#Watch me draw some more lines

[completeoveranalysis]

[5]

OK SPLASH ART BREAK TIME

Clamp celebrate the exploration of Fai’s backstory in Seresu by giving us a procession of thematically appropriate chapter covers. Can you guess the theme just kidding it’s twins!

It’s gorgeous and heartbreakingly appropriate, but we also get some really interesting match ups the further we get. 

The Chis, The Fais, The Mokonas, and The Syaorans are all nice and clear. 10/10 no complaints. Poignant. Thematic. Gorgeous.

 But then we get Sakura.

Who is essentially functioning as her own twin in this scenario, with her soul and body are in separate places. Definitely close enough to be counted for this series of covers anyway. Twin theme: accepted!

A bit later we also get Kurogane, with twin swords. Does this count? I say YES.

Because this sword is unique, so there being two of them is an interesting sight. This isn’t a literal scenario (Though it could be! The multiverse being the way it is). The sword instead counts for a few things - Kurogane’s family, his goals for the future, and where he belongs. He already has one for Nihon, representing his parents and Tomoyo, but now he has another - for his new family. The fact that he gets BOTH mirrors the conviction he expressed in Acid Tokyo, where he’s working towards two goals now, and has two families to protect. 

But there are others! Here’s one with Lava Lamp and Watanuki. 

And their relationship is: a complete mystery. I don’t know how they’re related yet. BUT AN INTERESTING PLACE IN THE SEQUENCE FOR THIS COVER TO SHOW UP DON’T YOU THINK? What an interesting implication.

Does this necessarily mean anything? Not really! Do I want it to? Yes! Should you tell me? Absolutely not!

Here’s one more to really confuse the theme a little more, with Kyle Rondary and Xing Huo. 

Who’s relationship is also completely and utterly undefined in a way that defies me entirely. 

But that’s our twins parade for today! Featuring; literal twins, metaphorical twins, and complete and utter mysteries! 

[divorcedfiddleford]

and you may say to yourself: "my god! what have i done?" and you may tell yourself: "this is not my beautiful wife!" and you may tell yourself: "this is not my beautiful house!" and you may ask yourself: "well, how did i get here?"

time isn't holding up, time isn't after us, time is a pony ride! (images described in alt text)

[sysig]

Wuh oh (Patreon)

Bonus:

The novel experience of being crushed by a giant rock, a visual metaphor

[poorly-drawn-mdzs]

Collection of edits from this comic with Disco Elysium dialogue.

[bytebun]

hey don’t cry. 10 million blorbos from your shows, okay?

[supahstarrr]

dra girls girls girlllllllllllllllllllllllllllllllllllz

[rotisseries]

inspired by elli's poll lol cause this seems fun actually but if you guys have bad answers I'll kill myself on your doorstep or smth

[averlym]

whshdfhfjf.,,,

[cherrysnax]

when I was a kid I was rlly upset that art teachers didn’t like anime-inspired art, and then I realized it wasn’t the anime aspect. jumping into highly stylized art without knowing the fundamentals AND with a refusal to learn them is a bad combo

[naivety]

recommend me insane media

[mcmadcanvas]

Maddox: rights! rights! im sick of hearing about robot rights! 😡😡 what about MY rights!! 😭😫🇺🇲 (to tear apart robots with my bare hands to accomplish my lifelong dream of making a slave race of robots. 😉😚🤖)

[crest-of-gautier]

played a very brief session of pq tonight (90 minutes) 👍

[ao3commentoftheday]

Bear with me here because I might end up torturing this particular metaphor, but when it comes to trying to get the image of a scene onto the page in the form of descriptive narrative, it might be useful to approach it like a visual artist.

If you've ever watched an artist do their thing (or if you're an artist yourself), you know that they don't just start at the top left corner of the page and draw the entire scene in all its detail, all in one go. I'm going to use an example of digital drawing with the use of software like Photoshop here because I have no idea if this metaphor will work with pencil and paper.

You have an image in your head. It might be super clear. It might be more vague. When you're starting to describe it, just sketch it in. Create a layer of broad strokes information like what the location is, how many people are in it, and what activity is happening.

Then add in a layer - whichever one is easiest. Let's pretend it's the location. Read through the sketch that you currently have and see where you have opportunities to describe the location. You don't have to front load everything at the top of the chapter, for example. You can add in details about the location as the characters move through it.

Add another layer. Are the characters' appearances different from what they previous were? Are you just establishing them at the start of the story? Do they have a "uniform" that they wear in canon that you've opted not to change? You can add in whatever details here you want, and again don't feel like you have to put it all in the same place. You can talk about a ponytail falling loose partway through an action. Or wait until someone else comments on a character's new pair of shoes.

Add another layer. What are the characters doing? How are they moving? Interacting?

Another layer. What are they saying? How do they sound?

Another layer. What other sounds are in the room? What smells? Do these change? Appear or disappear?

Keep going back and forth, toggling your way through your layers, adding things in here and removing them there. Every artist knows that sometimes a line just doesn't go in the right place and you have to erase it and draw it again.

Remember that no amount of work will give your reader a perfect representation of the vision in your mind, but also please know that that's okay.

By the time you finish your scene, some of those early layers might not exist anymore, and that's okay too. They were the sketch that started your verbal drawing. The base you used to guide your inks. Your final render won't have every line or brush stroke in it, and it'll be all the better for it in the end.

[kleefkruid]

Every fun post on here that encourages people to have hobbies/be creative always gets an avalanche of "Some people are poor Karen" type reactions and respectfully, you're all super annoying. I've never lived above the poverty line and this is a list of hobbies I have that were cheap or entirely free:

Read books: Go to the library, lend a book from a friend

knitting, crochet, embroidery: Get some needles from the bargan store and ask around, people have leftovers from projects they'll happily give you. Thrift stores also often carry leftover fabric and other supplies. And talk about your hobby loud enough and an old lady will show up and gift you their whole collection, because there are way more old ladies with a closet full of wool than there are grandchildren who want to take up the hobby.

Origami/paper crafts: get some scrap paper and scissors, watch a youtube tutorial

walking: put on shoes open door

pilates/yoga/etc: get a mat or just use your carpet, watch a youtube tutorial

Houseplants: look online for people that swap plant cuttings. There are always people giving out stuff for free to get you started. If you're nice enough you'll probably get extra

gardening: You're gonna need some space for this one of course but you can just play around with seeds and cuttings from your grocery vegetables.

aquarium keeping is a bit of an obscure one but I got most of my stuff second hand for cheap or free and now I have a few thousand euro worth of material and plants.

drawing/art: You get very far just playing with bargan store materials. I did my entire art degree with mostly those.

writing: Rotate a cow in your head for free

cooking: again one you can make very expensive, but there are many budget recipes online for free. Look for African or Asian shops to get good rice and cheap spices.

Join a non-profit: Cities will have creative organisations who let you use woodworking machines or screen presses or laser cutters or 3D printers etc etc etc for a small fee. Some libraries also lend out materials.

candle making: You need some molds (cheap), wick, two old cooking pots for au bain marie melting and a ton of scrap candles, ask people to keep them aside for you.

a herbarium, flower pressing: Leaves are free, wildflowers too, ask if you can take from peoples gardens.

puzzles: thrift stores, your grandma probably

Citizen science: look for projects in your area or get the iNaturalist app

And lastly and most importantly: Share! Share your supllies, share your knowledge. Surround yourself with other creative people and before you know it someone will give you a pot of homemade jam and when you want to paint your kabinet someone will have leftover paint in just the right color and you can give them a homemade candle in return and everyone is having fun and building skills and friendships and not a cent is exchanged. We have always lived like this, it's what humans are build to do.

And all of it sure beats sitting behind a computer going "No stranger, I refuse to let myself have a good time."

Anyway I'm logging off bc I'm making some badges for a friend who cooked for me and then I'm going to fix some holes in everyones clothes.

[spectorgram]

the letter

theodore nott x f! reader summary: you get a letter from a secret admirer who wants to confess. your best friend is none too pleased. notes: jealous! theodore nott >>> word count: 1.4k

You would think for a magical school, Hogwarts would have better heating or some heating spell, but the Slytherin dorms are frigid as usual as winter creeps up. You fasten your robe clasps and draw it tighter around you, simultaneously trying to tug your skirt down in a futile way to heat yourself up more. Your knee-high socks only do so much and you pretty much give up on the endeavor as you climb up the stairs and head for the Great Hall. 

You’re immediately greeted by the cozy warmth of the hall, spotting your friends, all swathed in green and silver robes and knits. Theo spots you first, sliding over and nearly knocking Blaise off the bench. “Blood hell, mate,” Blaise grumbles as you approach, kicking Theo’s leg lightly. 

You slip into the space created for you, right in between Theo and Enzo. You stifle a yawn and ask, “Can someone pass the eggs and bacon?”

As Enzo reaches for both platters, Theo’s eyes zero in on your legs. “How are you not cold?”

You frown. “I am,” you reply, piling your breakfast onto your plate, “but Pansy’s demon cat apparently thought my winter tights were toys and decided to scratch them all up.”

Pansy sighs, “I’ve ordered you new ones, calm down.” 

Theo drapes his robe over your legs and you smile gratefully at him. He smiles back and your heart flips. You don’t think you’ll ever get over how beautiful he is — all dark caramel curls and long lashes that frame those devastatingly blue eyes. He’s been your best friend since you started Hogwarts and you knew you loved him at first sight. The longer you’ve known him, the more you’ve fallen for him. 

It’s a tale as old as the world itself: you’re hopelessly in love with your best friend but you value your friendship far too much to do anything to jeopardize it.

“Mail’s here,” you hear someone say down the table. You look up to the ceiling, which has been enchanted to look like a sky that’s about to break open and drop snowflakes from its clouds. Owls soar in through the openings at the top of the walls, diving down towards their intended recipients. 

“Maybe your new tights are here,” Enzo says. 

Pansy adds, “I hope so. Then you’ll stop complaining about it.”

You snort, reaching up to grab a letter dropped by your family owl. You feed her a piece of scrambled egg as she takes off back towards the owlery. You tuck your parents’ letter into the inner pocket of your robe just as another owl swoops overhead, dropping a pale blue envelope on your lap. 

“Who’s that from?” asks Pansy. 

You shrug, using your butter knife to open it up. As you do, Draco grumbles at Mattheo: “For the love of Salazar, stop hogging the pastry basket.”

You skim over the letter addressed to you. You tilt your head in confusion and Blaise asks, “What’s it say?”

Enzo peeks over your shoulder and his face breaks into a smirk. “‘Meet me at the Astronomy Tower at midnight tonight. Signed, Your Secret Admirer.’” he reads.

“What?” Theo suddenly snatches the letter from your hand. You watch in confusion as his eyes dart back and forth. His shoulders tense and his mouth purses into a thin, hard line. 

“You doing okay there, Nott?” Matthew asks, shooting a simpering smile at his friend. Theo sends a glare back but doesn’t say anything, the letter’s paper crinkling under his grip. 

Pansy asks, “Are you going to go?”

You hesitate, surreptitiously glancing at Theo, startled to find that he’s gazing at you with an intensity you’ve never experienced. You pluck the letter from him and fold it neatly. “I think so,” you say. “I’m interested to see who it is.”

“Be sure to bring your wand,” Draco says. “Just in case.”

“Obviously,” you deadpan. The conversation shifts into whether anyone was prepared for midterms coming up. 

You fiddle with the letter in your lap. Theo’s silent for the whole conversation. 

You chew on your bottom lip as you reread the same sentence in your textbook for what feels like the hundredth time. The letter has stuck in your head the whole day. It crosses your mind that it could be a prank or a set-up — it’s not a secret that Slytherin isn’t the most popular House among your classmates — but you know you can handle yourself. You’re more worried about how Theo was acting at breakfast. He didn’t say a word the rest of the meal, not even when Enzo and Mattheo tried looping him into the conversation. He just sat there, sullen and gloomy, and his mood seemed to worsen more when you handed him his robe back and said you had to get to class.

You sigh heavily, trying to play out every possible scenario that could happen between you and the letter writer. You check the clock in the library: 11:45; you need to head over to the Astronomy Tower. 

You groan, gathering your things, sliding them into your bag, and making your way back to the Slytherin common room to drop off your things in your dorm. “Cacophony,” you supply to the portrait, which swings open to let you in.

The common room is blissfully silent when you enter, a welcome contrast to the mess of thoughts in your head. You’re about to head down the hall to your dorm when you collide against someone. You huff an apology but when you feel their hand on your shoulder, you look up to see Theo. He looks intense, eyes wide and glinting with sharp determination and his mouth still set in that frown from earlier. “Sorry, Theo,” you say. “Didn’t see you there. Where are you going at this hour?”

“I was going to find you,” he replies. 

“Oh,” you say. “Well, here I am. Sorry, I’ve got to drop this stuff off and then—”

“Head to the Astronomy Tower,” he finishes for you, “to meet your ‘secret admirer.’” 

You don’t like the way he sneers at the last part of his sentence or the way he uses air quotations. You’re about to respond when he says, “Don’t go.”

“What?”

“Don’t go,” he repeats.

“Why not?”

He pauses before saying, “What if it’s someone just having a laugh?”

You bristle, hurt, and you feel your temper flare. “Is it so damn hard to believe that someone might actually have a crush on me?”

Theo laughs, razor-sharp and incredulous, as if he can’t believe that you’re saying something so outrageous, “No, it’s not.”

“Then why shouldn’t I go?”

“Because I don’t want you to!”

“For Salazar’s sake, Theo, you can’t tell me what to do!”

“I know that!”

“Then are you trying to tell me not to go?”

“Because I bloody like you!”

Your heart stutters to a stop. You can only hear the sounds of both of your labored breathing and you suddenly can’t meet his eyes, trying your best to wrap your head around the fact that your feelings are reciprocated. “How long?’ you ask softly, holding your breath.

“Since first year.”

You blink. “Really?”

He rakes a hand through his hair and sighs heavily, “Mattheo’s right; you’re so oblivious.” There’s another beat of silence and he asks, a little shyly, “How do you feel?”

You can’t stop the smile that spreads across your face. “I like you too, Theo. I’ve liked you since first year as well.”

He echoes your “Really?” and it makes you giggle, “I guess we’re both oblivious.”

He joins your laughter and you let your forehead rest on his chest as your shoulders shake. When it dies down, Theo shifts you off him and lifts your chin with his forefinger, any semblance of coyness gone. You gaze into his ocean blue eyes. Salazar, you could drown in them. He offers a charming smile and he leans close, just a few centimeters away, and says, “Can I kiss you?”

Your eyelashes flutter and your voice comes out barely louder than a whisper, “I’d be disappointed if you didn’t.”

Your lips meet, fervent and desperate, years of yearning releasing like water through a broken dam. Theo hooks his arms around your waist, pulling you as close as possible. You wind your arms around his neck, fingers toying with the hair at his nape. He walks you backward, slipping his tongue into mouth as he crushes you up against the wall. He deepens the kiss and your knees go weak. 

Theo moves your bag off your shoulder and drops it on the floor. The letter that rested at the top of the pile of possessions falls out, laying forgotten on the ground.

[alfheimr]

My Favorite Cheap Art Trick: Gradient Maps and Blending Modes

i get questions on occasion regarding my coloring process, so i thought i would do a bit of a write up on my "secret technique." i don't think it really is that much of a secret, but i hope it can be helpful to someone. to that end:

this is one of my favorite tags ive ever gotten on my art. i think of it often. the pieces in question are all monochrome - sort of.

the left version is the final version, the right version is technically the original. in the final version, to me, the blues are pretty stark, while the greens and magentas are less so. there is some color theory thing going on here that i dont have a good cerebral understanding of and i wont pretend otherwise. i think i watched a youtube video on it once but it went in one ear and out the other. i just pick whatever colors look nicest based on whatever vibe im going for.

this one is more subtle, i think. can you tell the difference? there's nothing wrong with 100% greyscale art, but i like the depth that adding just a hint of color can bring.

i'll note that the examples i'll be using in this post all began as purely greyscale, but this is a process i use for just about every piece of art i make, including the full color ones. i'll use the recent mithrun art i made to demonstrate. additionally, i use clip studio paint, but the general concept should be transferable to other art programs.

for fun let's just start with Making The Picture. i've been thinking of making this writeup for a while and had it in mind while drawing this piece. beyond that, i didn't really have much of a plan for this outside of "mithrun looks down and hair goes woosh." i also really like all of the vertical lines in the canary uniform so i wanted to include those too but like. gone a little hog wild. that is the extent of my "concept." i do not remember why i had the thought of integrating a shattered mirror type of theme. i think i wanted to distract a bit from the awkward pose and cover it up some LOL but anyway. this lack of planning or thought will come into play later.

note 1: the textured marker brush i specifically use is the "bordered light marker" from daub. it is one of my favorite brushes in the history of forever and the daub mega brush pack is one of the best purchases ive ever made. highly recommend!!!

note 2: "what do you mean by exclusion and difference?" they are layer blending modes and not important to the overall lesson of this post but for transparency i wanted to say how i got these "effects." anyway!

with the background figured out, this is the point at which i generally merge all of my layers, duplicate said merged layer, and Then i begin experimenting with gradient maps. what are gradient maps?

the basic gist is that gradient maps replace the colors of an image based on their value.

so, with this particular gradient map, black will be replaced with that orangey red tone, white will be replaced with the seafoamy green tone, etc. this particular gradient map i'm using as an example is very bright and saturated, but the colors can be literally anything.

these two sets are the ones i use most. they can be downloaded for free here and here if you have csp. there are many gradient map sets out there. and you can make your own!

you can apply a gradient map directly onto a specific layer in csp by going to edit>tonal correction>gradient map. to apply one indirectly, you can use a correction layer through layer>new correction layer>gradient map. honestly, correction layers are probably the better way to go, because you can adjust your gradient map whenever you want after creating the layer, whereas if you directly apply a gradient map to a layer thats like. it. it's done. if you want to make changes to the applied gradient map, you have to undo it and then reapply it. i don't use correction layers because i am old and stuck in my ways, but it's good to know what your options are.

this is what a correction layer looks like. it sits on top and applies the gradient map to the layers underneath it, so you can also change the layers beneath however and whenever you want. you can adjust the gradient map by double clicking the layer. there are also correction layers for tone curves, brightness/contrast, etc. many such useful things in this program.

let's see how mithrun looks when we apply that first gradient map we looked at.

gadzooks. apologies for eyestrain. we have turned mithrun into a neon hellscape, which might work for some pieces, but not this one. we can fix that by changing the layer blending mode, aka this laundry list of words:

some of them are self explanatory, like darken and lighten, while some of them i genuinely don't understand how they are meant to work and couldn't explain them to you, even if i do use them. i'm sure someone out there has written out an explanation for each and every one of them, but i've learned primarily by clicking on them to see what they do.

for the topic of this post, the blending mode of interest is soft light. so let's take hotline miamithrun and change the layer blending mode to soft light.

here it is at 100% opacity. this is the point at which i'd like to explain why i like using textured brushes so much - it makes it very easy to get subtle color variation when i use this Secret Technique. look at the striation in the upper right background! so tasty. however, to me, these colors are still a bit "much." so let's lower the opacity.

i think thats a lot nicer to look at, personally, but i dont really like these colors together. how about we try some other ones?

i like both of these a lot more. the palettes give the piece different vibes, at which point i have to ask myself: What Are The Vibes, Actually? well, to be honest i didn't really have a great answer because again, i didn't plan this out very much at all. however. i knew in my heart that there was too much color contrast going on and it was detracting from the two other contrasts in here: the light and dark values and the sharp and soft shapes. i wanted mithrun's head to be the main focal point. for a different illustration, colors like this might work great, but this is not that hypothetical illustration, so let's bring the opacity down again.

yippee!! that's getting closer to what my heart wants. for fun, let's see what this looks like if we change the blending mode to color.

i do like how these look but in the end they do not align with my heart. oh well. fun to experiment with though! good to keep in mind for a different piece, maybe! i often change blending modes just to see what happens, and sometimes it works, sometimes it doesn't. i very much cannot stress enough that much of my artistic process is clicking buttons i only sort of understand. for fun.

i ended up choosing the gradient map on the right because i liked that it was close to the actual canary uniform colors (sorta). it's at an even lower opacity though because there was Still too much color for my dear heart.

the actual process for this looks like me setting my merged layer to soft light at around 20% opacity and then clicking every single gradient map in my collection and seeing which one Works. sometimes i will do this multiple times and have multiple soft light and/or color layers combined.

typically at this point i merge everything again and do minor contrast adjustments using tone curves, which is another tool i find very fun to play around with. then for this piece in particular i did some finishing touches and decided that the white border was distracting so i cropped it. and then it's done!!! yay!!!!!

this process is a very simple and "fast" way to add more depth and visual interest to a piece without being overbearing. well, it's fast if you aren't indecisive like me, or if you are better at planning.

let's do another comparison. personally i feel that the hint of color on the left version makes mithrun look just a bit more unwell (this is a positive thing) and it makes the contrast on his arm a lot more pleasing to look at. someone who understands color theory better than i do might have more to say on the specifics, but that's honestly all i got.

just dont look at my layers too hard. ok?