#as always i like the sketch more......sorry i love not coloring images and not rendering.............

[rorsry]

meiko keychain idea :]

her outfit is inspired by her scarlet module in project diva

[scribz-ag24]

Do you have a set process for coloring and rendering / adding texture to your art? If so, would it be alright for me to ask what goes into that process? I'd love to learn how an artist I admire goes about their work!

Omg I'm so flattered, I'll try my best to explain it!! ^^

Tho, okayyy, I apologize beforehand for how incoherent this might be, since I don't really have a set process at all and mostly I fake it 'til i make it haha. I'm the first to admit that I don't have a ver consistent method and that shows in how irregular in quality my art can look, even inside the general sketchy look.

(Btw sorry if some of the fanart i use for example doesn't make you comfortable but I've tried to find the best examples for each type of coloring haha)

I'll start with the brushes I rely on the most, tho I admit i made the mistake of downloading too many brushes and textures so I might use others on rare occassions xddd

These are basically the brushes I use the most. The "mezclador redondo" is just CSP's default paintbrush and I only tweaked it to find sth I liked and felt comfortable with for both lining and painting

As you can see here I only used one layer for lines and other three for each of the guys' colors. I colored it all with the default brush (tho unfortunately I lost the settings I used for this drawing in particular and haven't found them again rip). In drawings like this I just do a sketch, clean the lines (no lineart) and then paint it. After the base color I start laying out different hues to make the coloring more interesting.

This one was the same. One layer for coloring, manually adding lighter hues (see the more light and yellowish color on grovyle's left leg compared to the shadow) or darker tones. I try to add color to the shadows as well to make them feel less flat, and an airbrush in overlay tends to help with that (tho here I just used a brush).

Here you can see that I often paint over the lines on another layer to correct mistakes in the "lineart" lol. I also applied an airbrush (layer mode overlay) over celebi to make her more bright. I wanted to put this one to show that coloring doesn't have to be detailed to look nice enough. Here Celebi basically has no shadows at all but the tone of the drawing makes her look cute anyways imo ^^

In these two you can see adjustements over the full image again (yellow layer), but I also wanted to show that I don't have a set number of layers either, it depends on how many I feel like using. Again, sorry for the lack of consistency but im too lazy to have a proper method lmao

I will also use harder brushes and tone changes sometimes, instead of blending them with less dense brushes. I am also fond of adding hard lighting in some drawings. You can experiments with it on a top layer and delete it if it doesn't fit, so it's always worth a try.

Another thing I recommend is studying and copying artists you admire or like. Add things from their styles into yours, see how they work with proportions and try to use that in your own art. It has helped me a lot and, without looking to fully copy anyone's style, it does give you some ideas of how you wish your drawing would look, which motivates me (when it doesn't depress me lol)

Finally, the texturing isn't consistent either. I use one of CSP's/Downloaded texture packs, put a grainy texture on the canvas, set it to overlay and adjust the opacity until I'm satisfied. In these two images you can see I am not consistent in coloring even in the same comic lmao. But we are doing this for fun, so I think experimentation is always sth worth exploring ^^

And I think that's all I have to say. I don't control color theory at all, so I can't really explain how I choose colors. I look up some tutorials on youtube and pretend I understand lol. Ig the one thing I tend to do a lot is changing hues in a base color to make it look less flat, the same as with shadows.

Anyways I hope this was helpful or that it at least waas what you asked for haha. Thank you for the interest!! :DD

[breakerwhiskey]

173 - ONE HUNDRED SEVENTY THREE

Please visit breakerwhiskey.com for more information or to send a message to Whiskey's radio. Breaker Whiskey is an Atypical Artists production created by Lauren Shippen. If you'd like to support the show, please visit patreon.com/breakerwhiskey.

Transcript under the cut. For more episodes, click here.

[click, static]

Okay, I am officially concerned. I don’t know why I didn’t think of this before, but the truck was’t in the drive like usual so I just assumed…

I should have checked the whole house. But I’m so used to never coming into the garage because I know how much you hate your studio being disturbed but when I woke up this morning and you still weren’t home, well, I went in anyway and the truck is still here. In the garage.

It’s running fine—that’s where I’m broadcasting from right now, though obviously I turned the engine off. And I have to say, I’m impressed that you were actually listening when I told you to bring it inside for the winter if you weren’t going to be driving it much. But if you’re not out there driving this truck on a supply run, where are you?

I—I took the other car. Which, I’m sorry to say, is now somewhere in California, having been put out to pasture. But unless you finally decided to take an interest in car mechanics after all this time, I don’t know how else you’d be getting around. I know you love your walks—or, you did, eventually, once you got past the worst of the paranoia, but…you never went on a walk this long.

If you’re—if you’re dead in a ditch somewhere, I’m going to be fucking furious, Harry.

[click, static]

It’s…weird. Being in here. It feels like being inside your head somehow. It’s a goddamn mess, which I didn’t really expect. I’m sure you’ve got your own system—though who the hell knows—but I definitely can’t make sense of it. I’m glad to see you pulled the radio in here though. Maybe you did hear some of my transmissions after all.

Is that why you’re not here? Because you heard me say I was coming and you didn’t want to see me? You’ve enjoyed your life without me so much that you couldn’t bear to have your peace shattered.

Except…you’ve been thinking about me. I know you have. And maybe this is why you never wanted me to be in your studio in the first place.

There’s…a lot of me in here. Paintings, sketches…not all of my face always but you must have known that I’d recognize the curve of my own ear, the shape of my hands.

Have—have you been doing this all along? Or just since I left? Were you always coming in here and spending hours perfecting the color of my hair when some days you wouldn’t even speak to me—

[click, static]

Is this why you asked for the stories behind all my scars? So you could render them in perfect detail, knowing exactly what made them and when? I thought you wanted to know more about me, but maybe it was just an avenue for your art, one of the few subjects that you had access to, too tired of painting birds or trees or images from your own mind.

Or did you ask because you wanted to know? You talked once, about how painting helped you understand the world, or yourself; how that was one of the things you loved about it, one of the reasons you started painting in the first place. Because when nothing else made sense, charcoal and oil and your own hands were able to bring shape to the world.

Were you trying to understand me? Or were you trying to understand what you felt about me? Or was guilt swallowing it all up that you couldn’t uncover anything else.

I just…I need you to come back and explain what this is all about. Because in a room full of canvases and color and stray sketch pages, I keep turning and seeing my own face. I’m everywhere.

[click, static]

There’s a lot of other art too, of course. And it’s all…it’s fucking beautiful. Your art has always been so beautiful.

I…I’ve added to your collection. I picked up a painting when I was in Santa Fe, something that I thought was pretty and that I thought you might—

Well, I’ve left it in here. In case you want to do anything with it. It’s yours.

There are also—well. I wrote you some postcards. But I obviously had no way of sending them to you so I just…held onto them. But you might as well have them now.

I don’t know why I’m saying all of this on the radio like I can’t say it to you face to face. You’ll be back and you’ll probably be annoyed that I left stuff in your studio without asking. There’s no need for me to leave anything for you, not when I can just hand it to you.

But I just have this feeling…

I’m going to look for you tomorrow. Drive to the usual spots, take a walk in the woods behind the house. And because I’m fucking considerate, I’m going to leave a note.

[click, static]

[thesleepy1]

The Picture of Lambert the Witcher

A/N: I have no explanation for this. I just wanted to get back into writing when I have the free time. I’m sorry it took me so long. <3

Pairings: Lambert x Eskel 

Summary: Eskel purchases himself a leather bound sketch book and fills it with pages and pages of the things he loves. He has far too many pages of just Lambert. 

Word count: 600

Warnings: Lambert’s colorful language 

“What are you doing?” Lambert asked. His head was resting on Eskel’s shoulders. It had taken him a moment to get comfortable, to squirm his way and adjust as he went until his head was perfect next to Eskel’s. The young witcher looked down at the book in the elder’s hand.  

“It's called drawing,” Eskel explained with a smirk. “It’s what people do when they have hobbies.” 

Lambert rolled his eyes and adjusted against Eskel’s neck again. “I know what drawing is, you arse.” Lambert pointed at the rough charcoal marks on Eskel’s page. “What are you drawing?” 

“Lil’ Bleater at the moment. Would you like to see others?” 

Lambert began flipping the pages without a word. There were depictions of flowers they had seen in passing, delicate things Lambert would not have paid any mind to but Eskel had treasured. There were more pages of Lil’ Bleater. Drawings of her grazing out in the fields and her asleep in the stables.

And then there was an alarming amount of pages of just Lambert.  

After a certain point there were nothing but pages and pages and pages of him. There were charcoal prints of him gazing off in the distance and colored depictions of him asleep and doing other mundane tasks like carrying buckets of water and training in the courtyard. Eskel had even rendered an image of him nursing a bowl of soup, the softness in Lambert’s eye was almost unrecognizable to the witcher himself. 

“If I didn't love you just as much, I would say you’re obsessed.” 

Eskel blushed and quickly closed the sketchbook. “It’s too much, isn’t it?” He made to put the sketchbook back in its carrier. “I’m sorry. I should’ve asked you first.” 

“Hey, hey, Eskel.” Lambert paused the older witcher in his movements. “I never said I didn’t like them.” Lambert took the sketchbook back and flipped to a random page of himself. “Do I really look this good? I think the artist took a bit too many liberties here.”

Eskel’s hand went to Lambert’s chin and gently pulled him into a kiss. Eskel rarely kissed roughly or with too much force. It wasn’t in his nature. Eskel kissed Lambert like he was drinking the sweetest, most refreshing nectar from the saints themselves. Eskel tugged at Lambert’s bottom lip with his teeth to draw out a moan but that was as far as Eskel took it. 

“You do. I—” Eskel had to remind himself to breathe when Lambert was gazing at him like he was now. “I can’t stop myself.” Eskel caressed Lambert’s cheek, fingers being extra careful on his scars. “I’m always afraid I’ll take too much if I don’t keep myself in check.” 

Lambert exploded out laughing. He leaped from his spot against Eskel and clutched at his stomach. His laughter was overwhelming. He had to wipe the tears from his eyes when he was done. “Are you some sort of princess, Eskel? Do you think I’m some sort of noble that’s going to get scared by your advances?” Lambert chuckled at his own words. He reached his hand to the back of Eskel’s neck and wound his fingers in the short hair there, pulling the older witcher closer. “You can have me anyway you please.” Lambert kissed Eskel and refused to leave up for air until Eskel had to pull himself away lest they pass out in each other’s arms. 

“C-could I draw you in bed?” Eskel whispered the request earnestly in between breaths. 

“You can even tie me with ribbon.” Lambert winked. “I bet I'll make for a lovely picture.”

[lavalampelfchild]

Lava’s Art Masterpost

Hey, all!  Welcome to my art masterpost!  I have no idea if this is a thing that is done typically for art, but oh well, I like organizing things, so here we are!  What you’ll find here is mostly Dragon Age, with a few non-DA pieces in there, and there’s a range of styles I like to use, depending on my mood.  But a lot of what you’ll see will most likely combine lineart with some other form of coloring/shading.

Feel free to browse at your leisure, and I hope anyone who stumbles upon this enjoys what they find! :D And thank you to anyone who sees this and likes, or reblogs, or even just stops by to peruse a bit!  

All that said, away we go!

Digital Portraits:

1. Portrait of Nameless Woman, 2020 - This one is just an experiment with a watercolor brush that I did.  It’s not anatomically perfect, but I enjoyed playing around with shading.

2. Sketch of Aja Amell, 2020 - This one is basically sketch practice with my Amell~  Not really the most expressive pictures, but it’s a start toward drawing her more expressively.  Full disclosure: Aja is one of those OCs of mine that I have had trouble with deciding on a definitive appearance for several pictures, and I really want to work on upping my level of consistency when drawing her.

3. Long-Haired Fenris, 2020 - Exactly what it sounds like; this was for practice drawing Fenris’s features (I love how distinct they are), but with long hair because I am weak for it.  This one was a fun piece to shade, and mixing the stylized lineart that I normally use with a greyscale shading spectrum was really enjoyable.

4. Portrait of Ilorin Lavellan, 2016 - This is an oldie.  Basically practicing expressions, and it is technically a WIP, but I’m still very happy with how the shading turned out, especially because this is actually (aside from the unfinished hair) one of the more minimal pieces I’ve done in terms of lineart  It’s still there, and it still shapes the flow of the picture in some ways, but it also ends up flowing with the shading instead of standing out next to it, which I like.  (Both styles are good, though, and I love seeing other artists try both too.)

5. Old Portrait of Aja Amell, 2016 - Much older picture I did of Aja; she... honestly looks very little like the newer one, I think, and that consistency is something I’m still working on, but this one was the first picture of Aja with that particular hairstyle I drew.  What I like about this picture is how young she looks; it fits with her image as a fresh and sheltered Circle mage who’s only about 20 years old at the time of DAO.

6. Old Portrait of Trilyn, 2016 - They very first piece of art I posted to tumblr~ It’s not exactly how I envision Trilyn anymore, but it was still very fun to draw, and helped me get a feel for drawing him in the future. 

Dynamic Movement Pictures/”Moment’s in Time”:

1. Tabris in Arl’s Estate, 2020 - TW: blood.  I am super proud of this one.  My ultimate goal is to draw all of my Warden DAO OCs, and I could not believe I’ve never drawn my Tabris, and so here she is.  This was, in large part, practicing expressions because I absolutely love art that depicts characters in motion, or capturing some kind of expression.

2. Velyn in the Rain, 2017 - This one was actually based on some art that I saw in a Teen Wolf fic!  It was an experiment with a more expressive style (and one of the first pieces I did without lineart left in the finished version) and it was a huge step out of my comfort zone.  But overall, I am extremely happy with how it turned out.

3. Jem Nocking an Arrow, 2016 - And here is the lineart version.  This was entirely an excuse to draw my DAI baby, Jem, and to do a cool archer pose because archers are my fav, and I love characters in motion.

4. Solas Teaching Trilyn Fade Magic, 2016 - This one was a painterly picture that was also (like the Velyn picture) something which I tried to keep lineart out of.  Overall, I am proud of a lot of parts of the pic, but I think I would definitely go back over it and change a few things now if I had the patience.

5. Trilyn Closeup WIP, 2016 - TW: injury, blood, mention of abuse in the author’s note.  A lot of early pictures I have are of my OC, Trilyn, and this is one of my absolute favorites.  His entire upper body is technically in the picture, but I hadn’t finished rendering it yet, so this was what I posted.  And it was an experiment with a cross-hatching style with the pencil tool for some texture, with air brush shading and a blurring tool.  It’s a style I had fun playing around with!

6. Trilyn Blood Ritual, 2016 - TW: blood, injury (the slight cut used to supply the ritual with blood).  This one was definitely a sort of “captured moment” from a backstory I gave Trilyn, and I think what I was really going for was an atmospheric piece that could fit with any potential fic I wanted to write for Trilyn.  And then it ended up being practice for extreme lighting/shading techniques, and drawing the blood and the gross mass of demon ichor (or whatever the heck that is) turned out to be highlights of making the piece for me.

Art + Text:

1. Freedom and Control, 2020 - TW: scars, but very difficult to see.  This one was ambitious for me!  It started originally just as Solas and my Tal-Vashoth OC, Saara, facing each other, because I love the dynamic I’ve built for them in my head, but then it turned into an attempt at a tarot-esque background, and just sorta grew from there... Overall, I’m happy with how it turned out, especially with how Solas and Saara themselves turned out.  The version you can actually see a larger view is here.  

2. Marianna and Delia Codex and Art, Pt. 1, 2020 - I love writing my own codex entries, first off, and I love combining art with text to create a (hopefully) seamless work.  This work was an attempt to flesh out these OCs of mine with both art (because unique facial structures are hard for me to get down, but so important regardless) and text (because writing~).  I think it turned out well overall, but there are elements of the portraits that I might at some point touch up a bit.

3. Marianna and Delia Codex and Art, Pt. 2, 2020 - Part 2, with what I refer to as a “DAI Outfit Change” because I have always loved seeing fans show their own OCs as they look in DAO, DA2, and then finally DAI.  So I absolutely wanted to jump on that bandwagon myself.  The skin tones are a little off (and I’m sorry about that!) because I was playing with the watercolor brush at that point, and it dilutes the colors I use.  Still working to figure that out, but I was very happy with the overall lineart and structures of the faces.

4. Alistair/Aja Amell Picture with a Blurb, 2017 - Ooooold, old, old, old, OLD!  I still love the art, and I’m soooo happy with how the interaction between Alistair and Aja turned out (drawing kisses is extremely difficult for me; I always end up creating a distorted weird lip-creature, instead of realistically puckered lips...).  I’m not as happy with the blurb that went with it?  At that point, I was still very much figuring out my own DAO worldstate, and the characterization for everyone, so, eh.  Take it with a grain of salt!

Unfinished Costume Designs:

1. Ancient Elvhen Armor with Dwarven Influence, 2018 - People who do costume design work are amazing and mystical beings, and I wish I could do what they do.  This was an attempt at merging the Keeper robes from DAI with a more dwarven armor aesthetic, solely because I created an ancient elvhen character, Ceda, who was taken in by the Cad’halash dwarves mentioned in the Witch Hunt dlc, and I wanted this character to have a mix of the elven style of armor and the dwarven style.  I’m overall decently happy with it, but there’s still that persistent level of self-criticism present.

2. Herald of Andraste Outfit WIP, 2016 - This was a very old picture, not one I showed around a lot, but the idea for this was entirely born of my intense interest in how fashion and outfit designs could be used to create a symbolic image for the Herald of Andraste.  In general, I love the combination of ceremonial armor with long and flowing cloth, so that was what I went for here.  I’m still actually very proud of how this came out, and headcanon something similar for my Herald in my canon DAI worldstate.

Pencil Sketches:

1. Quick Saara Sketch, 2019 - TW: saarebas mouth scars.  Exactly what it says; very quick sketch of Saara I did in a small notebook I carry around with me.  This was basically a test for myself to see if I could manage to draw Saara with the features and facial structure I envisioned for her without needing to use a lot of references.

2. Mass Effect Character Sketch; Jesse, 2018 - Similar reason for drawing this one as the above Saara sketch!  With these characters, I love sometimes the way they can turn out with the specific character creator used for them, and when I draw them, I enjoy trying to create a definitive look for them using what I get from the CC, and my own knowledge of Hooman Faces.

3. Saara Sketch, 2017 - TW: saarebas mouth scars.  A more detailed sketch of Saara than the one above, and one I definitely put more time into overall.  It’s currently the profile picture I’m using for ao3, and is the definitive go-to reference picture I use whenever imagining Saara in a fic, or for other Saara pics I make.  I am extremely proud of this picture, and feel like I should work in graphite more often.  It’s such fun, and the texture is so nice to look at.

4. Sketch of Nameless Alamarri Woman, 2017 - This was a sketch I did of what I envisioned some Alamarri tribes to look like; I used artistic depictions of Gaul tribes and hairstyles for inspiration, and have used this as a go-to reference for my version of Alamarri tribes.  Nothing super notable about this one, but I really liked the way the shape of her face turned out.

Events and Gifts:

1. Another Scar, 2020 - TW: blood, injuries, gore.  The most recent piece of art on the list, and a gift for @cartadwarfwithaheartofgold; featuring sisterly love between Rica and fem!Brosca, which was her requested prompt.  This was a tough piece for me because of the difficulty with the lighting I dealt with.  For some reason, that one particular element of it gave me so much trouble.  Overall, I’m very happy with how it turned out, though, especially the skin tones of the sisters; Brosca I always sort of like as having this greyish, more gaunt look to her, while Rica I like seeing with a darker, richer, and warmer tone to her.  

2. A Very Cousland Christmas!, 2019 - This was for a holiday exchange for a server, and I drew a friend’s Cousland (Elissa, the girl on the left) with my Cousland (Gazza, the girl on the right).  I love kid-fic, and I love kid-art, and so I decided... baby Cousland art!  Drawing kid proportions was the toughest part, I recall, and I thiiiink it turned out well, and I’m still quite proud of it overall.  Elissa’s design came entirely from my friend, but I added the holly~

3. Exchange Gift with Dis Brosca and Mabari, 2018 - This was an exchange gift for @fanfoolishness, using her lovely Dis Brosca, and was my first real attempt at backgrounds... I struggled with the coherence of the foreground and background a bit, but I’m still very proud of how it turned out, especially with the colors I had to work with.  What I also really enjoyed working with was the lighting and the expression on Dis’s face.  Backlit subjects are always fun to play around with!

4. Inktober Picture, “Deep”, 2017 - TW: scars, injury, mentions of abuse in the author’s note/attached dialogue snippets.  This was for an Inktober prompt (the only one I’ve ever done, sadly... because I am bad with deadlines...), and again features Trilyn.  Trilyn’s backstory has him a former slave in Tevinter, and a lot of the early works I do for him are sort of deep-dives into his life there.  It’s all meant to be an exploration of the things he endures, and then those moments when he overcomes it all and takes back his own autonomy and self.  This art is definitely provocative, and I can understand if not everyone likes it, but to me, I just wanted to show just what he faces (without glorifying it) before showing the moment of his own triumph.

5. Christmas Holiday Picture with my Brosca and a Friend’s Amell, 2017 - This was a piece of art drawn first by a friend of mine, @nanahuatli~  She drew the Amell, the background, the mistletoe, etc.  All I did was add my Brosca to the mix to finish the image.  It was a lot of fun to do, 1) because it was fun trying to match her style so that the picture looked cohesive, 2) because I love doing collabs with friends, and 3) because it was just such a fun thing to imagine my surly short Brosca, looking at this weird plant/fungus/thing dangling over some puckering human!  It was an absolute joy to do this collab with her!  

6. OC Kiss Week Pic of Jem and Saara, 2017 - TW: saarebas mouth scars.  A spur-of-the-moment thing meant to demonstrate just what kind of dynamic my OC, Jem, has with my other OC, Saara (both of whom are members of Leliana’s network in DAI).  This was a very quick picture (deadlines...) and was mostly just to have fun drawing these two characters interacting, and to see if I could make them look like themselves.  I think I did a decent job with it overall, especially with Jem’s kissy-face!  (Again... drawing kisses are the bane of my existence, although hands and feet take a close second.)

[blacknovelist]

Half-Empty, Half-Full (FE3H Fic)

hey hi what’s up lads, so I like, 100% forgot I could post my piece for the @threehouseszine Beneath The Banner (also available on Twitter under the same name) and as such I’m like ten years late. :) But the zine has been sent out, and I finally noticed like the fool I am that others have posted their pieces, and thusly, I too will post mine! Because I can. And I want to.

My focus was on the Golden Deer post-skip, specifically in some nebulous point during the war. Being part of this zine was really, really cool -- I can’t wait for all the books and merch to arrive with everyone!

(will reblog with links because we all know tumblr likes to break things.)

A beat of something nice, amid the fragments of harder times.

In the spaces between war — between scattered supply checks and ration distribution, bandit skirmishes and long watch nights — Hilda finds the time she needs to breathe.

It came easier, back in the academy. She could simply step back and let the world move around her, steadfast in her belief that it would still be standing when she returned. Nowadays she steals the air in her lungs from glances at the sky and quick delivery walks, from the chip of chisel and steel against stone and wood, from the sensation of gems and petals inlaid on clothes, chains and hooks when she can afford to lay down her axe. Infrequency makes the beats between battles all the more precious.

With the professor around she can afford more pauses still, but Hilda watches herself. She knows, all too well, just how young she is. Claude lies at one year her junior and the professor, with their five year hiatus, sits at two. It wouldn't do for her stubborn leaders to find someone they can’t believe in among their ranks, now.

She’s on the run for errands when she spots a hint of not-plant green and wood not far off the beaten path, and she wastes no time following that tried and true Deer instinct to take a peek. Ignatz is there, as expected, easel propped on a patch of flat land, what she can see of the canvas a tasteful blend of browns and golds. He leans in, fingers dabbed in the same off-white his paintbrush dusts onto his scene. 

Now, Hilda doesn’t paint, but she does understand the stress and struggle of art, different forms aside. Which is why she waits until he leans back before she steps forward and taps his shoulder. 

“Hey, Ignatz.”

Ignatz yelps, almost drops his brush and earns himself a stripe on his palm for his troubles. “Hilda! Hi. I’m sorry, I didn’t notice you there.” 

“Don't worry about it.” She clasps her hands together. “What’re you painting?"

"I wanted to capture the cathedral, while it's still under repair." He gestures to his piece — the white forms the glint of sunlight off patches of rubble, steel and glass, along with the robes of monks and priests as they shift and sweep aside what debris they can. "A lot of artists depict places in their prime, or utterly destroyed, or after they've been restored to their former glory. I thought it would be nice to show the in-between for once. People from every background imaginable, coming together to rebuild for the future. A little different from what I usually paint, but sometimes a little variety is nice." 

"And you're doing it all the way out here because…"

"I didn't want to be in anyone's way, and I come out here a lot. I've got plenty of references with me, so it's not a problem." Ignatz shifts and Hilda catches sight of a stack of sketchbooks, some more worn than others, half-spilled from a bag. The top one gets plucked up and held between them as he flips from page to page. Statue busts, the altar and rows of pews among pillars rendered in charcoal and sleek pigment lines. Sometimes, she catches glimpses of green and blue and other colors, or shapes that don't quite match the church art he focuses on, but Ignatz flips too fast for her to see. 

Or, almost. "Go back two pages," Hilda says. A grin tugs at her lips. "Was that Claude?"

"Oh! Uh, yes." Though Ignatz learned to leave embarrassment and nerves about his art behind, something in his chest still squirms, just a bit. An image of their leader in the library, face cast in candlelight and more at peace than he ever is during daylight, stares up at the duo. "It's easier when I’m with a person, but sometimes I'll do studies on my own. Practice makes perfect, after all." 

"It's beautiful." She reaches out, pauses. "May I…?"

He passes it over. "Here. You can look at the others, too. I don't mind." Then he turns back to the easel and reaches for his paint. "Anyway, I thought this was as good a spot to work as any. There's a field down that way you can see best in the spring, and I like the view of everything from here."

"You'll have to show me when it's in season." 

Her eyes flicker over thick paper. Statues. Flowers, trees, forest paths. Distance shots of people, strolling towards town. Swirls of filigree and patterns fill whole pages in patches, tiny stylized animals and the occasional dragon tucked into the empty space. Silhouettes crowd around the pews, and even if she recognizes clothes, many of these smaller figures are faceless. 

But she finds a loose sketch, hair popping blond against black ink, of Raphael and a young girl with the same square jaw and broad shoulders. Claude himself appears once more, this time in wireframe form, ordinary steel bow drawn all the way back and arrow pointed to the left. When she plucks one of his other books from the stack it follows a similar trend — renderings of the cathedral, inside and out, stuck in among horse-drawn carriages and sunlit grass patches and clothes and people, both familiar and unfamiliar, faceless and defined. A few drawings are from the past few months: Sylvain in his armor, Baltie with his open-chested shirt, Leonie and her long hair, the monastery scaffolding. 

Most of his drawings are from the academy days. 

Lindhardt, leaned against a tree, the shadow of leaves mottled on his lap. Herself and Marianne seated in the dining hall. Lysithea, with a book in one hand and a swirl of magic in the other. Claude and Lorenz mid-argument. Felix as he trains blade blurred and bent as he lunges. Dimitri and Dedue bent over a table in their classroom. Edelgard as she strides across the courtyard, Hubert one step behind. Busts of the professor and Jeralt, side by side, the faintest quirk in their lips. 

Hilda looks up and pauses. Ignatz presses so close to the canvas he’s peering over the wire frames of his glasses rather than through, brow furrowed and jaw set. She shuts an eye as the sun slips out from behind what’s left of Garreg Mach’s spires. Greyscale flowers peer up from the pages, a reflection of the few asters scattered around their feet. Mountain monastery air goes down sweet and full in her lungs.

"I gotta say, Ignatz,” she says, the edge of her thumb smudged in stray charcoal. "These are amazing. How long have you been doing art?"

"Since I was little." He leans back, considers his work, then leans in again. "My parents are merchants, so we delivered paintings and statuettes to a lot of noble houses in the Alliance. One day I found some extra supplies lying around so I just… picked it up and gave it a shot."

"Well, I'm glad you did. Even these plain sketches look much nicer than anything I could do, and don't even get me started on painting. No offense, Ignatz, but no thank you. Definitely not my wheelhouse."

Ignatz pauses. "None taken, and thank you. You draw?”

"Not much." She waves a hand. "My talents lie in accessories. I like to plan before I start working, figure out how it should come together and doodle in the margins a little sometimes, that's all."

"You're always wearing beautiful jewelry, but I didn't realize you made them yourself." A smile breaks out across his face. "That's amazing, Hilda!"

A blush rolls across her cheeks and she can't stop the tug of her lips into a matching grin. "Oh, stop it. Really?"

"Of course! The colors and shapes you use match your hair, complexion, and the clothes you tend to wear quite beautifully." His brush plunges into a cup of water by the foot of his easel and faces her fully. "When did you start?"

"A long time ago, now – I'm not even sure exactly how long, anymore. I used to make flower crowns and necklaces with my big brother, and it just spun out from there." The book lies closed in her hands now. Her finger runs up and down the paper, feels the grooves between unaligned pages. "I could make them as pretty or ugly as I wanted, so long as I was happy in the end. No one ever expected anything more or less. Not that I ever made something ugly, mind you."

Ignatz hummed. "Have you ever considered selling them?"

"Not really.” Hilda tilts her head. “Do you think it'd be a good idea?"

"Absolutely! You should consider it, once the war is over. I bet people would love them."

She taps her chin. “I’ll give it some thought. What about you, Ignatz? What do you plan on doing once this whole mess is behind us?” 

“Well… Ideally, I’ll keep painting,” he says. “Even if I have to do it between my duties as a knight. It might make it hard to find a household to serve, but I don’t want to just stop.”

“Why are you aiming to be a knight? How come you’re not just going off to be an artist or something like you want to?”

“My parents sent me to the academy since my brother’s taking over the business. They didn’t really approve of the whole artist thing.” Ignatz shrugs. “I don’t really think I’m all that cut out for it, to be honest. Fighting’s never been my strong suit.” 

“Well that’s a shame,” Hilda says. “Have you ever spoken to them about it?”

He shook his head. "Not much recently, at least."

“You should. Maybe you can convince them, after all this. And if you can’t, then just come to House Goneril, okay? I’ll let you paint as much as you want.”

“That would be nice.” He smiles, then bends to reach for his bag. “Thank you, Hilda.” 

“Any time.” She holds the sketchbook out. Ignatz takes it, tucks it gently alongside the others. Before he can put his brush away, he pauses. 

“If you have time,” he starts. "Would you like to join me out here again tomorrow? We could work on our projects together, if you have any."

Hilda smiles. "I'd love to, but I'm on stock duty tomorrow. No shuffling off the responsibility for that."

"I see. That's too bad. Maybe next time?" 

"... Sure. I'd like that."

[fenkko]

it’s been a while but here’s another batch of asks!! thank you for sending them in

photoshop and a wacom cintiq! i’ve had it since 2016 and i love it very much

thank you!!! hmm i’m not sure if i have any tricks to it, but i think that getting in the bnha fandom has been the best thing for my art and motivation in a long time. having a passion for something helps a lot! i kind of have a problem on the opposite end where i get too excited about drawing and draw hours into the night, which isn’t good for my health;; 

something that works for my art process is gathering all my drawing ideas and cool reference pics on my phone and then sketching whatever i feel like sketching! it helps so that i always have different things to draw and i don’t feel obligated to force myself into finishing a piece if it’s just not working, but it also means i have a bunch of months old wips lying around ahaha

i still get artblocked though, i think that’s goes for everyone. when it feels like nothing’s coming out right in a drawing i’ll go work on a different wip, doodle silly things i’m not going to post anywhere, or go take a walk/watch some videos/read a webcomic and return when i’m feeling up for it

for your other question i don’t think i’ve ever had trouble with confidence posting things, even at the beginning where i wasn’t very good haha. it could be helpful to think of it as just posting for yourself to document all your artwork, and think of positive feedback as a bonus!

usually i’ll get stuff from google images, but sometimes i take my own! nothing fancy, just setting up my phone camera on a timer and taking a pic if i need a pose reference

i look really weird doing it jgfdsf but it’s very helpful

i think people think of it different ways but i use it to describe the clean up stage! like in this post for example –– first i start with a rough sketch, color it with flat colors and sometimes a bit of shading, and then merge the layers and start defining areas, redrawing lines, adding filters. it’s easier for me to start with different layers so that i can fix stuff quickly, and then begin rendering with the final touches on a single layer when different layers become more troublesome than useful

ahh i’m probably not the best person to ask because i focus a lot more on deku :’) i think bakugou’s still very immature but he’s getting there? maybe? i’d have to reread

i’m glad his classmates at UA aren’t totally accepting of his behavior like his middle school lackeys, hopefully that helps him grow up a bit. i haven’t watched all of naruto but something that bothered me was how everyone took sasuke seriously even when he was being ridiculous. someone please make fun of this dude and his terrible judgment,,

for me bakugou’s in this weird grey area where his actions are too exaggerated to really think of him as a real person and seriously analyze his character (which sounds silly because they’re all cartoon characters, i hope this makes sense haha) so the way i depict bakugou and his relationship with midoriya + his classmates is more jokingly, or maybe idealized? idk i think this is a complicated way for me to say that i like to draw comics that make fun of bakugou HGFJH (which is probably why i like bakusquad stuff the most out of all bakugou content)

i’d really like a scene where bakugou apologizes or directly faces the consequences of how he treated midoriya but i have the feeling we’re not going to see that;; he’s probably going to stay a bit of a turd for the rest of bnha

also since i think it’s relevant to my thoughts about their dynamic, here are the tags from my last drawing of them! #edit: i got a few messages asking me if i ship bakudeku and i dont. sorry to mislead!! #i drew them more friendly than usual which is probably the closest i’ll get to actual ship content #to be honest i don’t draw even the few pairings i do like more explicitly romantic than them standing next to each other bhfjgh #drawing romance is usually less fun than drawing people doing friend stuff #or in this case #bakugou getting bullied by a pomeranian

ahh i’m actually wondering that myself :’) i think the big question is whether to go for a company that handles most of the work themselves and gives you a bit of profit, or open a store yourself and have to spend time packaging your own things. i’d really love to do the latter since i want to be able to control the quality, but i’m not sure if i have the time to manage it the way i’d like

not currently but i finished the ones i already had, so possibly in the near future! the last time i opened them was just on instagram, so i’ll remember to let you guys know here as well :D

@madeline-makes-stuff i’m not super active on discord but i’m in this bnha art server!

ahh i feel kind of weird talking about follower counts so probably no raffles or events like that, sorry;; 

i’m currently attending carnegie mellon university in their school of art!! northeastern is pretty close to my home though so i’m familiar with it –– i was actually accepted there as a game design major and they sent me some valentines candy in a husky box, it was really sweet :’)

aw i haven’t listened to any episodes in a while but it’s still very dear to me! i’m planning to draw some taz this month B) i love all the stuff the mcelroys make, especially monster factory!

and that’s it for now!! also wanted to say thank you so much everyone for your kind asks, they’re all really appreciated HFJGHF;; i keep them all in my inbox and in my heart