#I need to work on rendering bru

[answithvanzz]

hiiiii does anyone want my mizisua comic seamoon

please this took hours [cry]

[shiyorin]

#Fulgrim x Reader

#I don't know what else to say but it's just Fulgrim and the way he appreciates your beauty.

#TW: Foot fetish :v

"Hold still." Fulgrim murmured, his voice reverberating with the faintest undercurrent of reverent focus.

You didn't pay his gentle admonition any heed. You lounged indolently upon the sleekly curved divan, hair disheveled and spilling. One shapely leg kicked out at an indolent angle, sole flexing as though to dislodge the embroidered confection of ribbons and organza puddling about your ankles.

Pursing his lips, the Phoenician found himself reaching out to steady that recalcitrant limb, chiding his guest. "My dearest, you must remain composed if I'm to properly attire you."

Your eyes slitted open at that, glinting with indolent amusement. "Must I?" You reply, somehow infusing even those two simple words with silken intimations. "And why should I?"

Had it been anyone addressing him in that tone, Fulgrim might have dismissed them from his presence then and there. But not you. No, toward you he could only sigh with a mixture of exasperation and sublime fascination, conflicting psycho-sculpted vectors tugging him in myriad directions at once.

"Because this night's very important," he explained for what felt like the hundredth time that hour. And for perhaps the hundredth time as well, Fulgrim found his gaze drifting downward over the perfection of your form. From the artful tumble of shimmering tresses to the exquisite hollow of throat and collarbones, all the way down to the ... full swell of...

"You need not demean yourself so, my lord."

Your low, throaty voice rippled as the primarch of the Emperor's Children knelt before your form. Still, you made no move to halt his ministrations or avert your shapely limbs from his attentions.

"Nonsense," the Phoenician throwing you a smile that could disarm worlds. "It is no indignity to bask in sublime beauty and assist in rendering it transcendent."

A delicate smile at that polished retort. "I had expected you of all the primarchs to disdain such... posturing."

If your words landed true, Fulgrim gave no indication. He continued deftly clasping the delicate chains braided from liquid shadow composite to your mirrsilk bodysuit. Each glinting loop spilled outward like baroque silvered vines from the highly articulated armor plates protecting your ankles.

"Posturing?" The primarch arched one perfect, sculpted eyebrow in an aristocratic moue of surprise. "My dear, assisting you in accentuating your exquisite conformation is art of the highest caliber."

Fulgrim paused in trailing his masterful fingertips along the lush, flawless contours of your calf muscle. For a fleeting moment, his noble visage flickered barely perceptible acknowledgment that you had scored a glancing blow with your provocations. Just as quickly, however, that momentary pique faded beneath the Phoenician's typical aura of unshakable poise.

"I don't merely endeavor to enhance your sublime beauty out of empty ritual." he clarified, steadily working the umbrahyde ribbons further up your leg. "Rather, I seek to elevate it to the masterwork it deserves."

The primarch shook his head minutely, allowing several perfectly-coiffed strands of silken platinum to fall charmingly across his brow. He hadn't summoned his entire coterie of beautifiers and augmenated ordators for this affair, only his most trusted serfs. Adorning true, living art required focus and reverence beyond what most anyone could muster.

Pick up the ankle-length indigo striders with the same reverence as handling sanctified gene-wrought. Chemos worked every rivet and nanosynthesized composite fiber with their most skillful arts. Even on the field of apotheosis, no detail was too insignificant nor craftsmanship not elevated into a breathtaking masterpiece.

But compared to the transcendent fleshwork that would soon grace these accoutrements, their beauty paled into vapid obscurity. 

Slowly, reverently, with each appreciative caress and brush of finely wrought material over sacrosanct dermis, he felt himself descending into a blissful rapture few mortals had ever experienced.

Through of his eyes, details of imperfection normally invisible to visual spectra alone burned in blinding clarity through his primogenoid senses. Not the slightest defect escaped his adoring scrutiny as your sculpted perfection unveiled itself in achingly slow ceremony.

First the ankles, those deceptively delicate articulation nodes sutured by intricate hyper-density musculature. How he lavished upon them, worshiping every curve while his psyche greedily drank in their elegant sublimity. Then the calves, wherein bulged and beauty beyond mere human comprehension. Fulgrim's hands roamed across each subtly undulating contour and veinridge.

Next came the magnificence of your thighs, a masterwork of helice and kinesis that stole both breath and soul with its supreme proportions. Such gracious lines and mesmerizing flexion, profiles carved by a billion recursive movements and honed into perfect design.

These were the idealized aesthetics for which any crudely-conceived "masterpieces" could only ever remain a pale imitation. Your body constituted a living canvas of sacred and perfection resonating at the exalted wavelengths of universal beauty....

"You're staring again."

Your voice sliced through the contemplative silence like a razor-edged sibilance. Fulgrim blinked, only just realizing his thought.

"Apologies." the noble primarch offered with an elegant dip of his perfect features. "You'll have to forgive an artist's momentary rapture when confronted with such a breathtaking subject."

Then, with a courtly flourish utterly at odds with his preceding transformation, the Lord of the Third raised your fingers to his full, sensuous lips. Jeweled irises of amethyst glowed with inner luminescence as he pressed a kiss to your silk glove.

"Come." he urged. "They await an introduction..."

[by-izzmizz]

I saw your Minthara drawings and just wanted to say WOW, you're talented! Do you have any tips for digital drawing, and especially getting facial features so accurate?

Hello there, MischievousSeagull.

Thank you for the ask and for the compliment. I really appreciate it. Minthara is just too gorgeous not to draw her (every day, for the rest of my life).

To answer your question, I must say I am very much an amateur and self-taught as well so my advice my not be what professional artists would always agree with. I personally regret not studying art and doing character and object studies when I was younger because I believed 'drawing from references was cheating' so I never did. Now I know that in order to draw a character and make it look like themselves you will need:

1. Start with high quality references:

I aim for a few different ones from different angles, with good light but not flat light as this washes out facial features. I usually find something I like and then wing the rest of it. I recommend checking out and supporting Baldurs Gate 3 community in game photographers, they are amazing! The bigger the resolution, the better, so you can see the the details clearly and avoid ending guessing 'is this a shadow or a dimple or a smudge?'. Also, studying the references will help you recognise the characters features. And Minthara has a few!

It helps me to keep the reference in grey scale for and even with slightly more contrast to better understand the structure of the face, especially if I am just learning to draw a new character.

2. Make the features match:

There are so many different ways of approaching the form here and I ended up trying out a few ones. I personally need to have some kind of guide for the relative position of eyes, mouth and middle of the face as it can save from making massive errors. But I am becoming more and more impatient and mostly just wing it and spend hours correcting it later.

Doesn't matter how you do it: using the Loomis method, Asaro Head/planes of the head model (I love it, it helps a lot, especially if you are planning to have more detailed shading in your art!), Reilly method or the thirds method, colour blocking shapes method that they teach in art schools (I do that chaotically sometimes) or just mark the positions of features from references or just trace it, this is 50% of success. It doesn't matter how you get there, especially if you are a beginner.

What I have been doing with Minthara is trying different faces, sometimes just the reference, with my chosen body position and choosing the one that looks 'least off' and then sketching it. I remember to mark the features of the face as it's crucial at this stage, whether you stylise your art a lot or just stick to the character proportions: thin lips, deep/almost hooded eyes, the way her buccal pads are shaped, the more pronounced nasal dorsum and the adorable angry look of concern with furrowed brows. And obviously the ears. However, I will make the ears longer and the eyes slightly bigger as it looks better for my style.

The structure is very important because and you gave to trust the process. The ugly phase can be torture and if the drawing has no redeemable features, I will never come back to it. However, the next step can lift it all up.

3. Shape it with darknesss and light:

Choosing the way you render can make a big difference in how the drawing turns out. What helps me at this stage, after I have my base colour established and filled my shapes with it, is to have a layer with shadows (copy the base colour and just change layer properties to multiply and time it dial it down to 50%) and a layer with light (the same but use a different mode like Add or Screen) and that's the base for shading on which I build my colours. But to be fair, I am not great at this and I still refuse to aim for a higher contrast in my drawings. This is something I'd like to improve in this srea. I learned to avoid airbrush and work with blending brushes.

I usually play with these light and dark layers until it looks okayish, then proceed with adding extra light and some details. If I keep forgetting where they light is coming from, I draw a little sun to remind me.

4. Ok, now crisis control:

Sometimes, even if I have the most perfect reference the more I render, the less it looks like the person I intended for it to look like. This is why I keep doing these things throughout the process:

A) Mirroring: canvas>flip horizontal every now and then. Our brains lie to us and if you look at your art long enough,you will not be able to see mistakes. Sometimes, when I want to finish something quickly, I end up not checking for errors (wrong eye position, nonsensical anatomy, etc), and seeing the final version after sometime, it can make me feel like a rubbish artist. Having breaks and coming back to unfinished art is a good way to keeping it a little bit more objective as well.

B) Levels in grey scale: Rendering is hard and with little understanding how colours work it can ruin the best lineart more sketch. It helps to have a grey layer set to Colour on top of your art to check if the dark and light balance is there and if shapes look the way you wanted them to look. My brain likes bright colours and sometimes they don't go well with the rest of the composition, this is where grey scale helps with planning it all.

C) Check what went wrong with the reference: If I mess up badly and nothing is improving my drawing, I will go back to the original reference. Mirroring both helps to look at the structure with fresh eyes but if that fails, I will try to redo the base form or marked features in the reference. If it's hopeless, I'll trace the features until the drawing looks right to me.

I used to draw by looking at reference on a (in)famous okeaki platforms and I learned many things from just going back to the form over and over using guidelines on both the drawing and the reference as one couldn't import a picture in that software like we can do in Procreate. I recommend just studying forms and shapes and simplifying complex structures. I'd be a much better artist if I wasn't feeling like it was cheating back them. Going to various exhibitions and learning that my favourite artists traced their own photos and built the composition around them blew my mind and encouraged me to explore more ways of creating art.

I hope this answers your questions and I hope to see your work in the near future and the planned animatics! I'm learning Procreate Dreams and hoping to create a few short animations, once I get the hang of it.

This was a bit long but it was a really good question and one that I often ask myself in the process. Thanks for asking! I almost ended up doing a tutorial on Minthara's features but that'd be overdoing it, haha!

Cheers to creativity!

Izzy

[amanda-keay]

Basic Brush Handling Techniques Oil Painting for Beginners

There are a number of factors why brushes create so many endless possibilities: the bristle type, the way you hold the brush, the brush size, and brush shape.  I’m going to explain the bristle types and how to handle the brush in this blog, this should cover the majority of the possibilities you can achieve with oil painting. 

Types of brushes:

There are two main types of brushes in painting, hard and soft bristled brushes. The stiff bristled brushes are mostly made from animal hairs such as hog. They hold more paint and also hold their shape while painting. Because they are more stiff, they allow more precise and bold marks in your paintings. 

The second type, the softer bristled brushes, made mainly from nylon, polyester, or sable, paints a lot smoother with cleaner strokes, which are great for rendering details and painting clean lines.

I won’t go over the details of different brush shapes, but if you are just starting off, I would recommend sticking to the filbert brush as they are the most versatile in painting organic objects, you can paint large areas, draw lines, dots, and different shapes with a filbert brush. I recommend choosing two large and two small filberts (size 4 and 2), so when you’re working on an area, you can focus on a dark and a light, working your way from big to mall.

How to hold your brush

How you hold your brush and where on the handle you hold the brush can yield many different possibilities. A mistake many artists make is holding their brushes the same way throughout all their paintings and the paintings end up looking very static, where there’s no contrast between bold and loose marks versus tight and small details. 

The key is that the closer you hold your brush to the bristles the more control you will have on the fine details. And vice versa, when you hold your brush further back, you’re able to create more bold and assertive straight lines, which are best for sketching out masses of shapes. 

Holding The Brush Near The End

This is usually best applied with a stiff bristled brush, where you are holding it like a magic wand for bold paint marks. This is great for line control, and allows you to focus on the proportions and angles of what you’re painting. You’re using your whole arm, and some artists even prefer standing, to be able to capture the full image of what they’re painting. You’re really sculpting an image onto your canvas

Holding The Brush Near The Middle

This can be a hard or soft bristled brush. When you’re holding it near the middle of the handle, you are also focusing on proportions and lines but with a lot more control. You can hold it like a pencil or a wand. The wand grip allows you to maintain that control over proportions and angles, where the pencil grip allows you to focus on details. When you are holding the brush handle near the middle, your arm is stabilized and your movement comes from your wrist.

Holding The Brush Near The Bristles

This is typically with a soft bristled brush, where you are holding it like a pencil, and focusing on fine details, precision marking, and rendering. This is the most intuitive for most people because it’s similar to how we write. One thing to keep in mind is to not start your painting with this grip because you always want to paint from big to small.  

As a tip for stabilizing while you’re rendering, you can use your other hand to prop up your painting hand, or use a Mahl stick to allow your hand to rest, which allowing more stable rendering without touching other wet areas of the painting.

How to use brushes with paint:

In terms of what you can achieve with the brush, here are the different possibilities: you can do an under sketch, apply a thin layer of paint, apply medium thickness of paint, apply very thick paint, glaze, and you can also dry brush

Sketching When you are sketching, using a hard bristled brush, hold the brush near the middle to the end of the handle, especially if you are painting from life and need to focus on proportions and angles. 

Thin coverage - When you are painting a thin layer of paint, for example in the initial layer of your painting, using a hard or soft brush, hold it at a right angle to the surface. If you are painting on canvas, you can scrub the canvas and really push the paint into the creases, this makes sure the surface is fully covered. If you are painting on wood, don’t scrub too hard because it will dull the brush really fast.

Medium thickness - When applying a medium thickness of paint, you can use a hard or soft bristled brush. You don’t have to scrub, but instead brush the paint in an alternating direction, at an angle that’s smaller than a right angle. You can still feel the canvas under the brush as you paint. 

If there’s wet paint underneath and you’re holding it at a right angle, you might be scraping the paint off. That’s why when you’re layering paint on top of existing paint, be mindful that you’re not scraping wet paint off of the previous layer.

Very thick paint - When applying really thick paint, you can use a hard or soft brush. In this technique, you can barely feel the canvas as you paint, the brush is almost flat against the canvas as if you’re applying icing on a cake.

Glazing - When it comes to glazing, I recommend using a soft brush to avoid brush marks on the painting. This is when you are painting with more proportion of oil medium to oil paint, using a transparent color. This allows you to add a transparent layer of color to existing dry paint without covering it completely. 

Dry Brush - Dry brushing in oil painting is a technique where a dry soft brush is lightly brushed over existing wet paint to smooth out unwanted brush marks, or to fuse colors together. I recommend using a dry sable brush and remember to always keep it dry, wiping it clean after every stroke and wipe it thoroughly after every use on a towel. Never clean it in solvents. This brush must always be kept dry. 

Keep in mind that this is different from blending colors, because you are not using this brush to mix two colors together. The key to oil painting is not to blend colors on your painting, but to apply every changing color individually, and using a dry brush to smooth it out if necessary

[euroman1945-blog]

The Daily Tulip

The Daily Tulip – News From Around The World

Thursday 14th June 2018

Good Morning Gentle Reader….  We have arrived in our summer pattern of weather in the south of Spain, mild temperatures at night and from now, progressively getting warmer in the day time.. June, July, August and September bring the heat and sunshine that Spain is the resort of choice for many families in Europe and recently China and japan, but Bella and I don’t see many people let alone people from China and Japan at 4:00am so we wander the streets alone, just an old man and his friend…

BANGOR UNI TEAM TACKLES TOAD INVASION OF MADAGASCAR…. An invasive species of Asian toad could devastate wildlife on Madagascar, according to biologists at Bangor University. They are part of an international team which says the toad's poisonous skin will kill animals preying on them. It is thought they only arrived on the African island around 2010 as "stowaways" on ships. South-east Asian predators have evolved immunity to the toxin, which animals in the closed Madagascan ecosystem lack. Whilst the toads are yet to have a major impact, the team's study has confirmed that all but one of Madagascar's native predators lack the gene which renders the toxin harmless.

SOUTH AFRICAN COMPANY APOLOGISES FOR SEXIST BEER CAMPAIGN…. A South African company has apologised for the branding of its new range of craft beers, which sparked an outcry, especially among women. Vale Bru ran a marketing campaign for the beers with names such as Filthy Brunette�� Easy Blonde‚ Raven Porra and Ripe Redhead. Easy Blonde came with the tagline: "All your friends have already had her". After being criticised for being sexist, the company promised to remove the labels and names. The social media campaign advertised Filthy Brunette as: "When gushing and moist are used to describe something‚ then you know." While the Raven Porra was described as, "a porter with the best head in town". According to South Africa's Times Live, Porra is a derogatory term for someone of Portuguese origin. Thandi Guilherme, author of the platform Craft Geek, wrote on Instagram that Vale Bru "should be absolutely ashamed of yourselves. Crass, sexist, misogynistic branding and labelling". The Johannesburg-based company issued its first apology, which has since been deleted, on Instagram. It said: "Our attempt at making you‚ and ourselves‚ uncomfortable‚ worked. However‚ we never meant to belittle or degrade you." "If those keyboard crusaders want to carry on‚ feel free," it added. Ms Guilherme later wrote on her blog: "#Metoo, Rape culture and Trump's 'locker room' misogyny are not funny. These are real problems that society is trying to deal with. Don't go there." "I understand that sex sells‚ but these names don't hint at respectful sex," wrote South African blogger Lucy Corne. "Maybe they should have asked themselves whether these are things that they would appreciate people saying about their little sister." In a new apology, Vale Bru said it took "full accountability for our actions and we plan on making things right." "We were insensitive and wrong, for which we apologise unreservedly," it added.

FLORIDA ALLIGATOR ATTACK: DOG-WALKER FEARED DEAD…. A dog-walker who was attacked by an alligator in the US state of Florida is believed to have been killed by the reptile, state wildlife officials say. The Florida Fish and Wildlife Conservation Commission (FWC) says Shizuka Matsuki was bitten by a 12.5 ft (3.8m) alligator. A necropsy was performed on the reptile after it was captured. It dragged Ms Matsuki, 47, into a lake in the town of Davie, 25 miles (40km) north of Miami, a witness said. The incident occurred at about 09:45 (13:45 GMT) on Friday. "The FWC believes that the victim is deceased and we will continue recovery efforts on the lake with local authorities," the agency said in a statement. "This tragedy is heartbreaking for everyone involved," the FWC added. Local media earlier reported that officers found a dog on a leash but no signs of the woman at Silver Lakes Rotary Nature Park. "Divers are searching," Davie Police Maj Dale Engle was quoted as saying by the Sun Sentinel newspaper. "Her dogs won't leave the pond. One of her dogs got bit by the gator."

CLIMATE CHANGE: POPE URGES ACTION ON CLEAN ENERGY…. Pope Francis has said climate change is a challenge of "epochal proportions" and that the world must convert to clean fuel. "Civilisation requires energy, but energy use must not destroy civilisation," he said. He was speaking to a group of oil company executives at the end of a two-day conference in the Vatican. Firms present included ExxonMobil, BP, Royal Dutch Shell, Norway's Equinor and Pemex of Mexico. Modern society with its "massive movement of information, persons and things requires an immense supply of energy", he told the gathering. "But that energy should also be clean, by a reduction in the systematic use of fossil fuels," he said. "Our desire to ensure energy for all must not lead to the undesired effect of a spiral of extreme climate changes due to a catastrophic rise in global temperatures, harsher environments and increased levels of poverty." The world needed to come up with an energy mix that combated pollution, eliminated poverty and promoted social justice, he added. As many as one billion people still lack electricity, he said. Under Pope Francis' leadership, the church has moved to confront the business world on a range of subjects from poverty to tax havens and complex financial securities.

AIRBNB CANCELS THOUSANDS OF BOOKINGS IN JAPAN…. Travelling to Japan in June? If you've made a booking with Airbnb, you may have to find alternative accommodation. The online home-sharing giant has had to cancel thousands of reservations after Japan's government put in place a new law around home-sharing. The law regulates Airbnb's most popular destination market in the Asia Pacific region. Airbnb said changes to the guidance around its implementation meant reservations would now be affected. Under the new law, hosts are required to register their listing and display their licence number by 15 June to remain active. But the Japanese government said on 1 June that any host without a licence number had to cancel upcoming reservations that were booked before 15 June. Airbnb said it would therefore cancel any reservation made by a guest arriving between 15 June and 19 June at a listing in Japan that does not currently have a licence. "We know this stinks - and that's an understatement," Airbnb said. "Japan is an incredible country to visit and we want to help our guests deal with this extraordinary disruption." Airbnb also said it had set up a $10m fund to help those incurring any additional expenses related to having to make alternative travel plans because of cancellations.

Well Gentle Reader I hope you enjoyed our look at the news from around the world this, morning… …

Our Tulips today are from the Winner of Plant and Flower Close Up - Rebecca Reeve - Tulips at the Philly Flower Show

A Sincere Thank You for your company and Thank You for your likes and comments I love them and always try to reply, so please keep them coming, it's always good fun, As is my custom, I will go and get myself another mug of "Colombian" Coffee and wish you a safe Thursday 14th June 2018 from my home on the southern coast of Spain, where the blue waters of the Alboran Sea washes the coast of Africa and Europe and the smell of the night blooming Jasmine and Honeysuckle fills the air…and a crazy old guy and his dog Bella go out for a walk at 4:00 am…on the streets of Estepona…

All good stuff....But remember it’s a dangerous world we live in

Be safe out there…

Robert McAngus

[xpresslearn]

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