#a lot of focus on refining my style

[liteee]

2023 Art Summary!

[sio-writes]

Lorphyra and Aidran Mathrassi

[smuttyaf]

Harry Styles Masterlist

✰ - most popular | ★ - series | 𐙚 - my personal favourites

i apologize for any misuse of words, punction and grammar. 

part time model | wc; 4.3k

you’re a famous model who is fwb with harry who confuses you.

i hate you | wc; 5.4k ✰

fratboy!harry. enemies to lovers trope.

tag, you're it | wc; 4.3k ✰

harry fulfills your fantasy.

the hampton country club | wc; 7.7k 𐙚

your summer romance of 1965

mr. brightside | wc; 3.7k

harry wants what he can't have

the business ★ ✰

mafia mini series.

brooklyn baby | wc; 5.3k ✰

set in 1973, you're in a band were harry is obsessed with your voice.

camster couple | wc; 5k

harry and you put on a show.

you can be my daddy | wc; 5.1k

harry should focus on being the refined teacher that he's known for, but his bunny likes to make it difficult. | part two

sweet symphonies | wc; 7.3k

figureskater!y/n x hockey!harry (features a lot of stuttering and secret glances)

[brightgoat]

What's your go-to method for making backgrounds?

They always look beautiful and vibrant!!

Thank you! But man backgrounds are my enemy, I don't really have a set technique, my style is largely inconsistent when it comes to backgrounds.

Usually I sketch - then do a 'colour sketch' (like colour blotches) and then try to work it out from there.

I often like,, make a sketch, and then just paint over, or add and add details and refine and refine until I get somewhere (usually gives a flowy painty result)

Other times I separate the background into layers and use masking tools (usually gives me a more blocky, lineless result)

Things to focus on are: dynamic composition and good contrast, I think these are the main things that make backgrounds look better.

I post a lot of my 'background processes' on my patreon and man they look different each time haha

[gamer-paramnesia]

happy halloween!! have some fighting headcanons! (characters, obvs)

long-ish post

etoiles!! he is a warrior at heart, honest and loyal

I would think his fighting style is heavy on the footwork and agility + doing the most damage in as little strikes as possible

visually graceful, but almost impossible to follow?

matches pace w his opponents

very much on the offensive majority of the time

heavily trained (common style of fighting, but super fucking good at it so that it seems extremely unique)

soo so unserious tho

fights for the thrill!! the only time he actually got serious was the battle against the 3 codes (where he fought code!pomme… n where he died…)

incapcitates, then kills

honorable fighter! will not play dirty

tanks

large bladed weapons are his go to (swords, scythes, etc)

phil!!! survivalist extraordinaire

picks his fights! knows when he cant win

also very movement based,, uses his wings as a counterbalance more often than not (therefore making a lot of moves that are physically impossible to normal humans)

defensive fighter, fights to incapacitate?

more unique style, as he learned from mostly himself n he refined it

efficient but an honorable fighter as well

fast. like, scary fast

keeps his emotions in check (funnels his emotions into his swings)

doesnt like fighting much (lie)

will play dirty if desperate!

tanks!

best with scythes n axes

fit!!!!!!! 2b2t historian, did you know that 2b2t is the oldest-

also picks his fights (very carefully!)

hard hitter, more on the barrage type instead of the strike n wait

on the offensive, prone to switching to the defensive tho

generally unpredictable movements (hes batshit insane)

sporadic, hard to pin down style

not the most serious fighter. taunts a lot, goes quiet when focused (first i lol'd, but then i serioused >:0)

dirty fighter!! all those years of 2b2t taught him that :D

goes for the kill when stakes are high

will play honorably IF he respects his opponent/considers his opponent a good person, but even then he'll use every trick up his sleeve to win!

although,,, he will back out of a fight he knows he cant win (and even if he could win, he'd weigh the pros n cons)

kinda,, support,,,

he makes me think of a scavenger tbh

prefers smaller, more handy weapons (axes, explosives, knives, etc)

bad!!!! totally-not-a-demon demon

im gonna say it again (its that he picks his fights)

goes for the confusion tactics (feints n tricks n misleads n misdirects etc)

similar to fit in the taunts n unseriousness n the silent focus

enjoys the hunt

falls in step w his opponents when the stakes are low

refined fighting style (had a lot of time to work on it and boy did he)

when the stakes are high,,,, his fighting seems frantic yet somehow practiced, every move is deliberate

a shadowed blur on the battlefield

goes for the jugular lolz

when he has the upperhand.. he plays with his food tbh

bites off more than he can chew sometimes

prefers the defensive

also a barrage of attacks instead of wait n strike (death by a thousand cuts kinda)

plays SO dirty its not even funny (it is a little funny..)

avid scythe user!! (likes comically oversized weapons tho, like his warhammer)

roier! idk that much abt him but ive heard that hes a great fighter as well so im gonna throw in my guesses as to how he fights

gets underestimated a lot? works on his side tho bc he is a ruthless fighter

a very emotional fighter, but uses it to his advantage

on the defense a lot, brutal on the offense??

surprisingly graceful

incapacitates

not the most refined style, but very efficient

sword guy!! but like a perfectly weighted sword? (very particular about his weapons?)

jaiden!!! havent seen her pvp much but these are headcanons so-

learned from the best! (roier)

hard hitter, zones into an enemy and doesnt let up

stays in one location, pivoting is key (stands her ground)

uses her wings to gain extra speed if she had to change locations

not super experienced, but a quick learner

very defensive

channels emotions into swings (kinda wears her heart on her sleeves tho)

goes for the kill for opponents she has grudges against?

another scythe enjoyer!!

pac! also idk that much about him but he seems ergonomic

VERY graceful fighter

underestimates himself?

footwork is very particular and careful, almost like a dance

defensive fighter

either quiet, focused fighting or screaming, crying throwing up fighting, no in between LMAO

kinda a dirty fighter as well? not super on purpose but learned it from prison times

he seems like a rapier kinda guy (swords!!!)

feel free to add on!!! esp if u have disagreements w my hcs hehe

[ettawritesnstudies]

Help me break even on my writing costs!

I bought myself a lifetime subscription to ProWritingAid which is an editing software I've used in the past. Now that I'm out of school and can focus on my writing, I'm buckling down on Runaways and I'm determined to get this story into your hands by October 31st, 2025. This is going to involve a lot more refining and editing, and I know that this purchase will be an investment not only for this book, but for all my work in the future.

I spend a ton of time and energy maintaining my website, reading and reviewing ARCs, interviewing authors, and supporting folks here on tumblr. If you've been following this blog for any amount of time and you appreciate what I do, this kofi is the best way to say thanks. I also want to turn this from a hobby to a career, which means eventually, my writing should pay for my writing instead of me funding all this out of my day job.

I'm not asking for donations. Instead, I'm asking you to buy my stories. Recently, I listed six explorations from the worlds of Runaways and the Real World Sequence, and there will be more to come soon. Each of them is just $1, or pay what you want. There are also stickers for sale if that's more your style. Get them for yourself as a NaNo reward (or consolation prize), as gifts for your writer friends, for Christmas gifts! The holidays are coming up and I'm participating in the shameless merchandizing.

If you don't have the funds to spare, there's certainly no obligation, but if you're feeling generous, I would appreciate reblogs just as much. The Writeblr community has been truly life changing and I cannot say enough how much I appreciate how much your support and enthusiasm means to me. <3 <3 <3

Happy reading,

Etta Grace

[irlplasticlamb]

You draw people’s faces so SO accurately and I was wondering how you practice that. When I try, I can get it to vaguely look like the person I’m attempting to draw, but you’re typically spot on.

thank you so so much! i will gladly walk you through my very silly process hahah!

okay so!! firstly i photobash my reference and i will usually do my best to find photos of faces from the angles i need them for the particular piece — it’s a lot easier to get the features right than when you (for example) try to draw a side profile off a portrait photo!

(yo this looks so funny)

then i will trace (yes trace! tracing is not inherently evil and can be SUPER helpful with speeding up the process and getting the placement of things right :) the very basics of the faces and the pose — don’t get too detailed with that honestly the simpler the better! you don’t want to get too caught up in perfect accuracy but rather just get the general feeling of what goes where!

then i will turn off the reference layer in the drawing app (but still have it opened as a separate window so i can keep looking at it) and keep refining the features — as you can see i do change and exaggerate certain features to fit my style — the key is to focus on the unique features of the character you’re drawing because these are the things that will make them recognisable! for example with kendall it’s his nose and eyes and lip shape!

i will usually keep refining stuff as i do my lineart and colouring — just keep looking at the references you have and keep comparing with what you have on your canvas!

as you can see i never end up with an exact copy of my reference but because i try my best focus on the specific features of the characters i draw they end up pretty recognisable :) it does take a lot of time and practice so don’t get discouraged! i’m still learning A LOT!

[ssalballoon]

Whats your art process and what would you reccomend for someone who would like to achieve a style similar to yours? i love this mix of cartoonism and realism. your work is such an inspiration >.<

oh gosh! thank you?! 💞 i'll do my best to explain it, but even I have a difficult time trying to understand my own art process/style because of how inconsistent it is;; (i still have a lot to learn!) this is gonna be a long reply so i'll place it under the cut

process:

I start loose with a more gesture type rough sketch. I mainly just do lineart in the same layer as my sketch and erase away parts I don't like. Sometimes I'll lower the sketch's opacity and on a new layer do my lineart (which is what i did for the drawing above). But regardless doing that loose gesture sketch helps keep my drawing dynamic even as I refine over top of it!

- I duplicate layers A LOT for safekeeping my previous progress, especially if I'm thinking of making a big change (ex. changing limb position)

If I wanna put colors down underneath it I set my lineart to Multiply. For coloring I'm very inconsistent with the process, but recently I've been using a more subjective coloring style, where I pick my own shadows and highlights to try relying less on blending modes (which is gonna be too long to get into here;;) Finally if I feel like it, I make a layer on top of my lineart layer where I render everything

Oh this is something that helps me a lot for colors! I have 2 layers that are a mid-gray tone placed above all my other layers. One I set to the Color mode (to make the drawing black and white), and the other I set to the Luminosity blending mode (to make the drawing's brightness the same..?not sure)

The Color layer helps me check if I have enough contrast in values, and the Luminosity layer helps me check if I have enough contrast in color hue and saturation!

style:

This is really difficult to answer because style encompasses so many different aspects of art, but I'll try to focus my answer on the mix of cartoonism and realism that you mentioned!

I struggled trying to explain what my style is like so I just broke down one of my drawings that exemplifies a lot of my stylizations! Hopefully these can give you some pointers about what I tend to think about when I draw (click for higher quality)

(+to add to this i use a brush with no size pressure, only opacity pressure)

What I recommend for stylizing a realistic character: The way I learned to stylize a more realistic character like this one was to import a reference of his face, then trace over it very deliberately, making sure to stick to big shapes and characterizing details I thought were important to achieve his likeness! Then I'd turn the reference layer off and freehand it over and over, comparing and redrawing until I managed to get the mix of accuracy and stylization I liked!

What I recommend to find a style: I basically ended up with my style subconsciously as an intersection between the things I like to see in art + the things I like to draw! Most of my inspiration comes from anime (😔) and artists online. I'll see a very specific stylization I like in others' art, and try replicating it to see if I like how it fits with my style + if I enjoy drawing it in that way. I did this a lot over the years, accumulating into a big mosaic of inspiration from all the artists whose work I personally enjoy and learn from! I know this isn't exactly answering how to get a style like mine, but I think knowing this general process may help you out in the long run!

ahh i think that's it! i tried to be as comprehensive as i could without being too verbose (my bane). i hope this is the answer you were looking for and that it can help you! 💞 and thank u for the ask! it was a good exercise for myself to analyze my own art

[feverdreamjohnny]

Orbo's Odyssey - Post Mortem

My Feelings About The Game

It's an odd thing to try and pull together your thoughts about something so chaotic.

I guess it'd be easier to just catalogue how my emotions evolved as the project went on, and then wrap it up by trying to pull apart how I feel now, as arcane as that is.

I've been a part of a private developer community for a bit now, and during a majority of my time there I felt sort of like a fish out of water. I guess it was just weird seeing people at the top of their craft while my work sort of paled in comparison. A majority of them had a background in developing character action games or platformers with intricate movement systems, and that was absolutely outside the range of what I understood.

Late 2022 I decided to try and make a movement system with a really strong focus on momentum so I could feel "at home" with the other devs. So I made a small tech demo where most of Orbo's moveset was formed.

In the end it didn't really make me feel more confident in my work, but at least I proved to myself that I could tackle unfamiliar waters and make headway. Regardless, I left the tech demo where it was and continued to work on Nowhere, MI for the next few months.

I made a lot of progress on Nowhere, and around late November a publisher reached out to me to offer help. I was desperate, after all. I didn't have a lot of money to my name and this was the kind of lifeline I needed to secure so I could finish the game.

To cut a long story short, they kept delaying talks about the game over and over and it became increasingly clear to me that my dream of being funded wasn't going to happen.

I was sort of in a bad spot now. It was early 2023 at this point, and I was going to have to make a tough decision: delay Nowhere and get a retail job to make money (potentially losing sight of the project in the process), or find some other solution to secure funding. No other publishers were going to pick me up (and I really didn't trust a majority of them so I only had my sights set on a handful I felt I could trust), so I came to a new conclusion:

What if I just made something short, say in the span of a month or two, and sell it? Surely that would be easy.

Surely.

The Game

In March of 2023, I began working on the game. I wasn't sure what sort of format I wanted for the game at first, and I had initially considered a rogue-like arena combat game where you'd use the game's momentum mechanics to fight enemies, collect upgrades to improve your abilities, rinse and repeat.

The idea ended up feeling sort of strange when I began pre-production, so I ended up scrapping it.

I thought about the movement system some more and realized that it had a strange kinship to a game I had played just a month earlier: Super Kiwi 64.

Then I thought about Siactro's other games, how they were similarly small-scope platformers that seemed to perform well on Steam and Switch, and I realized that if there was something that would suit my own development style (focused around exploration and secrets), it was a 3D platformer.

The first month was fairly strong. I moved at lightning-speed, hammering systems into the game piece by piece. Collectables were done. Time trials (and their records) were done. Movement had been refined further and felt better than in the initial tech demo. There was also a lot of underlying structuring that I won't get into because it's boring (but important).

About a week in I even started working with my friend Tim (who's a professional environment artist), and we began working together on the hub environment (we brainstormed the layout, I designed the greybox, and he wrapped it up with the environment art).

It was going great, but as March was nearing its end I began to realize what I was dealing with.

"Oh, well yeah I mean I knew it wasn't going to be possible in a month! I'm sure if I grit my teeth it'll be done by the end of April!"

So April came along. Tim and I finished the hub area, I got the world portals set up, and eventually we moved to the first level of the game, Shlarp City.

Tim managed to get a decent chunk of the decorative props done, but circumstances were changing and he had a fulltime job in the industry to attend to, so he had to leave the project.

I reasoned "well, I sort of know how to do environment art and I guess I can just go on without help."

Shlarp's greybox was done, and I was sort of happy about the layout. Some friends playtested the game and liked the movement, so I felt a bit more optimistic about the project.

Despite the boost in optimism, I was starting to feel some kind of dread leaking in. My nights were becoming more frantic and troubled, more than they already had been.

I moved onto the next level, reasoning that it'd be best to get the greyboxes for all of the levels finished first, then return for an art pass afterwards. It was the sensible thing to do, after all.

So I began work on Dunbarrow Mines, and this time I was alone. I finished the greybox, and while I wasn't a huge fan of the level, at least it was done. I moved onto Sleepytime Manor and similarly got the greybox finished. Even since the beginning of the month, something was starting to grow inside of me. April was coming to a close, and I still had another level to greybox, a boss fight, secret areas to add, and an art pass on the entire thing. I hadn't really developed much of a game at that point, just 3 barren levels.

And so May came along.

And this was where it all went to hell.

I had been suffering from a lot of issues in my personal life for a while. The year prior had been particularly traumatic and the waves coming from it weren't done passing over yet. If anything the terror was that the major event from the last year hadn't even finished coming to fruition. The stress from everything had caused me to develop a disorder that made my blood acidic, melting away at my nerves. I fought hard and managed to improve my health, but the damage was done and the occasional return of the neuropathy was just a reminder that my life was spiraling downward.

I entered a period of intense stress and depression as waves of terrible memories came over me. I became neurotic. Started having trouble designing levels. It was already an issue for me, but as my mental state deteriorated I was hitting brick walls over and over.

I had my back against the wall. Game development was my only purpose in life, after all. I had been built for it, sacrificed so many hours to it, put everything else aside for it. The only thought going through my head was that I was dying, and that this stupid game was going to be my graveyard.

So roughly two months came by, with sparing work on the game. I finished Monolith station, but it had to be redesigned 3 times to reach the version you currently see in the game today.

The neurosis made me insane. Constantly seeing my peers succeeding while I flailed desperately in a pit was definitely not helping matters.

But something changed in June.

The Garden

I always had an on-and-off again relationship with plants. I had a sort of preternatural skill with growing things, but my interest waxed and waned a lot. The main thing that stuck through this on-and-off relationship were herbs, since they were easy to cultivate and they needed very little maintenance during the periods where I was losing interest.

As I began to take game development more seriously around halfway into 2021, I stopped gardening entirely.

But something very strange happened in the June of 2023. I was frantically compelled to return to it. I raked, toiled and weeded until I had a plot. Then I started buying seeds and began cultivating vegetables again for the first time in 2 years.

And for the first time in this nightmare I was finally happy about something. I don't know what compelled me to start cultivating plants again, but whatever it was, it rescued me from a very long, dark road.

After 2 weeks, I finally finished the final boss of Orbo's Odyssey.

The game needed a lot more work, but I was finally getting a foothold after months of misery.

Eventually my friend Ben was able to help me with the project, and we made a lot of headway. We brainstormed new ideas for how the player could get gear parts. He modeled a load of props. I scripted a load of systems. Finally, the game actually began to look like a game.

Ben was really important. He was optimistic about the project and wasn't suffering from burnout the way I did, and he helped me get out of my fugue. I can't thank him enough for his help.

After around half a year of hammering, we finished the game.

3 weeks after that, we released it to steam.

And about 2 weeks after the release, we're here now.

The Takeaway

Typically in post-mortems you talk about what you would've done differently, but I think this ending might be a bit different.

I'm not really proud of the level design. I think I also could've done better with my share of the environment art in some levels. I think there could've been more details. I think there could've been more content.

But there's no use kicking myself for what could've been. Of course the next game will be better. The mental state I was in during the development of this game was dire and it had a major impact on the quality of my work. I had to break out of a really bad mindset and try to find a better way of engaging with my life. That wasn't easy.

I think some gamers like to imagine that something that's fun to play was fun to make. It's true that sometimes there are moments where you get excited during game development, but at the end of the day the majority of it is just pure work and toil.

In the end, the reviews on Orbo were very kind. Even the negative reviews were at bare minimum sorta funny.

Hilariously the reviews that bothered me the most were actually positive. The perspective of these reviews was that the game was really the story of some little kid taking his thumb out of his mouth and naively making something he thought was fun. It mainly felt like a way for the reviewers to excuse the weaker elements of the game.

These are the reviews I hate the most. I don't care that they were positive. They're infantilizing. It makes it come across as though the shoddier elements of the game weren't a product of a person having a mental breakdown, but of a child smacking blocks together and making mistakes because he didn't know better.

If you really view art like that, I want you to lean in very closely and listen: Most of the time, people suffered to make something you could enjoy. You're welcome to praise or shun the art by itself, but don't patronize the creator for their effort. I didn't have fun making Orbo. I hated it. And even though I hated it I still tried to put passion into it, because I care about my work.

Anyway I'm glad it's over with. If I attempted to develop the game now it would probably be significantly better, but that's mostly because I've found better methods of managing my mental health.

I have to get back to work on Nowhere, and eventually I have to work on Peeb Adventures. For now, though, I'm taking a break. I'm tired.

Before I go I just want to thank some people.

Thank you Ben for being supportive and helping me make this game happen. I couldn't have done it without you, and I mean it.

Thank you Socpens and Grayfruit for streaming the game and for your kind words. It really means a lot to me, and it gave me a lot more confidence about Orbo's Odyssey post-release.

Thank you Tim for helping early on. I know it was a brief period between us, but I do appreciate the work you did.

Thank you (in no particular order) Bryce, Simone, Jett, Aaron, Quinn, Drew, Ian, and Cosme for being supportive of my work.

Thank you for the folks in the private dev server who were particularly supportive as well.

Thanks for reading.

[lemongogo]

what's your process for coloring like? the look of that elendira is so textured and interesting, i can't figure out how you do it

AA THANK YOUU ^__^ !! textures & brushwork are my favorite things abt my art, so im happy you find it interesting hehe . its SOO cool to look at & so much fun to draw imo

i prefer to color by building in layers , if that makes sense 🤔!! hundreds of them !! such that i'm always drawing on Top of previous layers, working from big & messy blocks of color to, eventually, small and refined blocks of color until it feels processed enough. as a result, i rarely ever erase (!!) and i rarely ever draw lineart aside from the initial sketch

a rough, patchy textured brush is key here, as it'll give you dimension and variability w/ your colors. i recommend "Brush and various sets of fountain pen style (万年筆風ブラシと色々セット)" on Clip Studio (ID: 1679706) !! :3

im terrible with explanations though, so i'm going to show a step by step of that elendira drawing if you dont mind :3

sketch layer !! because i mostly render through color alone, i try to make this as close to the finished thing as possible . ^__^ i hateee drawing the same thing over and over and like the expressivity and movement of my sketches anyways , so the more i can preserve at this step, the better. if u were to look at a side by side of my sketches and finished pieces, youd notice a lot of those og lines are present in the final drawing :3

2. flats !! pretty self explanatory, but the solid background gives me an idea of where the figure begins & ends while the colors themselves help distinguish whats what . i stick to ambient lighting @ this point because im usually not sure what i want to do with the overall palette or lighting yet . having two tones (ex, dark and light in her hair or dark and light on her skin) can also help in identifying key features early on that u wanna preserve. as you build layer by layer, sometimes these areas will remain untouched and i think it makes for a rly lovely feel at the end

3. start blocking !!! to be totally honest with you, i dont really know what i do here HAHAHA. like i just scribble the shit out of it, usually focusing on what i might want to do with lighting (ex: grey areas to accentuate folds in her costume). i think i like to start "erasing" the sketch where possible by coloring on top of it .. like if you look at her hat or her arm , you can tell i'm starting to get a sense of the shapes i like vs the ones i dont. it's at this point that the final image starts to emerge in my mind , like im gradually pulling her from a tarpit of scribbles until shes recognizable lol. chipping away at the marble until i can free her. tbh.

4. keep blockingg...when u think u are done , block some more . as you can probably see, the brushwork becomes more intentional as i add more shape, with specific focus on line weight. this is also where the patchiness of that textured brush comes in - notice how none of the colors seem totally uniform (ex: the red cross or the original sketchlines for her waist). you can see bits and pieces of the layers underneath pushing through and i really like that !! ^__^ its very fun and sketchy to me, so i try to keep them around. those areas are also great to colorpick from, because it'll give you "new" colors to work w/ that are already part of your palette.

5. GRADIENTS & GRADIENT MAPS !! TONE CURVE !! COLOR PICKER !! this is the best stage tbh. flatten your image so its all on one layer and just go crazy with all the color settings in ur program. add gradient layers and set them to darken, or overlay, or subtract, orrr. lighten or dodge glow or divide or soft/hard light.! OR!! edit the hue, saturation, luminosity and contrast.and then color pick from these edits, block even more on top of ur image, flatten, color edit again, etc. etc. until u feel satisfied.

ANYWAYSS . i hope that makes sense @__@ sry i wrote this out and deleted it like 23 times trying to make it make More sense but thats what ive got HAHA i hope its useful though :3 !

[petricorah]

Thanks for the ask, @strrwbrrryjam ! i'm flattered that you think I do a good job of that, because I'm still learning! (and I also struggle heavily with proportions. I have to resize my heads and arms so, so much...)

I'm afraid I don't have any secrets. I think the answer is to just practice, over and over again. But specifically, this is what I try to focus on as I'm learning:

references

quick practices - 30 second to 5 minute studies that help with getting a full scope of the shape and energy of the body, not meant to be perfect

studies - deep dives into certain anatomical structures (videos linked below)

Below the cut is how I use references go from this to this:

References:

Use a bunch of references! Pictures you take, stock images, from shows--practice real people. Even if your style is heavily stylized, it all starts from an understanding of anatomy.

How I Use a Reference When I Struggle With Proportions:

The first step I take while looking at a reference is to just draw a very loose sketch with a line of action that goes then entire length of the piece, and I try to section it out. I find if I don't think about the body as a whole, and just start drawing a head, the head will be way bigger than the rest of the image. So my first step is just really boxy and basic, just to get all appendages on paper. My first pass could look like this:

Okay, not bad. But the right arm is going way too far down--the forearm is really long. The head is too big for the style I want, and the left arm is at a 90 degree angle, unlike the picture. But, I have the general scope of everything on the page, so it's easier to adjust and look at the full picture!

Then, I try to focus on landmarks. I look at where certain body parts fall in the reference. For instance, Blackbeard's right elbow doesn't reach his belt, so his elbow shouldn't be near his waist. I can tell that his left arm is closer to being straight than at a right angle, and I can see that his head isn't as big on his shoulders as I have. I can also look at the negative space and see that the gaps between his right arm need to be smaller. So my next pass might look like this:

(I don't usually draw on the reference image, and I just "draw" the lines in my mind, but the for sake of things...)

Now it's looking a bit closer!

The next is the harder part. It's making things shapes, and is closer to the lineart stage. I try to follow curves, separate the chest from the torso, get the angle of the shoulders and head, etc. I have some video links at the end that explain this step much more in def.

You may notice that the head angle is a bit different than the image, and the shoulders are a bit lower. Sometimes, following a reference image completely either doesn't fit your style or, in some cases, the more accurate drawing following a reference can actually look "wrong" (anatomically) when drawn. Figure out what works best for you, and for the message you're trying to get across in the piece!

[sliiiight flashing in timelapse]

And here is the final timelapse, with a little refining and polishing of the anatomy. Not everything is completely accurate to the reference image, but I've created a believable image in the likeness.

I hope this helped! This was a quick and dirty post of something I'm still learning. Here are some youtube tutorial artists, resources, and books that I use to learn!

Youtube:

-ModerndayJames has lots of videos on creating shapes and understanding anatomy, and placing people in perspective. He has a lot of free videos, and then some cheap ones on gumroad that go more into it.

-Proko has lots of videos on anatomy!

Practice Resources:

-Pose Maniacs - figures in different poses. You can move the camera around to see different angles.

-QuickPoses has images for figure drawing and quick gesture drawing! You can even have different timers.

Books:

Morpho Series. There used to be the one on "Fat and Skin Folds" that was a free PDF download that was on tumblr for a while, but I don't believe the books are that expensive.

Taco's Books, published by Lezhin. This is heavily anime styled, but talks a lot about anatomy, and is a great resource!

[onejellyfishplease]

I am all about constructive criticism. I mean, how am I supposed to get better at writing/drawing if people won't be honest with me and give me tips to get better. I personally think that people who can't take constructive criticism aren't very bright. How are they supposed to get better at things if they don't listen to others who are just trying to guide them?

Also, I would love some more tips on how to make the shell better. If you are willing, of course. :)

I am horrible at drawing. I usually have to trace things to get a decent drawing. (For instance, I traced like five different things to make Mikey a pony.)

I'm so much better at coloring than I am at drawing. My writing needs work, too, but I'm getting better.

First of all, can I just say that you shouldnt worry about tracing art to improve your own (as long as u aren't posting it as soley your own but thats a whole other rabbit hole) I did too! It helps build ground work for a good understanding of anatomy and poses.

However there are a few holes in tracing. Forst of all it is quite limiting in the outcome of your work, as your art is stuck static in one pose. this can alkost hinder your ability to see things in '3D' and visualise objects for multiple angles. it can also lead to 'skin wrapping' , which i think is the hole you fell into here (and also a term i just made up now)

with the shell, you only coloured it within Mikey's trace lines - this caused the shell to loose a lot of its mass - making it look, quite frankly, not like a shell.

a way to improve on this is to look at more references of Mikey's shell in the show and its shape from different angles. this can help you get a good idea of how it should look, and it is a good idea to practice drawing it from these angles. this will improve your ability to think in a 3D space, (which is so darn hard, but seriously useful)

however, and you may have noticed this yourself, when you add new additions to the figure, the line art just doesnt line up! the line quality is different!

This is because the line you have done for the addition is Your Line. And we love your line.

so lets make the rest of the traced lineart fit into your style, instead of you fitting yours into theirs okay?

You may notice that when you trace art, the line work is just not the same, the lines are shakier than the original and it just doesn't look as good. this is not a reflection of your skill.

It is because, usually, (at least when I did it) you follow the original line so closely that it turns out shaky, probably taking your pen off the page a few times to take a break from the oen stroke. while the original artist did that line in one sweeping stroke.

a way to fix this, and make the line arr cleaner and more you, is to instead use the drawing as a very close reference. for example:

instead of tracing the exact lines of the art, merely trace the general shapes of the art. not only then do you add your own flair and gesture to the drawing, you are then more free to add more shapes to this sketch.

You can still use the reference drawing as closly as you want, but try to focus less on getting the exact lines copied, and more on the general shape. you linework wont be perfect the first time, it might be really messy compared to your usual tracing, and thats fine! you should see some of my sketches before i refine them!

But these will be your lines, theyll be smoother and more gestural, and overtime you will get better control over your penstrokes doing this.

Okay I cant really think of anymore to add here, I hope this helps! i think this was just one big word vomit lol. Keep drawing!! cause no matter what you do, as long as you are actively drawing you are always improving! dont be afraid to push yourself out of you comfort zone! who cares if it doesnt turn out the way you wanted it to? Its your art, You Created That with your Own Hands, and I think that is amazing.

<3

[subzeroparade]

(long post ahead sorryyyyyy)

Some process shots at the request of @lizteaart :)

(sorry in advance - I was not struck with any impulse for originality, so you get these two posh mfs looking dumb and pretty.) 

This is not meant to be a guide by any means, just a glimpse at how I (generally) build up paint and then colour correct. I work the same way unless I’m trying to achieve a particular style for practice or effect (like this piece, in which I strictly followed lineart and hated every second of it; or the Byrgenwerth portraits, done completely in greyscale and coloured with custom gradient maps). 

I work in Clip Studio because there’s something about the colour blending that feels extra buttery, but I used to work in Photoshop; all of this applies cross-software anyway. 

Step 1: lineart. If I’m not working stylistically for clean lineart, I leave it pretty loose. I almost always change things around while I’m colouring. I have about 3-4 rounds of progressive lineart until I’m happy (in a loose watercolour brush).

Step 2: I will have the lineart on multiply so I can work under it for a while. I sometimes (but not always) block in some rough colour underneath just for extra texture and in case I need to clip to layer later. I also put down a tentative palette (skin in this case) just so I can have a range for the colour dropper. I add and subtract from the palette while I work - but it also prevents things from getting too muddy, which can happen if you’re exclusively selecting colours from inside the work itself. 

Step 3: (sorry, the screenshot is super small here) I do a VERY rough blocking in of colour just to see if things make sense (and so I don’t have to change my mind so much later). These are clipped to the colour-block layer from the previous image to save time. Sometimes I duplicate these layers and play around in modes to increase saturation, contrast, etc. Here I left them as is cause I’m going for a colouring style that’s a little more subtle. 

Step 4 ad infinitum: refining. Here I’m starting with the skin and hair, since the focus of my work is always the character’s face. I try to work in a way that’s non-destructive: every time I establish a baseline of good build-up, I create a new layer and work on top of that. That way, if I over-render or muck something up, I can just delete that layer, and the previous state will still exist. In this work, I deleted at least one layer of rendering from both their faces, because at some point I felt like I’d over-rendered or lost some nice texture or good shape definition. But I still had whatever acceptable state saved beneath. I merge them as I go so they don’t get to be too many.

I’m trying to build a pretty smooth surface of skin here, which is a new thing for me, since I used to render with heavier, more textured brushes. Here I’m using about 3 different watercolour brushes. I work soft-hard-soft-hard: softening and blending, adding hard edges, and then going again until it looks somewhat convincing. I try to colour select as much pure colour from the palette so it doesn’t get too muddy, and I also like injecting some unexpected colour here and there, especially in shadows, like cyans, for a little more life. 

Step 5: By now, I’ve started layering above the lineart. I only do this when I feel the facial structures are solid enough that I don’t need it anymore. But the lineart layers are still there, beneath, if I ever need to go back to it as a guide. 

I also add a very low opacity gradient map at this step, for little more interesting saturation, and continue to work above it. I go back and forth between skin and hair so I don’t spend too much time on one thing, and give my brain a break to come back and notice things I would otherwise glaze over. I try not to over-render and still leave lots of evidence of painterly gesture. 

Closeup of the hair from base to almost-rendered. I add a sharpen filter to the hair often to get parts of it a little visually crispier. 

Step 6: the exact same thing but with fabric/armour/whatever. I mix my watercolour brushes with bulkier, meatier brushes for textile, since I can’t be arsed to render clothes with the same care as I do skin. These are the types I use (folks can DM/anon if they want the brush names, I have a million different sets and use maybe…ten). 

The chalice midway through render. 

At this stage I will let it sit for a while longer. Whether it’s done is debatable and usually up to personal preference - you can render till kingdom come if you want something more realistic, but you might lose some lovely, sensitive evidence of gesture or interesting accidents. I also highly encourage playing with gradient maps if that’s something of stylistic interest. A good gradient map can do a bunch of things - change the whole temperature of a piece, push back certain details and pull others forward, etc (example here - this particular gradient didn’t suit what I was looking for, but it still manages to be visually interesting). 

I usually come back and nitpick a few things before moving it into Photoshop where I’ll do colour management - another gradient map, fixing saturation/vibrancy, selective colour, etc - and anything structural that I may need liquify for. Then I’ll sharpen it one more time, slap a noise gradient on it if it feels like it needs some extra texture, and try not to hate it right after saving it LOL. 

(I'll probably come back to this a few more times before posting something that feels more "finished").

Sorry for the long post - and hope this was helpful (•‿•)

[chibrary]

title: charles leclerc talks about his "red passion" author: roberto croci photographer: joseph degbadjo source: l'officiel series: f1, 2022

Formula 1 driver Charles Leclerc talks about his beginnings, his myths - including Ayrton Senna and how he prepares for his races. And what he likes to do in his free time with his lifelong friends.

L'OFFICIEL ITALIA: Who chose to call you Perceval? CHARLES LECLERC: My father, perhaps he imagined his children as the legendary Knights of the Round Table. I have two brothers, the younger Arthur - who has speed in his blood - and Lorenzo, older than me, who always accompanies him to all the races..

LOI: Maybe one day together with Ferrari? CL: It would be a dream, but for now I want him to grow independently, to discover his path, the circuit is a difficult world, so much so that he knows that if he ever needs me I will always be by his side.

LOI: When did you discover your passion for this profession? CL : I was four years old and one day I told my father Hervé that I didn't feel well and I didn't want to go to kindergarten. I don't know why, he believed it and took me with him to the go-kart track of his best friend, Philippe Bianchi. (Father of the pilot Jules Bianchi, who died in 2015 on the Suzuka track, the first pilot to die after Ayrton Senna, nda). When I saw other children running on the track, I asked my father if I could try. For my first car I chose the color red, and after three laps I fell in love with this sport, I couldn't understand the concept of braking. On those tracks I started dreaming of becoming a pilot, then growing up I realized that I could make my dream come true and turn it into a job opportunity.

LOI: Do you ever feel fear? CL: Honestly… I felt scared in 2017 when I thought I could not succeed in becoming a Formula 1 driver. (Leclerc won the GP3 series championship in 2016; FIA Formula 2 in 2017 to debut in F.1 with the Alfa Romeo Sauber the following year, in 2018). Never afraid of speed, the day I'm afraid, I'll stop running immediately, because living in fear is half living.

LOI: Do you remember the first Grand Prix you saw?

CL: I was still a child, I had a friend whose apartment had a balcony overlooking the Monte Carlo circuit. Of course, I always supported red cars, which have always been a special color for me, even though I didn't know Ferrari existed yet. I repeat, I am living my childhood dream.

LOI: Your favorite driver? CL : My idol has always been Ayrton Senna, from what I have been able to see from documentaries and talking to people who knew him, I discovered that he was a special person, not only behind the wheel, perhaps the best in history, but also as a human being. He will always be a legend, and not just for me.

LOI: Give me a list of your favorite team and circuits. CL: Senna for sure, Prost, Niki Lauda, James Hunt, Michael Schumacher and... Hamilton would be fine too. Monaco and Singapore the circuits, precisely because if you make a mistake you pay for it immediately.

LOI: There's been a lot of talk about mental health in sports lately. How do you keep your focus? CL : Even if I run at 300km per hour I'm a human being, I alternate between beautiful moments and difficult moments, I'm not a superhero. To maximize my concentration, even though I've always been good at handling tense moments, I've been doing breathing exercises since I was a boy. They help me stay calm, they're part of the job of achieving a level of focus that helps me maximize my potential. Preparing for the race is 90% of the work, you have to think about everything from strategies to teamwork.

LOI: Since you spend most of your time in a pilot suit, how do you like to dress in your spare time? CL: Even if it doesn't seem like it, I really like fashion, it's a way to express myself without speaking. I have two types of styles, one very streetwear, causal, relaxed but refined, and then the more classic one, complete with jacket and elegant trousers. I'm not very fond of ties and I use them little. I often wear garments from the new Ferrari line, they are aerodynamic and the fabrics are technical but with an air of couture. Plus they have my favorite color, you should know what it is by now.

LOI: When you're not running, what do you do? CL: I'm a normal guy, I spend time with friends. They are Ricardo, Alex, Thomas, Guillaume, Nico, Hugo, and Joris. I'm the hard core of my youth. We go to the beach, to the restaurant, we play soccer, we play sports together because we are all sportsmen, even if it is difficult for me to find free time to spend with them. I do normal things, even if my life remains different because while they study, I live my passion. I love racing, I love Ferrari, I'm lucky.

LOI: Do you play Formula 1 video games? CL: I play with my brothers, it's a lot of fun because normally we never talk about racing together, but we do when we play. During the lockdown, with other riders, we organized challenges on Twitch, because we wanted to entertain our fans who couldn't come and see us racing. It was a tough time for everyone, at the same time I had the opportunity to stop for a moment and live a more normal life with my family.

LOI: Your favorite moment before a race? CL: When I put my helmet on and everyone comes out of the pit lane, at that point I'm alone with my car and it feels good. It's like a nest, I don't feel any sensation, zero tension, I'm completely relaxed waiting for the ride.

[the-axe-and-flail]

I've got some exciting news to share today!

I've officially begun work on my new big project- a series of fics based in a late modern/futuristic setting AU, where the slayers are based out of a nightclub named "The Wisteria Lounge".

Each of the Hashira have a planned fic, and all will be intertwined with each other (think Otome game route style, as that was the inspiration. I am Otomesass after all 🤣). These will all be Y/N fics, with most (if not all) being Y/N×Hashira, though Im still up in the air about Mui, and possibly Genya.

While I don't have anything to post yet, enjoy all these random notes I wrote myself during development to give you an idea of where this is all going! There is a lot below the cut so be prepared lol.

"The Wisteria Lounge" (logo by me, still a wip. Cannot decided on a font lol)

Each character will get their own story, exploring how they handle the trappings of their backgrounds and what tolls being a savior to humanity take. During the day, each of the Hashira have jobs they hold to appear 'normal' while their evening duties range from official slayer work, to helping keep the Wisteria Lounge up and running as a profitable front for their true business.

Wisteria is set in a future where disaster has struck the modern world, making daylight all but nonexistent. As humanity learned to adapt, they had no idea that Demons would soon come to claim the upper echelons of society as government officials, idols, and CEOs. With murder on the rise, missing peoples reports skyrocketing, and whisperings of cannibals being passed around, an order of individuals seeks to find and eliminate the new plague on humanity.

Unlike in the normal Canon, each Hashira is in charge of a "team" of slayers, each specializing in different goals or techniques. So far these are-

Unit overview-

The slayers function in units, with each Hashira running a unit of their own. Not all units are active duty 24/7, and some are more highly specialized than others

•Shinobu- Insect Hashira, team Chō (butterfly)

Runs the clinic, takes care of injured slayers

Tasked with research of new or developing chemicals that can kill demons

Fighters focus on speed of strikes rather than power, utilizing pharmaceuticals in combat.

•Gyomei- Stone Hashira, Team Ganban (bedrock)

Runs security for the bar and other slayer controlled locations.

Specializing in securing locations, getting civilians out unharmed, and protecting captives during Kizuki raids.

Exceptional strength and force in combat makes them valuable when overtaking enemy locations.

•Tengen- Sound Hashira, Team Uwasa (rumor)

Mostly recon, and explosives experts

In charge of finding leads on demon locations/whereabouts

His team is good at charming info out of people, equally specialized in torturing info out of demons.

•Giyuu- Water Hashira, Team Suiko (Torrent)

Tech savvy, excellent at digital tracking. Investigations experts, tracking irl as well.

On location/job hacking, information recovery, and data collecting.

Team focuses on high perception and deductive reasoning skills.

•Sanemi- Wind Hashira, Team Tenkū (air)

Muscle muscle muscle. Overwhelming force that would burn itself out rather than back down.

Specializing in destroying everything and leaving no traces behind, including buildings and locations.

The "take no prisoners" team. Highly skilled in hand to hand and all are weapons experts. Basically black ops.

•Mitsuri- Love Hashira, Team Gōka (refined)

Undercover experts, highly skilled with changing appearance/disguise

Exceptional in hand to hand combat, especially evasive actions

Exceptional infiltration tactics, combo of tech savvy and charismatic

•Obanai- Serpent Hashira, Team Sotto (Quiet)

Single cell assassination team, most individuals work on their own.

Often accompany Team Gōka and team Uwasa on missions.

Highly prized one on one combatants. They specialize in taking out targets quickly, often immobilizing them with poisons that team Chō provides.

•Muichiro- Mist Hashira, Team Kōrin (nimbus)

Muscle, though much more refined than team Tenkū.

Specializes in tactics that confuse enemies and create battlefield chaos.

Fond of wide spread smokescreen, gasses, and demoralization tactics.

•Kyojuro- Flame Hashira, Team Rekka (wildfire)

More muscle, very powerful fighters with unwavering dedication

Highly skilled Frontline fighters, excellent tacticians, problem solvers. Good at reading opponents and predicting their moves.

Highly versatile. Often used in conjunction with other teams like Tenkū and Ganban, but can fit in just about anywhere.

Each fic will have a different sub plot, with all coming together to weave in and out of each other to keep the stories cohesive. This is the second big project I've worked on like this, with the first being my Blind Kings project (over on my main).

Some very general/brief fic outlines for each character so far-

Y/N is brought on as a specialist (speciality will change from fic route to route) to aid in the defeat and capture of demons (which demon will depend on which route). In true otome fashion, the first couple chapters will introduce all the characters, the exposition, overarching plot, and MC's introduction to the main cast.

-10-15 chapters a piece, like an otome, with the final chapters being a "resolution". 

-Not all routes will end with the end of Muzan. Most routes will be 1-2 demon specific. 

-Some events will carry from route to route 

-1st "story" will be a 2 chapter introduction, as a standalone. Then readers go to whatever "route" they want. 

Route overviews-

Gyomei- Kaigaku, who Gyomei learns was behind his false imprisonment, has abandoned the slayers and joined the demons. Under the protection of Kokushibo, Kaigaku is untouchable. Gyomei must fight to restore what he once thought lost- his personhood.

Shinobu- Hunting down her sister's killer, Shinobu learns that Douma runs a "church" that operates as a battered women's shelter. She and her protégé manage to infiltrate the cult to take their revenge on the demon.

Kyojuro- After suffering a near fatal attack by Akaza, Kyojuro seeks to put Akaza out of his misery for good after his recovery, but first must confront his broken father and learn the missing artes he needs to do so.

Giyuu- The demon responsible for killing his best friend resurfaces after years of hiding and takes his older sister hostage. Giyuu must track them down in time to save her before the Demon can harm her.

Sanemi- After killing his own father to protect his siblings and mother, Sanemi served time in juvie. Upon his release, he finds out that his mother and all but 1 of his siblings were killed in his absence and seeks vengeance on the Demon who killed them- Muzan himself.

Muichiro- after mysterious dreams "given" to him by his dead brother, Mui finds out he is related to Kokushibo and seeks to put an end to his relative's reign of terror.

Obanai- once thought dead, the snake demon that slaughtered his family reappears, hoping to finish off his bloodline once and for all. It's a race to see who can kill whom first, as Obanai struggles with the PTSD of his past and his scars.

Mitsuri- scorned by society for being "too strong and independent", Mitsuri hopes to prove herself by infiltrating Muzan's ranks and killing Hantengu, a Demon masquerading as a corrupt judge that is continually evading her grasp.

Tengen- seemingly "cursed" to be alone, Tengen is the target of a very persistent pair of demons who keep killing his loved ones. After his 3rd girlfriend's death, he sets out to put the two six feet under for good.

Genya- (this one is another that is up in the air) fresh out of college and ready to put his skills to the test by taking out the very same demon his brother is hunting. Undeterred by Sanemi's threats, Genya uses his superior deductive reasoning and newfound powers to hunt the Demon king himself.

Now that you've made it through the whole entire thing, let me thank you personally! That's a lot of rambling and half baked ideas you just waded in, and I commend your tenacity! At this time I have no exact eta on when chapters will start going up, but I can say that we'll be starting with Gyomei because I love him and he deserves the world! Any and all critique or questions are welcomed, so please lmk if you've got any!

[akashicpoint]

Alright, just finished with Ghenry's new video on Henry Cooldown (Go watch it /watch?v=AJHDivrRIl8 its good!) and I just wanted to slap some of my thoughts down because A. I haven't spoken on here in ages :' ) and b. I also didn't talk in the discussion about Henry in the discords when I should've :^) I'm literally just gonna ramble about my thoughts, so I'm going to put it under a read-more

While Henry was a last-minute character in the og, I do still actually believe that his goal would've been the same as Sylvia's was in the original ending. I never got to discuss this, but no more heroes assassins' fights reflect one another. Almost like an above-so-below type deal as Travis is pushed deeper into the cycle of violence. The climax of that reflection is of course the post-fight cutscene in rank 6 where Travis finally realizes what it means to be an assassin. So where would Henry fall into that reflection? While he is in rank 5 of course, I would like to focus on his actual post-game battle, as he is supposed to reflect the fight with Helter Skelter in the opening cutscene. Besides the obvious similarities in color schemes between the two, I'd also like to mention the line Travis says about Helter: "And there he was: this cat, well-dressed, cool. Couldn't tell if he was the shit, or just plain old shit." This could be applied to both Helter and Henry (both h names too wow amazing) in their styles and presumed attitudes. Here we see that Henry is "the shit" to Helter "plain old shit". Instead of Travis getting the upper hand and winning against Helter, we see the script flip to now have Henry killing Travis (In my opinion). Of course, we see how the game is now series-wise, but when the game was JUST going to be nmh1 I feel Travis was meant to die.

Also small side note, I like that Travis is on the same side of the screen when he both beheads Helter and is about to have the final slash with Henry.

Really gives the vibe that Henry is now in the position Travis was during their final blows. OF COURSE, this is just my opinion on that.

This is a very loose look at my reflection as above so below shit of course, when I get the time I'll refine that a bit more. NMH2 I have nothing to say because NMH2 had nothing to say or add to what little character he had at that point, but I do find it funny more people believe NMH3 is where Henry's character was assassinated and NOT 2. I feel that nmh2 really just put most characters on the backburner if they weren't Travis and to a lesser extent Sylvia. Henry definitely was put in there just because he was a fan fav and went "okay I guess?" Also yes, Henry doesn't have any character in nmh1 and 2 besides what HE tells us about him and we just have to assume that is his character and what we can infer about him based on how he acts or for me how he dresses. That's not a bad thing, and its improved upon by TSA and NMH3. NMH3 is great btw. Love what they did to Henry, still has the same goal as NMH1 but now a darker more fucked up version of him doing it and some added weight to it.

[this is him btw] I personally love that he became this way due to Marvel because yea that seems right for Marvel fans and also I'm reminded of the end cutscene in Moonlight Syndrome of Ryo fully losing his mind while looking at Mikas....something on the TV! (There's a lot more nuance to the change too but I can't make this SUPER long) I feel there are a lot of moonlight elements in NMH so I enjoy that. Also, his voice change doesn't bother me, and it's even funnier that no one comments on it.

While I'm not too on board with the hell theme personally (still enjoy it though). Love the idea of Henry being the devil LMAO. I always saw the phone calls Travis receives from Henry and Sylvia as another aspect of the as above so below point, so it's fun to see this brought into it. Side note, I assume Henry knows about Travis already due to having some hand in Sylvia's scheme/not scheme. It's definitely him on that answering machine. Of course! I could be wrong. Regardless, while I don't think Travis is in hell per se, I will say that the NMH series gives me a lot of Truman Show vibes with how it presents itself. Profiting off Travis's descent into violence. While Sylvia I feel wasn't a god in the first one, she's definitely become one as the series went on. It also wouldn't be the first time Suda has worked with god-like figures (Moonlight Syndrome) and could even relate her as a sorta Mithra-like figure. Of course, that's more of a shaky look at that theory. I still enjoy it though!

Hopefully (if youre reading this pls :^) ) Ghenry will do a more in-depth look at Sylvia in the future and how she's evolved as a character in the series! I have my thoughts on her, but I love hearing how others see her and her involvement in the series. I didn't talk about EVERYTHING and didn't go as in-depth as I wanted to because...I didn't want this to be any longer, but in the future I will try and talk more on my thoughts! (Or send me asks if you want ;) ) Also side note side note: Thank you Ghenry for including the best shirt from nmh1 in the video MIAMI BASS BABY LETS FUCKING GO.