took them from Cazador. It just means that he has unpleasant traits. Make the man accountable for his own flaws (or just generic vampire traits), after all, as Ascendant, I'm sure he take it :)

[reallyhardydraws]

2023.

i hope any of you reading this will forgive the essay. i started posting to this art blog ten years ago in 2013 when i was just at the very end of high school, uploading short animations i'd made for one of my final projects, preparing myself for art school where i was gearing up to become an illustration/animation student.

i went into my art foundation course in 2014, still thinking i was going to be going into storybook illustration or with faint hopes of becoming like a concept artist for game/animation, although even then i'd started thinking about patterns...

and then in 2015 i did go into my BA, going in for that illustration with animation degree that... usually when i talk about it in real life, i say didn't really feel like the best place for me. if i think back, the best things i got out of it were two of my best friends, one of whom is now my partner. looking back on my BA era, there's some bits of sketchbook stuff...

and while i was at university my main fandoms were thunderbirds are go and x-men for a bit... these are from the end of 2015 into the beginning of 2016...

then for a little while i was doing this still sort of pastel-ish lineless situation:

and i alternated between that and this thin fineliner type work (pretty sure all of the linearted pieces were done on paper and scanned, and all the lineless were graphics-tablet-only) - it was in this style that i started to offer commissions for the first time too.

and i also had fineliner-lined work in sketchbooks that i coloured with marker and posca pens, the colours of which were generally a bit more intense just based on not being able to slide the hue/saturation around on paper:

also 2016 was when i discovered the spongebob musical just after it's trial run in chicago (which ended in july of 2016) and i started making fanart at that point... which would have the biggest effect on the way i drew (and i did end up handing in a piece of spongebob musical fanart as one of my art school homeworks lmao)

from summer 2016 until early 2017 things were still quite soft and pastelly in my digital art, colour-wise:

and then suddenly everything got whacked up to 100% on saturation. also i was using the binary tool to give everything really thin pixel lineart for some reason.

then i went on vacation in summer 2017 and didn't draw for maybe a month? just short of? and when i came back i decided to change everything up again... giving characters blobbier, more ugly-cute faces with large squinting eyes and big nostrils and i was worrying a lot less about making anything look smooth, lineart-wise. i turned off the pen stabiliser in SAI and let it wiggle.

then... the spongebob musical opened on broadway in late 2017, i went to see it live in person for the first time... and my whole brain was ENTIRELY consumed by my love of it. i was putting that david zinn inspired pattern explosion into everything, even if it wasn't sbm fanart.

as we go into 2018, i started colouring my lineart. my biggest interest was still broadway musicals (with spongebob at the top of the list)

i think summer 2017 - early 2018 is probably my favourite art era, i was at my most bright and colourful and exciting... although i know in my actual real life i was struggling a lot with my home situation and i had been for some time. art was definitely my escapism back then, and i think a lot of the time i drew really bright, joyful stuff to try and inject that feeling into myself.

as for my university work, i was putting my focus into 3D paper-mache puppets:

and i was also starting to do more repeat patterns, mostly inspired by things around me. i'd learned how to make patterns actually tile and repeat in 2017, so made a few during my time at uni just to accompany some of my projects, but never as the focus of them. one of my university tutors told me that maybe i should put more focus on doing surface pattern, and maybe applying it to textiles, but i said i wasn't interested.

i graduated from my BA in the summer of 2018, and immediately began volunteering at the whitworth art gallery doing anything i could - stewarding, helping with arts and crafts, dancing with families...

in 2019 i was still very colourful... i was trying out more chunky colouring on characters skintones that i think was def inspired by tumblr artist jadenvargen:

but the blobbyness and ugly-cute style of drawing faces was gone by here, and i think... the way i drew characters probably had better *anatomy*, proportions were maybe a bit more realistic...

in 2020 i started adding the black shading to under the chins and some other places on characters' bodies because i started watching the anime my hero academia with my brother, lmao (and i was starting to pastelise colours a bit again, these are the most pastel-ish examples) my lineart has really smoothed back out too, though i never turned my pen stabiliser back on in SAI. i think my hand just adjusted. probably seems a bit insane to miss that, but i do.

by the end of 2020, the almost-year of lockdown over cobid had... made me a bit insane, i think, and i moved out of my mother's house and into a flat with a friend from university.

in 2021 i think things were much the same... i think from this point on is where things have sort of settled. i don't want to say stagnated, but i do think things have been very... like this for a while.

2022 - got the most exciting examples out...

also i was very into these little frames in 2022.

and then on to 2023! in 2022, i did begin trying to shift gears a bit -- hoping to put more energy into sewing and making products (like my tutor has suggested back in uni, even though i'd really resisted the idea.) i sold at a few in-person markets during winter of 2022, but got disheartened by the amount of money i had to sink in up front to sign up for a spot...

which has made me VERY grateful for the people who have supported me via online sales. it has really helped me stay afloat in 2023 - AND it has felt more wonderful than i can describe that there have been people interested in my work... especially when a lot of it has been my original designs, rather than the fanart that i expect a lot of people initially followed me for.

i've also... in the past 2 years... branched out a bit more when it comes to 'being an artist' - and have had the opportunity to deliver arts & crafts workshops with local refugee & asylum seeker support charity, afrocats. it's taken me to their home base in a church to hotels across the city where asylum seekers were temporarily placed while waiting on their new homes, and of course to my beloved whitworth art gallery, where we welcomed visitors from all backgrounds: from the typical white middle class visitors the gallery usually expects, to all the refugee visitors coming into the space for the first time.

and through my volunteering at the whitworth, i showed up so often they decided they might as well pay me. so i've also become a facilitator of... creative play sessions, my favourites of which have been outdoors. monthly, year-round, we have 'outdoor art club', where i get to paint with mud and make potions from leaves with kids & families - here you can see me tell you a little bit about it in this video below with 'crempog' a puppet character that makes videos about activities for kids and families around manchester (my bit starts at 01:10 although i am in the intro and thumbnail haha)

and then of course the summer 'PLAYTIME' activities we've had the past two years: scrap studio in 2022, and play market in 2023. it's the best freelance gig ever -- just to hang out and encourage families to be creative and have fun.

in working more in these new avenues... outside of being - as i've called myself for a long time - "an internet artist"... i've found myself more interested in this sort of thing. in being a "real world artist" too. in doing surface pattern design, and being a workshop facilitator, i find myself wanting to put more energy into these sorts of projects.

in 2023 i've also dabbled a little bit more in youtube videos! i have had a channel for a while and have made videos in previous years, but 2023 has been the year i've done the most in. admittedly most of them haven't been about my art, and more just like... random things that interest me (the spongebob musical in particular) but i've really been enjoying video editing. that's kind of an art form too, so i'm including it here!

moving forward, want to keep putting even more of my energy into other things. my shop, with a bigger range of products to offer. workshops in real life, where i can make a difference.

as for my art blog... i feel like i've done the least drawing in many years in 2023, and... well, things have been weird and complicated for a bit in my real life. i hope to draw for fun a bit more again very soon, and to return to doing things in more of a wild and crazy way, to be more creative and exciting with the way i draw things. still, here's some of my favourites from 2023:

thank you so much to everyone who has borne witness to my art journey this past decade!!! i hope you will stick with me, who knows, maybe for another 10 years if tumblr holds out. especially a big thank you to everyone who has ever commissioned me, or bought anything from my store, you literally keep me able to make art at all and i cannot, cannot, cannot overstate how much it means to me.

i'm moving homes soon, possibly into very cramped temporary conditions for a little while before HOPEFULLY starting my real life with my partner. if i can take one more moment to plug my work, then [here is a link to my online shop] and [here is my ko-fi page too.]

cheers, cheers, cheers!

- LOREN 🌈🍍🎉

[heennnngggggarae]

Sunny side up

a/n : This is long, and by long I meant few hundreds word more than my usual drabble. also minor notes it might seem like this is totally out of character for Minghao, VERY VERY SORRY ABOUT THAT!!

ANYWAY please like and/or reblog to ket me know if you guys like it or not!!

Painting or anything art related is not a particularly strong suit of yours, so when Minghao asked you to accompany him on one of his painting sessions you didn’t think much of it. That is until he gave you a 6x6 sized canvas and a set of paint tubs and brushes.

“Why are you giving me this? I thought I was supposed to be staring at you while you paint and getting bored in the process,” You said after grabbing the equipment and putting it on the floor next to you, eyeing it uneasily. The sound of a sigh was heard before you tilt your head towards him and seeing his expression. Eyebrows furrowed and lips tight. You feel kinda guilty for saying that but it’s true wasn’t it? You prefer to watch Minghao paint rather than get into that mess of colors. 

“That’s exactly the reason why I’m giving you this,” he gestures to the discarded tools beside you before sitting in front of it and giving it to you again. “You look bored, yes. But I also saw how your eyes sparkle when you see me paint small details, so that’s why I bought you this,” 

You look at the brushes and the paints before looking at Minghao again. “At least try it once, hm? For me?” he smiled at you, silently trying to make you waver, which he won, darn that cute face. 

Sighing, you finally nod before saying yes to him. He clapped his hands together before standing up. “Great! I’ll set the easel on the table,” he said as he moved to the storage. 

“You bought an easel? For this mini sized canvas?”

“Of course, I had a feeling you’ll like painting sooner or after, so I just bought it in an impulse,”

“What if I still don’t like it?”

“Oh you’ll like it, beside I can use it even if you don’t”

Always thinking ahead with this one. “Alright then,” you shrug before grabbing the easel from Minghao and placing it on a nearby table.

What should you paint? Minghao? too hard for a first timer. The apartment? nah, too much stuff inside of it, a field with flowers? definitely. just blue sky and green grass, with patches of color for the flowers.

Grabbing the blue paint tube you splatter it on the canvas before spreading it as a base, making the sky. The blue unnerves you, shouldn’t it be more saturated? The sky on Minghaos painting aren’t this… boring. 

‘Whatever, I’m still a beginner at this stuff,’ You look towards the other tubs of paints beside the easel. ‘Maybe I should add a cloud? Wait, what flowers should I paint?’ 

Too focused on your painting, you didn’t notice Minghao looking at you with a small smile on his face. He barely even started on his painting when he decides to abandon it, choosing to sit in the chair behind you. Staring at your movement, placing the palette a little too rough, fidgeting with the paints, before grabbing one and placing it again, and scratching your head, made Minghao chuckle.

Turning back you’re surprised that Minghao wasn’t standing a few feet besides you, focusing on his own canvas.

“What are you doing there?” You asked him before placing your palette again and walking towards him.

“I can’t sit here and stare at my lovely partner?” he tilted his head to the side and looked up to you from where he’s sitting. You stuttered before sighing and turning back towards your painting.

Smiling at your back, Minghao decided to stand up before wrapping his arm around your waist, peeking at your painting. Though his smile falters when he actually sees it.

“Why is there an egg between the grass?” He ask tilting his head towards the painting.

“What are you talking about?” You asked him back before focusing back and paint more flowers between the grass.

“You’re painting an egg between the grass again,” He said pointing to the flower you just made. 

You look back towards him with a questioning gaze. “Minghao, that is a daisy,” 

He stayed silent before looking at the flower you just painted and back to you.

“That doesn’t look like a daisy” 

“IT DOES! look it got yellow and white, a daisy,” you said exasperatedly 

“It looks more like a sunny side up,” He said as he picked up the canvas, observing it carefully

You pouted at his words before placing the palette on the table and sat at the chair, crossing your arm. “This is why I don’t want to paint, I rather sit back and observe you”

Minghao cooed at your pouting face before putting the canvas back at the easel, and walked towards you. He hugged your body before apologizing to you.

“Sorry for forcing you paint, and saying your daisy looked like a sunny side up”

You sighed at his words before hugging him back. 

“Apology accepted”

Hearing that Minghao smiled before pulling back a bit. “You looked like you enjoyed it a lot though”

“I did, actually, and I now realized that my daisy does look like a sunny side up” 

“So this means I’m right?”

“Shut up”

[kozachenko]

[Click for better quality]

Ok so as a sort of followup to that Yachie drawing, I did one of Yachie as well. I already had a pretty solid idea in mind (though tbh drawing her wasn't as fun as drawing Saki) but I'm overall pretty happy with this drawing.

Artist's Notes;

So I knew that I would never forgive myself if I completely missed the oppurtunity to give Yachie face scales, which is something that I haven't really seen many people do yet. I do feel like I could've pushed it a lot more, but I'm liking the direction my take on her is going.

I also wanted to take this opportunity to talk about some of my headcannons for how Hell's fashion works since I've had this on my mind for a while. So ever since I refined my own design for Zanmu, I really liked the idea of having there be some connection between her and Satori in their clothes because they're both the defacto "leaders" of their respective Hells, and then I had the idea of having Hell's fashion trends mimic real life history where it mimics whatever the upperclassman are wearing in someway? I've always been really fascinated with the idea of how Modern Hell works as a society and also how Old Hell was impacted by it's abandonment, and while I am aware that the animal realm isn't exactly Hell and is moreso it's own thing right next to it, I imagine that there would be some overlap in the fashion and culture due to their close proximity to each other. Of course, I still kept a lot of elements in from Yachie's original design, the only thing I really added to the outfit was the jazzed up sleeves and the bottom of her shirt as well as those cool triangle things ZUN added to her shirt in 19. I also have her some nice and sharp nails since I thought they fit her. I also tried adding some scales onto the tips of her ears though tbh IDK how well they read. Her colour palette also ended up becoming a lot more teal than I had anticipated, but I honestly like it as I love it whenever people make Yachie's colour palette and design a lot more teal. I also wanted to try and differentiate her face from Saki's, though I do plan on experimenting more on how to avoid same face syndrome, as it's a problem that haunts me in my dreams. There's not really much I can say here aside from "hee hee clothing rendering go brrrrrr" and how the Clip Studio Paint charcoal brush is really all you need for any given piece and it is literally the only brush I use aside from the occasional airbrush for lighting (sometimes) and the blend tools. I've been doing a lot more simple character art recently and I've just been waiting for a cool enough idea for a full blown piece.

Though now that I've talked about some of my headcannons about how Modern Hell works, I really just want a Touhou manga spinoff about Modern Hell. Like, please ZUN I'm begging you, just do it, it would be so fucking cool because Touhou 17 is literally the only time in modern Touhou when we've been to Hell proper, does modern Hell have any settlements of Oni and other Youkai? Does it have cities? Towns? Villages? What's the technological level of Hell? How do they keep sinners from pulling a Touhou 17 and summoning a fucking god to save them? Where do all the characters associated with Hell as of right now fit into everything? You can't just drop a character like Zanmu who is stated to essentially be the king of fucking Hell and then not elaborate further on how she fits into the general framework of Hell! Is she officially the king or is this more of a "true mastermind using the official king/ruler as a puppet" type deal? How does the Animal Realm fit into all of this? Did Hecatia purposefully create Hell so it would be right next to the Animal realm? Did it just appear there on it's own once Buddhism started popping off on Earth or was it established once Zanmu established Modern Hell? How long was Keiki a problem for, and how did that affect the rest of Hell? Seriously there are so many unanswered questions here and I don't know if I just need to read an interview Zun had where he was asked these same questions and if so please tell me because these questions have all been stirring in my brain for quite some time and I really wished we'd just get a new fucking manga instead of going over the same settings in Gensokyo over and over and over and over again dear god. Like, I get that there's still a lot to explore with what we already do have, but it would just be really nice to see the Animal Realm get a little more explanation as to how it fits into the overall grand scheme of Gensokyo's worldbuilding because that would just make such an already interesting idea for a setting in Gensokyo so much better.

I'm hoping to get the drawing for Keiki done before Touhou 17's 5 year anniversary, though I am willing to postpone that and take my time on it and I also have something coming up where I won't have access to my main drawing tablet for a while so it might be a while until I post again, maybe, who knows, consistent posting schedule? Who are they, I've never heard of them. I do fully intend on talking about my thoughts on Touhou 17 though, even if it's a day or two late, it's Touhou 17's birthday month so it still counts! Also because out of all the Touhou game anniversaries, this is the one I care about the most because Touhou 17 was the first Touhou game I played and 1CC'd(???) on normal, and even though it has plenty of flaws (i.e. the many missed opportunities for it's gameplay, how unbalanced the mechanics are and also screen visibility), I'm always going to have a bit of a soft spot for it and I think that the game's strengths make up for some of it's weaknesses in my opinion.

[marimbles]

Commissions open!

Tier 1: simple sketches—$15 base

Black and white or partial/low-opacity color

two characters: +$10

Tier 2: colored sketches—$25 base

full color with simple shading

two characters:+$15

Tier 3: full-render sketches—$35 base

full color, shading, environmental lighting, etc.

two characters: +$20

If interested, please DM me or email me at heymarimbles@gmail.com!

Reblogs appreciated💜 thank you!!

More details under the cut:

Will do:

fanart (miraculous ladybug, the owl house, and the legend of Zelda are my main fandoms, so those are the characters I’m most familiar with drawing, but other fandoms are also welcome!)

OCs/sonas (MUST provide references and detailed description)

real people (in my style)

ship art/light romance

Won’t do:

NSFW (or anything that feels too steamy to me djdjkd)

furry

mecha

gore

Other guidelines:

Prices are USD

Payment through PayPal or ko-fi

No price distinction between bust, half-body, and full-body

If you want more than two characters, we can talk about it!

Very simple background included in base price (like a solid color or gradient, a circle or square behind the character, etc). Anything else is negotiable depending on complexity.

Props and small companions (like kwami, palisman, pet, etc.) are negotiable depending on complexity.

These are sketches, so the lines will be somewhat rough and you may see structure lines underneath. If you are not satisfied with the level of cleanliness, I can clean it up a bit, but these tiers don’t include clean lineart. (If you do want clean lineart, though, we can talk about it!)

I tend to experiment a bit with my rendering tools/style, so if there’s a particular piece of mine you like and you want me to try to recreate that style, lmk!

References photos are super helpful! (And for OCs, they’re essential.)

If you’re interested in something that doesn’t fall under one of these tiers (like a comic, doodle dump, etc.), just talk to me and we might be able to figure something out :)

[valentinedagger]

i have a bit of a hot take: "you have to read novels to improve your writing" is technically, literally true insofar as you're talking about, like, prose structure and style. however, if you're already satisfied with your prose itself, i do not think that's true and i think prose writing sincerely benefits from a multidisciplinary approach that one might get from studying writing across art forms other than novels.

comics, film, television, video games, web-based unfiction like ARGs, concept albums, and pretty much any other narrative art i can't think of right now--they're all fertile ground for developing your understanding of character work, framing, pacing, establishing symbolism and other motifs, setting work, pretty much everything i would consider the fundamental building blocks of narrative fiction. you can learn just as much from picking apart the narrative structure and choices in your favorite manga as you can from doing the same with your favorite novel.

more than that, i think taking a multidisciplinary approach to studying fiction can result in better, more interesting novels--breaking away from your medium of choice allows you to think about art using different lenses entirely and examine your own medium in new ways. studying a TV show could give you insight into how serial, episodic writing differs structurally from trad published novels, and could allow you to take a fresh structural approach on writing a series of novels. studying a comic might cause you to think about your choices of visuals and visual framing, and to be intentional about your "directorial style" in-text as much as you are intentional about your prose style. et cetera and so on and so forth!

i do appreciate where the sentiment "you have to read novels to improve your own writing" is coming from--i mean, for one thing, i agree that the best art tends to come from a genuine enthusiasm for the medium you're working in--but quite frankly, narrative fiction is narrative fiction. we're all working with the same basic toolkit, there's just different ways to use those tools based on medium.

full disclosure: i, as an author, am not a huge reader of novels. i get through 2-4 novels a year, on average. i am, however, a voracious enthusiast of multimedia web-based fiction, comics, animation, and television, and i do the vast bulk of my artistic criticism and analysis in those mediums. i do study prose through the novels i read, but on the whole, even my prose improvement tends to come from studying poetry (something that is painfully obvious in my writing at times, and is not to everyone's taste). don't get me wrong--i am not saying i produce outstanding quality work that should be compared to that of lifelong professionals or anything, but my writing is generally acceptable, and i continue to make marked improvements over time--because my course of study is intentional, regardless of medium.

tl;dr: narrative is narrative, if you set out with the intention to understand what makes a narrative tick, it doesn't matter what medium you're studying, you're still learning.

[factual-fantasy]

30 asks! Thank you!! :}} 🦷

Leave comments on my artwork! :D Either in the comment section, in my ask box, reblogs or tags! Reading all the responses to my artwork is my favorite part of posting on Tumblr and is what keeps me posting! :}}

<XD I wanted him to be. But the spawn rate for female Eevees is 12%!! Heck if I'm gonna run around for hours on end looking for a female!

Besides, drawing Sylveon in a more masculine and chaotic way is fun! And having his backstory be that he evolved out of love for his friends, despite being a man, is a fun origin story! :))

Oh nono, art fight isn't for me 😅 I like to keep my characters to myself and don't tend to draw other peoples characters-

@milk-powrit

I had this idea in my head that big Koopas like Bowser cannot retreat into their shell. But regular little Koopas troops can. But I'm kind'a rethinking that.. I'm considering making all Koopas unable to retreat into their shells :00

Hmm... good question.. perhaps his citizens know, but other kingdoms do not.?

..Are you alright-

@jeysecretive

I'm sure I'm not the first person to come up with this idea, so I have no right to say you cant do it too. Go right ahead!

Of all the food related Pokémon I can remember.. Alcremie is pretty cute :)))

@kermit-ydafrog (Sent after this post)

.....For some reason I don't believe you Kermit-

XDD THANK YOU SO MUCH!! :)))))

@untitled-7613

:0 A logo? Where would I put it?

@foxdemon-loser

Aww! What a cute widdle fox.. 🥺💞💞

(In response to an ask from this post)

No problem! Thank you for the asks! :))

@im-nice-but-i-dont-like-you

Today wasn't as bad as it could have been! Thank you! :)) I wish the same for you!

I think you're right about this. And yeah, involving money with my favorite hobby probably just isn't a great idea.. 😔

I haven't caught up with Octonauts recently, so I don't know who you're talking about.. <://

<XD For me its the opposite. I get so caught up in the routine of my usual candle run path that I forget to go out of my way to snatch up the winged lights-

:DDD THANK YOU SO MUCH!!! :]]]]

I'd prefer a cold shower personally! <XD

@anikakitty11

The baby..... 🥺🥺🥺🥺

@dooflizard

Oooo! Nifty! :00 Thanks for telling me about this! :))

@wolfie-777

Ah nooo, I have no plans to do so! <:/

@olives-in-shadows

Something about this baby looks oddly mischievous...

@savetheearthbros

AAAAA THANK YOU SO MUCH!!! :DDDD I should totally draw them again sometime!! :000

@teemhauntsSorry for the late reply! Tumblr ate this ask-- I use FireAlpaca! :)) Its free and easy to learn for beginners, but has a lot of tools for the pros! But be warned, it can be a bit buggy at times-

Grizzly Bears! :DDD

@mason-gaylord

Awe, thank you!! :)))

@charactersnatcher

:DD THANK YOU SO MUCH!! :}}}}

Man I haven't had pizza in a while- thank you! :))

I would prefer to be frozen actually! <XDD I don't take the heat well 💀