#doesnt know that purple and yellow are complementary

[qsmp-yaoi-island]

Sometimes I wonder how foolish became such a good builder with no concept of color theory /lh

[elusiiev]

The Brainrot is Consuming me.

anyway earlier me an my friends were discussing what kinda clothes the main cast of omor would wear bc.... yk half of the cast is in fucking npc ass attire, and we went back and forth about it a lot and now i feel obligated to share this with other people to see if they might agree with my headcanons

mari - for mari i feel like she's very much a cardigan girly, sundresses all the time, probably like sweetheart and square necklines on a lot of her shirts, and she consistently puts lots of time into her appearance, more so for her own pleasure than anything else. however if she doesnt get to change out of pajamas she'd probably get a little upset and feel unproductive as a result - idk she just seems very schedule oriented and i feel her clothing style and habits would match that. she 100% irons clothes, if somethings wrinkly shes not wearing it, and she'd lean into the academia aesthetic. she also gives summer vibes to me, but that might just be because the main canon images of her are during summertime - also lots of purples and yellows, purples her fav color and yellow is the complementary color, plus a color associated with bright light and summertime

hero - he'd probably have a more basic style of fashion, but still look very cute in it. like big sweatshirts, long coats, button ups, wide leg jeans, collared shirts, clean shoes, all in all a very clean look. he prob has some of mari's jackets in his closet that he wears pretty frequently. also he would always wear earrings BECAUSE I SAID SO I THINK ITS AWESOME he might also be a bit into academia fashion, but less over-the-top "i'm the top professor of this college" look and more just autumnal tones and mildly professional attire. also i feel like hero would iron some of kel's clothes if he noticed they were very wrinkled, which might result in hero running out of time to iron clothes for himself, in which he just switches his outfit last minute. this is hyperspecific but but but but but yes

kel - this man does not know fashion, all his tips are from hero, which hero got from mari. his wardrobe probably consists of graphic tees he found funny or pretty, hand-me-downs from hero, and plain shirts and jeans, probably with a couple rips in them from him being reckless. also he always wears some sort of brace, either on his arm or leg he is consistently getting hurt in some minor way /j dirty converses real!! also probably some pen/pencil marks on articles of clothing from getting bored and deciding to doodle randomly on them. also bracelets from random fundraisers or from crafts with the rest of the gang

aubrey - shes actually kinda hard for me to figure out, but i ffeel like aubrey would be wearing a lot of graphic tshirts and tank tops, but like those ones with extra detail yk the ones the grunge ones yeah those, and like huge cargo pants or wide leg jeans, chains hanging from pockets, necklaces and bracelets, and generally ripped things. so kinda punk but also still very fem and not very out there in terms of fashion styles . however this would only be half the time, this half is when she's really feeling like putting in effort to look nice, probably being like "im gonna be like mari today" and spending a good chunk of time putting together an outfit and such. the other half she's fucking done with it and throws on whatever shirt she can find and some pants, tosses her hair a little bit and throws on eyeliner and is out the door, somehow looking gorgeous still. like that effortlessly pretty look even when theres nothing outstanding abt the outfit

basil - grandma ass /j he probably thrifts constantly and the antique store is one of his fav places, so it seeps into how he dresses. lots of sweatshirts with intricate embroidered or sewn in designs, coats, lots of browns and greens, and very worn things. probably wears some traditionally feminine things he finds too jsut because he thought they were nice, again think grandmacore /j he's a very green and wiggly boy, lots of layers in his outfits, and is pretty rarely seen with short sleeve shirts. also collared shirts, messenger bags, pins, custom patches, and friendship bracelets. his clothing represents who he is and can tell a lot about him for the most part, basically story telling through what he wears since he has so many accessories that come from different places. also lots of floral patterns because he's he's the flower boy the little man the flower guy . in summary cottagecore mori kei esque things

sunny - his ass is not putting together outfits /j ok so i feel like sunny is the type to save his energy for other things, i feel like socializing might be a bit draining for him but he loves his friends, so he kind of switches up how he uses his energy to accommodate. but sometimes he'd probably wanna be like mari and put himself otgether, so he probably goes shopping with her and has cute clthes, his outfits just end up being very simple with a graphic tshirt and maybe an oversized jacket. HE ALWAYS WEARS SHORTS!!!! he dislikes the feel of pants and preferred shorts, even if he's cold. if he'd cold he just kinda balls up and puts a jacket around his legs. anyway i feel like he's probably being restricted a lot by his preferences (i hc he has autism and this is one of the ways it impacts him) so he's not the most fashionable person

OK THATS IT this took too long to write it took like maybe 30 minutes ummmmfehrhfweifu im obsessed with this game its taking over my every thought i needed to express this my brains going crazy bhhuu8ewifihbweifuweifok

[pyrosomatic-metamorphosis]

the closer something is to whatever is casting a shadow, the sharper and darker that shadow will be. the further something is from the light (and whatever is casting that shadow) the fuzzier and lighter the shadow will be. when drawing environments it can help to think of it in three "layers" - the foreground, the midground, and the background. the further away some object is from the camera, the less detailed it will be. The deeper in shadow, the less detailed something will be (picking only one or two colours for shading even on complex pieces can help with this). if something is REALLY far away (like a mountain) then it's good to indicate that by making it slightly lighter in tone and desaturated, or otherwise blend in with whatever majority colour is in your background (like the sky, in the mountain example). you can do a LOT with a little- in narcissius, caravaggio implied water with a gently fading reflection and some white dots. you can also do a lot with a lot- also look at ivan aivazovsky's paintings and how there's multiple colours for one element (the water). basically water is a bitch to draw and stylize so whatever way you do it is bot wrong. watch speedpaints to see how other artists are drawing and figure out if there's anything you want to implement from them (i learned about overlay from speedpaints lmao)- speedpaints with voiceover OR just music work well for this. warm colours are roughly purple-red to yellow, and cool colours are roughly green-yellow to purple. if you have coloured light hitting something from one direction, you can also add a secondary light, softer, in a complementary colour hitting them from the other direction- strong red vs soft blue, for example -and it will look sick as hell. certain colours will cancel each other out- green with red is the most notable example, and some painters will use green as a base colour when painting skin for that reason. “Artist eyes” is what i call the phenomenon when you stare at apiece so long you have no idea what looks fine and what doesnt anymore. you spend so much time looking at a piece and breaking it down to the tiny details that it’s difficult to step back and look at it as a whole and know whether or not that whole is good. if you can’t figure out what’s wrong with your drawing, investigate other parts of it- there’s been more than one time i thought a hand was the issue when really it was the arm (if you really cant figure it out, step back a while snd come back once the “artist eyes” have worn off). Light bounces- if you’re wearing a bright pink shirt, the skin next to that shirt may also be a little pinker. Different objects and colours reflect different amounts of light, but the darker in colour something is the less colour will appear on it, and the whiter something is the more colour will appear on it. Your perception of colour is affected by the colours around it, so keep that in mind while in the colouring/choosing stages. colour and light are both very complex subjects so any time you come across a tutorial of either, READ IT. or watch it. consume it. one good quick trick is to pick three colours for an object- darks, midtones, and brights. The midtone should be the most saturated colour. you can use the midtone as the base colour, or you can use it to line shadows and make a nice effect. to draw metal just pick a very dark colour, scribble a circle or a line of silver (or yellow-orange for gold), and add Bright white highlights. keep experimenting keep observing and do stupid shit that looks bad so you can figure out what looks good. muscle memory is a HUGE part of drawing so dont be surprised any time you follow a tutorial for xyz thing and it looks worse- you just need to physically build up the skill. (Thats why any piece made with the non-dominant hand will automatically be worse than what’s drawn with the dominant hand, despite the piece being maxe by the same artist who knows the same tips and tricks- the dominant hand has built up that muscle memory.)

rough art tips to learn and then break at your leisure.

the distance between your eyes is roughly one eye. the corners of your mouth dont extend past the middle of each eye. ears are roughly in the middle of the tip of the nose and the eyebrow. the eyes are in the very centre of the face. the neck is just a Little slimmer than the width of the head (varies with fat distribution, but fat tends to build up under the chin). hair is easier to draw when you plot out the hairline and then where it parts. leaving appropriate distance on the side of the face (cheekbone area and back to ear) contributes to making characters look more realistic/hot as hell. i dont know specific tips for that so use reference. an amazing reference/study site is lineofaction.com . if you think of the face in planes it makes it easier to construct (look up tutorials). if you draw a spiral like a tornado it can help you figure out awkward perspective for extended limbs (look up foreshortening coil technique). tangent lines are when two lines intersect and cause visual confusion (when it looks like a line that defines an arm is part of the line that defines a building, for example) and avoiding them makes your art way easier to comprehend. quick trick to good composition: choose a focal point (where you want your viewer to focus), detail that area the most, and make sure various elements of the piece are pointing to that focal point. you can use colours to contrast hue, saturation, and brightness and make certain elements of your drawing stand out. drawing in greyscale can help you figure out values. using black in a piece isn't illegal but you should know what you're doing when you do use it- it desaturates a piece and if used as a shading colour can desaturate and dull whatever youre shading too. if you use almost-black lineart and then add black to darken the very darkest areas it will do a lot to add some nice depth. the tip of your thumb ends just above the start of your index finger- your thumb also has two knuckles and all your other fingers have three. if you see an artist doing something you like (the way they draw noses or eyes or hair or anything else) you can try to copy that and see if you want to incorporate it in your style <- this is ENCOURAGED and how a lot of us learned and developed our styles. there are ways to add wrinkles to faces and bodies without making the character look a million years old, you just have to keep experimenting with it. The smile wrinkles around your muzzle dont connect to your mouth or to your nose; there should be a small space in between smile or nose and the wrinkle line. eyes when viewed in profile are like < aka a little triangle shape. think of the pupil like a disk and apply foreshortening to it (it looks like a line when seen from the side instead of a full round dot). subtle gradients can add a LOT to a piece. texture can also add a LOT. look up Tommy Arnold's work (his murderbot pieces are some of my FAVOURITE) and zoom in. find those random little circles he added and try to figure out why he added them there. light bounces. there's lots of way light bounces. sometimes it even spreads through the skin. i do not know these light tricks yet but i want you to know that they exist. draw a circle to indicate hand placement, draw a straight line between that circle and the shoulder, and then (normally at a right angle) draw a straight line on top of that line to find the placement of the elbow. elbows are normally placed Just above the hip when standing and your arm is at rest. there are no bad colour combos if you're brave enough about it, just fuck with the saturation and brightness until it works. keep playing. try new things. add your own tips to this post if you want or even expand on some ive mentioned here. good luck go ham etc

[tarot-tea-cafe]

All About Tarot: The Major Arcana

The Lovers

The Lovers card, also called The Twins or L'Amoureux in some decks is associated with the sign Gemini and the air element. It is the fifth card pulled in a new unshuffled deck and number 6 in the major arcana.

Upright this card can mean love, harmony, trust, a leap of faith, choice, perfect union, attraction or attractiveness, conscious connections, meaningful relationships or perfection in relationships and so on.

Reversed this card can often be interpreted as meaning unreliability, seperation or a breakup of sorts, second guessing, values, conflict, coldness within a relationship, being out of sync with those around you, a struggle to take responsibility or own up to a mistake or bad decision you made and more.

In general, this card talks of finding balance in ones self and relationships, though it may talk of love, ties, attraction and relationships it isnt always necessarily romantic, it may be platonic, aesthetic or some other form of attraction as there are many types of attraction and love and its important to keep that in mind.

This card is very focused on talking about your relationships and paired with other cards, say the Emperor or the Empress, it may talk about certain figures in your life and your relationship with them.

It's all up for interpretations of the reader and yourself of course, everyone thinks differently and knows different details another might not so whatever you feel the cards are telling you is entirely up to you.

Common sighting in the cards depictions are of course, two people. These two people could be male and female to represent opposing energies (or because heterosexuality is "the norm"), they could be human or non-human. The card from my deck depicts beauty and the beast(a woman and a man cursed to live in a beasts form), figures from tales with similar meanings to the cards are a frequent thing in art for the major arcana, as interpretations are heavily based on association this sort of thing tends to help get the point across.

You may see other things in the card such as a figure above the two or light and dark contrasts (as ballance is an important part of relationships as well as possibly representing the phrase "opposites attract"), often some form of nature like trees or clouds. A lot of cards depict the two lovers or twins as across from one another and apart but just as many may show the two embracing one another.

(its also extremely common to see these two naked in the card's art, at least in older cards that seem to be depicting adam and eve, but there are a few people have made that might show something like a nakey coupla' gays. now adays the cards are depicting more clothed couples. this doesnt necessarily mean anything i just thought it was worth noting)

Common colours tend to be black and white, yellows, pinks and/or reds, and blues and/or purples. Its common to see both complementary and contrasting colours which help bring out both the upright and reversed meanings of the card, as well as just look very nice together. Its also common to see colours that are close to each others complementary or contrasting colours on the colour wheel but arent quite that (yellow being close to orange which is blue's contrast and so on).

if you have anything more that you'd like to add or noticed something i havent brought up, or if you have any questions, please feel free to let me know!

please support me on kofi - the previous card - the full list

[mattelektras]

hi your graphics are fucking amazing and i love them so much. i'm attempting to get into comic edits, finally making some things that aren't completely crappy but it seems like a really trial and error process. I guess some parts of it just take practice like image cropping and font selection, but how do you know what will look good? like how do you select colors or decide what effects to use on the background? i feel like i just don't have an instinct for that yet. how do i get better? tysm!!

oh it is completely trial and error like. ive literally studied design ive read text books on it at university and that has been absolutely useless in creating any kind of style or brand i may or may not have. like you 100% have to just vibe with things but some things that can help u get there are:

colour palettes that already exist in what youre editing (eg elektra: red/black, storm: black/white/yellow etc etc)

complimentary colours are good for when you have one colour in mind but can’t decide on another. complementary = opposites on the colour wheel that balance one another out ie purple vs yellow. it's used in like marketing a lot 

there’s also analogous colours which are next to one another on the colour wheel and even tho theyre similar u get a bit more depth 

monochromatic which is the same colour at different levels of saturation which is really good for creating shadows 

as for backgrounds i generally go by either a) empty backgrounds for a plainer image or b) a really busy background to go with a more detailed image like. a closeup. and in terms of a plain background, a gradient or light leak is pretty minimal but just adds a little bit extra. and in terms of a busier background, u can always field blur it so that theres still a lot going on but it doesnt distract from the actual image 

knowing what will look good is just...... try every combination. even ones u dont think will work??? sometimes i just flick thru my fonts and end up really liking one i would never have chosen 

theres also really pretentious stuff they made u spend hours on at school like the psychology of colour and symbolism and emotion etc etc like. its dramatic but it does work. theres a reason all my softer elektra graphics are in pink and the harsher ones are in red 

its kind of hard to explain through typing it but google the gestalt principles of design because theyre very simple things u dont realise you think when you look at things and they help with fonts/colours/content/everything

whenever u do design even if its for a comics blog on the internet u always end up getting into colour theory and the psychology of design which i HATE doing because its not that deep but like. sometimes it is that deep and u just gotta cringe whilst typing a whole load of garbage