#am i missing anyone??

[maddiedrawz]

if i have a nickel for every time miss katie mcgay’s character is in love with her straight best friend who’s about to marry another man and it fucking hurts my feelings when i have to watch her stare longingly at said best friend i would have 2 nickels. it’s not a lot. but it’s just weird that it happened twice.

[wolfram-but-art]

here's some text posts that remind me of tf2 mercs part one for now because i'm eepy [pt. 1] (<- you're here!) [pt. 2]

rebl > likes

links to original posts under cut

NUH UH (spiderman across the spider verse spoilers (?)) payphone mic so hear me out... you did WHAT

[axolotlclown]

Ok, none of you know what's going on. None of you understand why so many women and young streamers are stepping forward right now. None of you understand why this has to be public.

Multiple large streamers have used their fame, influence, and money to manipulate and abuse those they see as below them. So long as they continue to have fame, influence, and money, this cycle will not end.

This is bigger than just individual cases of sexual assault or other abuse. This is a break down of a much larger problem within the entertainment industry.

These women are telling stories about very powerful men in this space. They are sharing stories of abuse and manipulation. This is very scary for them—it could ruin their careers or lives.

Stop saying "they should have handled this privately." This isn't a private matter. So long as these men have power, they will hurt more women. They aren't sorry. They won't play fair.

By trying to stay silent and bury these accusations, you are ensuring these women never know peace. You are ensuring that more women get hurt.

One day your boss will assault you, and all the men in your life will blame you for waiting as long as you did to speak about it. They will find any reason to blame you. They don't want to get rid of your boss. They hope that one day, they can assault a woman just like you.

This is fucking serious. This is real life. This isn't just some fucking fandom drama that we can bury and move on from. These are real life issues that require real meaningful discussion.

Stop trying to discredit these women just because your streamer is in trouble. You are part of the fucking problem.

[givemeureyes]

just once i would like to see one of those typical batman almost dying scenes where he comes super close to death and then last second his brain is like “no! gotham needs you” and then he survives with the power of whatever the fuck but instead of “gotham needs you” it’s “your children need you”

like yeah gotham is your city to protect or whatever that’s fine and fun but where’s the like… “you have kids at home bruce”

where is it dc

[floccinaucinihilipilificationa]

Hello may 31th anon! Look at that, another year behind us and a new one to come. Have a nice day! ₍՞◌′ᵕ‵ू◌₎♡

[missmisnomer]

repeating this mantra like my life depends on it

[goodkenji]

[frokkie21]

GIRLS!!!!!

[alphaaacademy]

y'all

[mamawasatesttube]

it's like, i really do enjoy most of the bats as characters and i really do like a lot of their comics. but also i am sooooo tired of them being hailed as better than literally everyone else. both in fanon but also in comics (modern ones are esp egregious imo, like WHAT was that shit about batman and the joker being the most dangerous men on the planet. hi. have you heard of lanterns? speedsters? supers? actually if i keep listing groups who could kick batman's ass we'd be here all day). they're like kudzu. that shit needs to stay in its native environment (funky little neo-noir detective stories) and stop being an invasive species (putting down everyone else to make them seem cooler). put bruce wayne back into a murder mystery setting that isn't about saving the world but is about saving one person or one family that no one else would've saved right now or so help me god. the whole invasive species cross contamination thing is unhealthy for both him And the other ecosystems he keeps getting transplanted into. please. it's so dark in here

[miscellaneoussmp]

Guys, I put too much effort into this for a joke. Anyway, Feds hate things that start with B, and on Quesadilla Island, those things are Brazilians, blondes, and birds.

[paradoxbeta]

cycle of life

[sleepnoises]

sweet boy Cap 2008–2024 (picture from 2022 long before he got all skinny)

[wellfine]

HII I love your art so much it's so expressive and it feels like theres so much movement in it! I was wondering if u had any tips or advice to help with that? I practice anatomy and expression so much but it seems like everything I draw on my own is so stiff!! Anyway I hope you have a great week :)) <3

Hi there! Firstly, thank you so much for the kind words, it means a lot that you would take the time to tell me!

Second- my advice is to take everything you've learned about anatomy and THROW IT OUT THE WINDOW!!!!!!!

... For now. Just into the front yard so you can keep an eye on it. But I have seen many artists concentrate chiefly on studying anatomy only to feel like their art ends up too stiff. My own experience has been to treat anatomy as a tool best used to correct an image in the later stages of construction rather than as your driving foundation.

If "correct" anatomy (however you choose to define that) is the priority of your undersketches, I find that you end up with a sort of Skeleton Song approach to drawing - y'know, the knee bone's connected to the thigh bone, etc etc. Whatever energy, emotion, or intent you wanted your drawing to convey is getting lost each time you split it into another anatomical segment. By over-focusing on individual parts, you lose sight of your image as a whole.

The key to conveying dynamic movement in motionless art is to ensure every element of your image agrees on and communicates the same action, the key to which is something called the line of action.

A line of action is simply that - an implied "line" with wich you lead the viewer's eye and communicate movement. Think of it as the core of your figure's action, simplified to its rawest form. By knowing this, you know what to emphasise and what to de-emphasise.

Well, art is a visual medium and I am better explaining with drawings than words or I'd never have picked up a pen in the first place, so:

Images can have multiple lines of action, lines of action can complement and contrast each other, and a line of action isn't always as obvious as something like running. Imagine you're tring to make your art more "aerodynamic" to the eye. Since I draw a lot of One Piece fanart, I assume you're also familiar with it, and you can probably imagine how Oda uses "lines of action" when composing panels of Luffy punching something, Zoro slicing something, Sanji kicking something- etc etc. He's really good at selling the "oomph" of action shots by reducing visual clutter so that the impact of the action is greater.

(The Monster Trio's abilities are all designed in such a way that allow for REALLY striking lines of action... you can tell Oda loves studying manga fight scenes and wanted to create a world where he could push these concepts to the limit, and it's no wonder One Piece caught the eye of animators even before it was serialised by Toei)

You're probably already noticing how line of action also feeds into composition and silhouette when it comes to conveying movement in an image. Basically put, once you've isolated whatever action it is that you want to convey, the more visual clutter you can streamline away from that action, the stronger an impact that will have on the viewer. A firm line of action, an uncomplicated silhouette for your figure, and a readable overall composition of your image/panel are all ways to minimise visual clutter.

You can also use this information to achieve the opposite effect! Sometimes the ideal action you want to convey is not fast, or powerful, or confident, and you can use the same principles.

In fact, you can apply line of action to images that don't have any "action" in them at all. You can make a drawing of someone simply standing there feel more lively by applying these same principles to their body language:

You can develop an eye for how to simplify movement down to its "lines of action" by studying real photos and other people's art. Try simplifying a figure to its silhouette, and then simplify that silhouette further to a stick figure. And honestly, a lot of this could be boiled down to "see your image as a whole and not just a collection of individual pieces". Set anatomy aside during the composition stage and bring it back in when you start building up the sketch.

Moving away from the line of action, my second piece of broad advice is simply to exaggerate more. Lots of artists subconsciously hold themselves back from pushing motion, expression, etc. out of concern that it will look "too much". Well, maybe it will- but you won't know that unless you try! You can always walk it back if you think you took it too far, but I think you'll be surprised by how far you can push your art before you hit that point.

My final piece of advice is to work on line confidence. Even if you follow the rest of this advice, if you have hesitant and scratchy lines, you're undermining the flow and punch of your art. The best way to improve line confidence is simply by practicing! Do a lot of quick, timed studies, and use a permanent medium like a ballpoint pen or marker. Focus on unbroken lines wherever possible even if it makes your studies look like garbo. I find traditional studies are best for improving line confidence, but if you'd really rather stick with digital then just don't let yourself use the eraser tool, and try using a chunky brush with limited pressure sensitivity.

And that's it! Don't stress about it too much though. Loosen up with your art and, like any other skill, you'll improve with practice, time, and analysing what you like about other people's art. Good luck!

[agentark]

do you ever think about how in the literal very first scene with Rebecca, we learn that Unit Bravo had no idea she even had a kid

she chose UB and The Agency over the detective so consistently, so frequently, that her team didn't even consider that she had some kind of life outside of them, with someone waiting for her at home