#drew this all just with the lasso tool so i could feel something | Explore Tumblr Posts and Blogs

imaginesmai · 4 years

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Peter Parker - See the light (4)

I present you to cute Peter Parker, protective Peter Parker and the whole heart of this fic. The first chapters were more of an introduction to the real him, and they only showed the armour around the character. But now we can see the sweet boy! Prepare yourself for this, cuteness and angst ahead!

Small sneak peek

First part

Second part

Third part

Plot: Peter has made a mistake, taking you to the wrong place. After a short conversation and a huge persecution, things only get worse for the both of you; but maybe you’re begging to understand each other.

Lights flickered along the cavern walls threateningly, and Peter wondered to himself how long those torches had been burning. The tavern itself looked old, but those tunnels were falling apart. He didn’t let himself stop, and kept urging you to walk forwards. You could have been walking for an hour, two or even three; they didn’t seem to end.

After the whole speech about dreams and life where everyone seemed to be happy, the guards had come with the scrawny teenager; and you had had to run away from one of the tunnels. Peter was aware of you falling back every now and then, and felt just a little bad for it. If he waited for you and carried your hair sometimes, there was no bad in it. He just wanted his crown back.

Nothing more, he promised himself. It wasn’t becuase he wanted to help you.

But truth was, there was something about the way you had stood up for him back there, that made his heart warm. It had been ages since someone was so nice to him, since all of his loved-ones died. And until now, he had been okay without them, doing what he wanted and not caring about what people thought about him. However, what you had done had awoken something in him. So he made his best to keep your grounded, and not scared.

“So” Peter started, quickly searching for his next words. “What you did back there… guess you saved me. Didn’t think you could, honestly.”

You grinned so wide, it looked though it might hurt.

“I know! If only mother were here, she would finally see how much I can handle myself”

Peter felt that, if he had met you in other circumstances, things would be different.

“Right, so, your mother. What’s her deal?”

“We shouldn’t talk about her” you chuckled, but it was deprived of humour.

“No?”

“Definitely not. She’s not exactly a light topic of conversation”

“Okay, so your mother is out of topic. I know I shouldn’t bring up the hair, either” Peter smiled softly at you, as if he wanted to prove he meant no harm. “I’m also kind too scared to talk about the… animal”

“Pascal is a chameleon” you scoffed, smiling too. Pascal emerged from out of your shoulder and glared at Peter. He shook his head disapprovingly, and Peter chuckled.

“Next question, then. This one has been bugging me for a while” Peter shrugged, trying not to make it a big deal. “If you wanted to see the lanterns so badly… why didn’t you just go before?”

Your smile fell, and you seemed to shrink into yourself. Your eyes darted to the ground, panic starting to colour your features. Before you had time to answer, or Peter to retreat with some sass, vibrations started running through the floor, and the rocks decorating the dirt jumped up and down as the whole tunnel started to shake. Peter whipped around to see the new shadows appearing on the wall, and his heart rose into his throat.

“Parker!” the captain of the guard screamed as a whole hoard of guards ran towards him and you.

Without a second thought, Peter grabbed your arm and took off in the opposite direction. Distantly, he could hear you muttering something to Pascal breathlessly. Questions upon questions falling from your mouth to him. Blood pumping, heart pounding, he spotted a light at the end of the tunnel, and then you were racing into the world flushed with daylight.

Peter only allowed a second to adjust, because you were standing on a cliff at the edge of an abandoned mining site. Cavern walls stretched high above you, and bellow, was a drop that not even Peter could stomach. He felt you pulling back slowly, but he resisted the urge of doing the same and pushed you forwards; in the worst scenario, he was shielding you.

“Parker!”

Peter’s head turned to you. You were staring at him with frightened eyes; and at that exact moment, he could see how wrong he had been. He shouldn’t have brought you there, he shouldn’t have been so selfish and he shouldn’t have gotten involved with you, because people who were with him ended up dead. His heart twisted.

“Peter!” you woke him up from his daydreaming. “What do we do?”

Peter opened his mouth, but no words came out. His eyes darted around the cavern a, few tall pillars of rock, a couple of algae-filled puddles littering the ground bellow. And a cave opening at the other side of the cavern, at the base of one of the walls. If you could get into that, he might just have found a second tunnel that led somewhere safe.

“Y/N” Peter said, grabbing your shoulders. “I have a plan, but you’re not gonna like it”

“Parker!” the voice was closer, roaring, as the entire guard squadron poured out of the tunnel.

“Who is that?” you asked.

“Someone who doesn’t like me”

Then, in a matter of seconds, two other figures were jumping from the top of the caver wall and landing on the cliff alongside the guards. The brothers Stabbington sneered at Peter.

“A-and they?”

“They don’t like me neither”

Finally, a loud neighing rang out above it all, and the horse from the captain barrelled through the crowd like a ball bowling over pins. The animal snarled, totally un-horse-like in nature, and Peter took a timid step back.

“I assume he doesn’t like you too?” you muttered.

Peter just nodded.

They had you cornered. Unless you were going to take a leap to your deaths, Peter knew he would have to hand himself over to the guard, unless the brothers got him first. Either way, he wouldn’t be walking out of there; and he just hoped you could. In a sudden act of courage that you surely didn’t feel, you shoved your pan into Peter’s chest, making him take a step backwards.

“Just trust me” you said, smiling at him before he nodded.

Peter grabbed the tool quickly, and instantly held it out in front of him in a way that should have looked threatening; if it wasn’t a pan. Almost everyone else drew a weapon of their own in response, and even the horse had a long stick on his mouth.

Out of the corner of his eye, Peter noticed you reeling in your hair and holding it like a lasso. You swung it a few quick times before throwing it in a wide arch, Peter breathed in relief when he finally lost sight of you.

“I’ve waiting a long time for this” the captain said, with the faintest hint of a laugh.

He lunged, his sword immediately making contact with Peter’s pan, as the boy cringed back. The guard swung once more, and Peter blocked once again.

“I need – wow, I need one of this” Peter chuckled, tossing the pan in the air.

Peter didn’t get much time to savour in his victory, though, because the horse suddenly jumped on him and started attacking with the pointed stick he had been given. Peter started to fight back, practically cackling the whole time. The pan fell to the ground, and when Peter got back up, one of the brothers was in front of him, knife raised.

He didn’t get far, because he felt his waist being wrapped with something, and in the blink of an eye, he was being swung from the cliff. Peter couldn’t help the non-male scream that rose up from his chest. He tumbled onto the ground as soon as his boots made contact with dirt. You stood beside him, pulling off your hair into your arms as Pascal stared at Peter.

“You can thank me later” you said, shy smile on your face. “We gotta go”

Peter pushed himself to his feet, keeping pace with you as he realized that you were running towards the cave he had spotted. It looked a whole lot bigger. Then, the ground was shaking. It was a lot more forceful than when the tunnel shook earlier. While keeping stride, Peter stole a glance behind you and realized with wide eyes what was about to happen.

Under the cliff where you had originally entered, there was a dam. Behind that dam was thousands and thousands of gallons of water; the captain standing, smiling, and his men breaking the dam down.

They’re gonna flood us out.

“Run!” Peter shouted at you, taking your hand and running ahead. “Run faster!”

You didn’t need to be told twice, and quickly stepped beside him. You were close to the mouth fo the cave when Peter felt it. The dam broke, and the cavern flooded with water, taking out anyone close to it.

Peter’s heart was on his mouth.

“In here!” you screamed over the waves behind you.

You and Peter both dive headfirst into a cave, just as the water knocked over the closest rocky pillar, blocking the entrance.

Water streamed in steadily, but for the most part, you were standing in complete darkness. You ran to the farthest corner and started trying to chip away at the wall with the pan. Peter’s boot were wet, and with alarm, he realized that it was then almost up to mid-shin. He sloshed over and helped to dig at the walls.

Beside him, he could hear as you held back sobs, choking on your own breath as you uselessly scrapped the stone. Peter frowned and walked-swam towards you, until he could hug you close. There wasn’t much space, and he hadn’t been the nicest, but you hugged him by the middle and hid your face on his shoulder. By then, he couldn’t see his feet.

“I’m sorry, Y/N” he said, not bothering to keep scrapping. “If I knew this was where we would end… I never would have agreed to drag you into this”

You supressed another sob, and rubbed your head against his shoulder. Pascal was sitting sadly against your shoulder, looking at his owner with wide eyes. Peter felt bad for the chameleon. The water was at your thighs then.

“Y/N”

No response.

“Darling, listen to –“

“No!” you sobbed, and broke the embrace, trying to dry your tears. “This – this is my fault. I should have listened to her! If I didn’t disobey – I’m, I’m sorry, Peter”

Water up to your waists

“I’m sorry too” Peter sighed, and let the words spill from his mouth. “I thought that if I showed you the tavern you would back down and give me back the crown. People – people are not so bad”

Up to your navels.

“I’m sorry I knocked you off” you admitted, bottom lip quivering. “I just, mother says that people might steal my hair. It glows when I sign.”

There a second of silence, where Peter let his brows almost touch his hair line. The humidity was by then making his hair wet, so it reached his eyes, and with the darkness he couldn’t see much; but he couldn’t have heard you well.

You seemed to realize something, and actually laughed a bit. Pascal hit the side of your neck until he caught your attention; and then you started to sing. The water filled the cave, and Peter could only get one big gulp of air before you were completely submerged. Then, the water was filled with a gold light; and Peter actually lost a bit of air by opening his mouth, and swam away from you out of freight.

Your hair moved around for a bit, until it reached a part of the cave that had been obviously covered to look closer up. The hair got sucked up, and Peter quickly swam towards the small opening. His hands ached when he started digging, and his lungs screamed for air. Preservation coursed through his veins, and he powered through. The last thing he saw was a faint light peeking through the rocks, and then, darkness met him with a cool relief.

Weirdly, the only thing that weighted on his consciousness was you.

Tom Holland and Peter Parker Taglist

@delicately-important-trash

@lexxxistrips

@smilexcaptainx

@aikaterrina

Peter Parker Tangled

@ohmygoditsanthonyedwardstark

@tomsirishgirl

@imjuliabtw

@missmulti

@cazslaughter

@fckingchile

@used-avocado

@willpoch12

@kassedillaa

@whorrorbean

@the-iridescent-phoenix

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quillforge-library · 4 years

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May 2nd: Rope

The bounty hunter Morgan Goode stalked her quarry through the gulch as the sun beat down on the Montanna mid-afternoon. The stetson she wore covered her eyes in shadow with its wide brim, whilst she watched a tumbleweed gently meander across the mouth of the dried up river bed. A pair of spurs jangled slightly from her custom made leather boots with each step her horse took. Three days outside of Georgetown, Morgan had only one thought on her mind: finding the location of a hidden stash from the bandit Moira Byrne. They were heading east, thankfully, which placed the sun behind Morgan should anyone look her way.

It had all begun a few nights before at a saloon in Georgetown. The whisky flowed like water through the gills of fish, and many a game of Faro was enjoyed that night by the gambling sorts. The whores, both male and female, did a roaring trade. It was by all accounts a successful night in the old West. Morgan had been in town a couple of days, restocking on supplies and handing in a bounty to the sheriff's office. It was a tough old life being a bounty hunter. Every step could be your last, but that was just the way Morgan liked it. She wasn’t much suited for softer work.

On this particular evening she had situated herself in the corner, drinking sparsely from a bottle of the old firewater herself. Half of the job of a good bounty hunter was being an excellent eavesdropper. Morgan was able to listen to a room full of people talking and keep three or four separate conversations straight in her head as she listened, whilst looking inconspicuous to her own impoliteness. The doors to the saloon swung open and in came Moira. She carried with her a heavy revolver strapped to her right hip, and an enormous Cheshire cat grin as she sauntered to the bar and demanded the best whisky in the house. Two hours later and everyone in the place knew that she had just split from the gang she was running with, that she had a bounty on her head, but more importantly that she had stashed her share of the profits from a recent train robbery.

Morgan supposed that Moira had thought that she was safe mouthing off in the town. Everyone was in awe of the red hand gang, the group that Moira had just split from. In order to get in you had to be a pretty rough and ready character, or so the stories went. Plus they had pulled off that train robbery, which almost always ended in disaster. There was a slim chance that anyone would be gunning for Moira after that story. Save for the steel eyed bounty hunter following her trail.

Mopping her brow slightly, Morgan pushed her fringe out of her eyes. Though her chestnut hair was closely cropped, it still dangled down at the front when left to its own devices. The back of her quarry’s head was just visible at the edge of her vision, but the gulch was just about to end abruptly and make its way into a steep valley, so Morgan felt it was time to close the distance. Once she got into the valley, there would be no easy escape and there was plenty of privacy to be had.

Spurring the horse into a canter, Morgan checked her lasso knotwork. She was a Kentucky girl herself, which meant horse rearing. Inevitably that also meant that she was a dab hand with a length of rope, in more ways than one. Her family had owned a pony farm on the outskirts of a small town, but when bandits came and stole the whole flock her family had gone out of business real quick. Her daddy had already taken out a loan about as big as he was going to get, and his gambling habit didn't feed itself. Morgan pushed back these thoughts that came unbidden to the fore of her mind. Though the hatred of the lawless would steel her resolve, thinking about her family just made her feel depressed. As her calloused hands felt along the length of the knotwork, she found that it was impeccable as always. Nobody would be able to loosen that once it was pulled taut.

Stepping carefully out of the gulch, it was a small distance to enter the valley. The temperature was rising uncomfortably from the high position of the sun. At least in the valley there was the shelter of the pine trees lining both sheer slopes. The scent of the trees wafted from the pathway where a carpet of their leaves had fallen. Good, Morgan thought to herself, that will give me something to tie her to.

The showdown approached, with Moira still none the wiser to the fact she was being stalked by a rope toting cowgirl. This was part of Morgan’s tactics. She hated to shoot people, no matter how rotten. Everyone out here had someone, brothers and sisters, mothers and fathers, sons and daughters. The list went on. It was far easier to make peace with the bounty hunter who brought your loved one back alive, even if they ended up swinging at the end of a sheriff's noose. And for those that went to jail? At least you could visit or write them. Sizing up the shape of the clearing and the distance between the trees, Morgan coiled the rope to the appropriate length for swinging in such conditions and she began to whirl the lasso over her head as quietly as she could.

The throw landed perfectly. Moira would have only a moment to notice the rope flying past her vision, before she was flying through the air to meet the ground. She cried out in surprise and shock at the sudden rude awakening from what had just moments before been a pleasant trot through some picturesque scenery. Now for the clever part. Morgan spurred her horse into action again, this time driving the mare into a gallop. The rope had caught Moiras hands down by her sides, but most folk worth their salt could still reach their gun from here. Timing it just right, Morgan galloped past like the wind. At the exact moment when Moira was taking her revolver out of the holster she took an almighty jolt from the rope dragging her along. Most people dropped their guns when this happened, and Moira proved to be no exception. The revolver slipped from her hands and bounced once on the pine carpet as she found herself dragged by the bounty hunter deeper into the valley.

Once the gun was dealt with, Morgan slowed her horse to a trot. She was still dragging Moira along, but at least she wasn't smashing her captive off every rock and root through this wild off-road track. Locating a large enough tree for her purposes, Morgan approached and climbed down. The lasso was secured to the horse bridle, and in turn she secured the horse to a nearby log.

“Good girl.” She praised, passively. Her eyes instead watched as Moira was trying to free herself from the bindings, but finding them too tight to do anything about. Her hands were jammed hard against her sides, and the knot was impossible to even reach, never mind undo. Morgan drew her pistol and approached.

“Moira.” She called out on the approach. Moira spun around quickly and upon seeing the gun trained on her she sagged her shoulders.

“Ah fuck.” She said despondently. It took Morgan by surprise slightly, having expected a lot more fire from this alleged firecracker, at least if her antics last night were anything to go by.

“Come with me up the hill to this tree, or I am going to be forced to shoot you..” As she spoke, Morgan busied herself getting behind Moira and marching her uphill. She complied without another word.

“Now sit with your back against the tree.” Morgan said, and again Moira complied. Morgan then untied the rope from her horse and walked it around the tree multiple times, looping the rope higher and higher up Moira’s torso until the rope sat just under her ample bosom. Morgan tied it off and admired her handiwork. It was a sturdy tie and wouldn't be coming loose any time soon.

“Who the hell are ya, anyway?” Moira hollered, as Morgan went to her saddlebags to get the rest of her equipment. She took out a coil of rope, a large wooden stake, a mallet and a bag. Once she had these items, she walked back in front of Moira, who by now was looking flustered.

“Name’s Morgan Goode, but I go by another name too. Don’t suppose you’ve heard of me?” She said, arranging her tools on the ground as Moira looked on in cautious curiosity.

“Well yer handy with those ropes, I know that much.” Moira muttered darkly as she squirmed to find some give in the bondage, only to find there was none. Morgan reached down and took hold of one of Moira's legs by the ankle. She tried to kick, but found that Morgan’s grip was too strong. Before Moira knew it she had lost both of her boots, leaving her feet shod in thin cotton socks. Her feet squirmed when introduced to their new predicament, one sole covering the other.

“Straighten your legs, please.” Morgan asked, taking a good hard look at Moira for what seemed like the first time. She was shorter than Morgan thought, standing almost six inches less than Morgan herself. She was also a hell of a lot cuter than Morgan was expecting, with auburn hair tied in braids, chocolate brown eyes that were surprisingly soft and a curvaceous figure. For a moment Morgan started to wonder if she had maybe caught the wrong gal.

“I ain't doing what ya say.” Moira spat back in an act of defiance, causing Morgan to sigh deeply.

“We can do this the hard way if you would prefer.” Morgan picked up the large wooden stake in one hand and mallet in the other. Moira’s eyes widened for a moment, but then turned to a look of curiosity when Morgan began to hammer the stake into the ground about four feet away from the tree. It took almost a minute to embed it fully, but once she was done Morgan knew that even her horse wouldn’t have been able to pull this out of the ground. Next she took the rope and coiled it in a complex way until she had made another lasso, though this one was much smaller.

“Last chance to do as I ask.”

“Or else what?”

“Or I embarrass you again, like this.” With slow and deliberate movements, Morgan picked the coiled rope up and reached out her other hand. Despite kicking and flailing as best she could, Moira couldn’t stop the other woman from seizing a firm grip on her ankle and pulling her leg taught, the joints and muscles straightening against her will.

“Get off me! Ya have no idea what trouble yer in!” Moira’s voice was getting shriller, higher pitched and with more of a panicked twinge to it. Morgan still hadn’t explained what was about to happen next. Kneeling across Moira’s shin, she reached out and took hold of her other leg and pulled it beside the first. Moira was probably referring to her affiliation with the Red Hand gang, but probably didn’t realise that Morgan was in the saloon last night and heard this little firecracker openly admit she wasn’t running with that gang anymore.

The trap closed over Moira’s ankles and she was forced to watch as Morgan pulled the ropes taut and bound it to the stake. Her knotwork was hypnotic and impeccable to the point where Moira didn’t even bother to struggle, she just glowered at Morgan, who by this point was starting to enjoy herself.

“Now.” She began, setting a small canvas bag down next to Moira’s bound and socked feet. “It’s time to talk, Moira.” As she spoke, Morgan took a number of items out of her bag and laid them out on the ground. A pair of soft looking eagle tail feathers, a horse grooming brush and a ball of twine.

“What… are ya gonna tickle me or something?” Moira said astutely. Morgan looked her right in the eye and allowed a tiny smile to creep into the corners of her lips. “Wait… I know ya.” Moira exclaimed, eyes going wide with horror at the realisation. “Yer the Kentucky Quill!” Morgan nodded once and tipped her hat in acknowledgement.

“That’s right. So you know what comes next, but you don’t know what I want, but I bet you can guess..” Picking up the plumes before regarding her captive’s socks, Morgan inspected the material. They were white cotton socks, or rather they were white once. A little dirty these days, with some holes in the toes and one or two around the sole. It wasn’t an uncommon sight by any means. It was a welcome sight for Morgan though, as she often liked to start with the socks on.

“I imagine ya want me to talk about my stash from the big train job, but ya must be outta yer mind if ya think I’m gonna spill my guts from a little ticklin'.”

“It always starts and ends the same way. Last chance before we get started.”

“Do yer worst!” Moira glowered.

“As you wish.” Morgan said, delighted that Moira was going to try to resist. She always loved it when they put up a fight, but every single person the Kentucky Quill had ever tied up had spilled the beans one way or another. “Say your prayers Moira, because you’ll need a higher power to resist.”

With that said, Morgan slipped an eagle feather into Moira's left sock through one of the holes in the toes. The bandit squirmed her ankle, trying to jerk her foot away, but Morgan simply took hold of the top of Moiras foot in the palm of her other hand to hold it still. Twisting the feather between her fingers, Morgan caused the implement to spin around in the sock, tickling Moira’s sole. The bandit twitched and struggled as best she could, trying not to laugh in a vain attempt to deprive Morgan of her fun. Little did Moira know, but this was exactly how Morgan liked it.

“Come on quit it!” Moira growled, more bravely than she probably felt by this point, “Yer not gonna break me with this kids stuff, I ain't never gonna tell ya where my stash is!”

The quill sawed up and down throughout the sock, finding all sorts of little places to get lost in for a few moments before gliding back upwards. Trapping the feather between the sock and the sole did diminish how ticklish it was, but it made it much harder to get away from, as Moira was quickly discovering. Since she couldn't make very dramatic movements with her foot, Moira found that the small movements she could make were actually contributing to tickling her foot. She began to titter in earnest.

“Quit it I said!” She yelled now, squirming in her bondage even more, knowing it would earn her only deepening rope marks.

“You are in control of your own tickling, Moira.” A shiver went down Morgan’s back when she said the word “Tickling”. She normally disliked saying or hearing the word because of how it made her feel, but in this context it was thrilling. There were things you could say to a bound captive that you could never say in polite conversation, and if you did manage to say them in that context it would never convey the same titillating feeling. “Just as soon as you cry for mercy and tell me where your stash is, I’ll stop tickling and we can set off to go dig it up.”

It was time to up the ante, Morgan felt, so she released her hold on Moira’s foot and then placed the other feather in her other sock, this time through the hole in the sole. Moira gave out a squeal at the contact and began squirming both feet back and forth. It didn't do her much good at this point though, Morgan was moving more or less in time with Moira to keep up the tickling sensations.

“Wait a second!” Cracks in Moira‘s armour were visibly forming as sweat beaded at her freckled forehead. Clearly she was growing frustrated at the insistent tickling and her own inability to quell it or escape it. “Give me a minute, would ya? I gotta remember where it is!”

Morgan knew full well that this was a stalling tactic to earn her feet a break, but she indulged it with amusement. Letting Moira have a modicum of control allowed Morgan to take it away as a punishment, which always led to some of her favourite scenarios when tickling a prisoner. Withdrawing the feathers she teased them down Moira‘s sock covered insteps, and even this was giving the bandit cause to squirm.

“Take all the time you want, dear. I‘ll still be here waiting to continue the second you decide that you can‘t recall, or when you've found your nerve again.”

“Ya dirty... grrr…”

“The only thing dirty around here are your socks. Speaking of which, since you‘re clearly stalling, I think it‘s time we took them off.”

Without waiting to listen to her complaints, Morgan stripped Moira of her socks. She took both at once in one single yank of the material gathered by the toes and tossed them over her shoulder. Moira wouldn't be needing socks for the foreseeable future as far as Morgan was concerned.

“Damn it! Ya can‘t do this to me!”

“Actually, I can and I am, and there isn‘t anything you can do to stop me. Plus, I know for a fact that this valley is used as a route infrequently, so we are unlikely to be discovered if you were hoping for rescue from your predicament. I don‘t mind if you give up now, in ten minutes, in an hour, or even tomorrow morning. All I know is that I am going to tickle your bare feet until you submit and talk.”

Without waiting for further discourse, Morgan swept the tips of the feathers from Moira‘s heels to the tips of her short toes. The bandit‘s feet were small and wide, forming almost an inverted triangle shape and with aforementioned short, round toes. It would be a challenge to get fingernails between them, but the feather fit just fine. Sawing it back and forth elicited shrieks of panic from Moira, but because she could still wiggle her feet back and forth a bit, Morgan struggled to keep the feather in that sweet spot that would make her squeal. Instead she began sweeping both feathers randomly up and down her flailing feet, which struggled from side to side like a metronome.

“Quit it! Quit it! I’ll never talk, ya pain in the ass!” Moira struggled to speak in between her squeaks, squeals and attempt to keep her lips together. She hadn’t out and out laughed yet, but Morgan was working up to it. Her feet were plenty ticklish though, pleasing the bounty hunter immeasurably. She anticipated that Moira would be begging around the time the brush got to her soles based on her experience of tickling bound feet.

“Then I’ll never give you another break. I bet you’ll need me to stop way before I need to stop. The only thing that gets you breaks is information.” Morgan retorted matter of factly. By now she had been feathering Moira for about a minute and a half and already she could see the resolve cracking on the bandit.

After that, Morgan just ignored every insult, threat and swear word that came out of Moira’s filthy mouth. The feather continued to stroke up and down time after time, teasing at the edges of her feet, sweeping under the toes, dominating the arch of the foot and tracking along each of the bandit’s adorable toes. As Morgan progressed with the tenacious tickling, Moira lost the ability to hold in her giggles, then she began to guffaw,

“Stop! Stop! I’ll tell ya where the money is!” Moira yelled through her laughter. Morgan didn’t stop right away though, every action she performed aimed at taking control away from Moira and illustrating just who was in charge. The feathers decreased in speed gradually, like a train approaching a station until the tips rested against the captive woman’s heels.

“Talk then.” Morgan said, knowing that she wouldn’t. Knowing this was just a ploy to make the tickling stop for a moment, and it took every ounce of self control to not smile knowing what her counter play to this move was ahead of time. From her experience what came next would either be an outright lie, stalling tactics, a conversation attempt, or in her favourite cases pleading. There was something just so satisfying about upping the ante on someone who was begging for mercy, yet unwilling to actually break properly.

“Wait a sec, wait- ahh!” Stalling it was, so Morgan stroked both feathers up Moira’s soles.

“Talk.” Morgan said gruffly, as if she were losing her patience, as opposed to having the time of her life.

“Fuck off!” Moira yelled with all the violent venom she could muster in between having her soles feathered. Well that tore it. Morgan wouldn’t stand for a foul mouth pointed in her direction. Wordlessly she placed the feathers down and picked up the twine.

“You asked for this.” She warned, taking a length of the course material and winding it around Moira’s big toes in a handcuff knot, before tying it off around the rope securing her ankles. It pulled both of Moira's feet together and then bent them back to force the soles taut. She could still wiggle all of her other toes, but her big toes were now restrained. The bound woman tried to spit at Morgan, tried to shout at her to get her attention, and tried to find a flaw in the bondage. Nothing was working, and now the lesson was to be implemented. She did this to herself.

Using the edges of the feathers, Morgan now inserted them into space beside her restrained big toes and moved them back and forth simultaneously, stimulating the soft flesh between her toes. The reaction was an instantaneous shriek and immediate remorse, manifested by a renewed bout of begging and promising to cooperate. She had earned this though, Morgan thought as she lazily sawed back and forth, putting minimal effort in to get uproarious results. She would continue to punish Moira for a good minute of non-stop sawing between her hypersensitive toes. When the bandit started growing hoarse from all the undignified screeching, Morgan ceased between the toes and began stroking her taut soles instead. The realisation that she was unable to move her feet away from the torment hardly at all brought out a renewed bout of helpless laughter from Moira. She tried to restrain it, tried to fight it, but Morgan knew her stomach muscles would be aching by now.

“Quit it!” She yelled between forced laughter. “Stop! I’ll tell ya, I mean it!” Morgan smirked to hear it and carried on regardless. She had just built up a rhythm of alternating strokes and was enjoying the laughter too much. She also wanted Moira to realise that the more she tried to resist and deceive the more devious her captor would be. Another thirty seconds or so and she again began to slow before resting the plumes against Moira’s toes, holding them hostage.

“Go on then. And don’t bother lying, because I’ll know.” Morgan punctuated her threat with a little reminder of the consequences. She twisted the feather between her thumb and forefinger, causing it to slightly brush against Moira’s tip toes. The bandit winced, but didn’t say anything at first, taking this moment to breathe deeply. When she did speak, her voice was as dark as a brooding storm.

“When I get loose, I’m gonna git ya, an’ I’m gonna tie ya up. Then I’m gonna take yer boots off an’ I’m gonna do the exact same thing to ya, see how ya like it!” That concept took Morgan back a bit. Nobody had ever threatened to tickle her before. Plenty had offered to kill her, skin her alive, tie her to train tracks, etcetera.

“So let me get this straight.” She said, taking the twine and forming a series of little loops. Each of these loops found their way around a toe and proceeded to pull back and tie each piece of twine to the ropes binding Moira’s ankles. “You want to tie me up so that I’m as helpless as you are now. Then you want to take my boots off, and then take my socks off, so that I’m as barefoot as you are now...” Morgan was getting a little too into this, which Moira was probably picking up on, but Morgan carried on anyway. It wasn’t every day she got to say these things to someone. “Then,” she continued, voice almost trembling now, “you want to tickle my poor defenceless bare soles until I cry uncle?”

Moira’s dark veneer melted like butter during the course of Morgan’s speech and she smirked. “Yer, that’s right. Only ya won’t be askin’ for uncle, will ya? Prob’ly just ask me to fuck ya instead.” This definitely hadn’t happened to Morgan before and she was a little taken aback by it. “So how's about it? Do ya want a turn to get tied up an’ tickled?”

A thrill ran through Morgan’s body hearing another woman offer to tie her up and tickle her, but her mind raced to quash the feeling. This was about getting the money, and about collecting the bounty for this vile excuse for a cowgirl.

“You’re going to want to keep your dirty talk to yourself.” Morgan said, discarding the feathers and gently rubbing Moira’s soles with her fingertips. “All I want from you is information, and if you keep talking dirty I’ll gag you with your dirty socks.” Without giving Moira a chance to backchat, Morgan skittered her manicured nails right over the arches of her captive’s feet. Moira screamed, much louder than Morgan had been anticipating, and immediately began begging and pleading and saying she was sorry.

Morgan had to find a way to calm down now though. She knew she was blushing deeply, as the scarlet in her cheeks caused them to radiate warmth. What did she plan to do with the money when all this was done? Well, she had planned to buy a ranch and try her hand at raising horses herself. Just her and the horses. It never occurred to her before now just how lonely a dream that seemed. With no more feet to tickle. No more bandits to interrogate in her own special way. No more “Please don’t tickle me!” No more “Not there! Anywhere but there!” No more “Anything but the feather!” She frowned at the small bare feet in front of her that tried every conceivable angle to squirm more than an inch in any direction.

“Mercy! Mercy! Mercy! Ahhhhhh! I can’t stand it!” Moira’’s laughter came in gales now, and her tone of voice was at the precipice of panic. In a blur of nails manicured to a point, scraping up every little bit of Moira’s flesh, the bandit’s resolve finally broke. Morgan ceased suddenly and looked up at Moira, slightly wild eyed as she returned to reality. Somehow Moira had managed to shake her hair out of the braids and her naturally curly hair was all over the place now, including matted to her forehead. She panted and sweated profusely, looking like she had been for a five mile run.

“Mercy…” She panted once more, shoulders drooped and leaning forwards as much as she could. “I’ll tell ya where the stash is.” Morgan had snapped out of it fully by now and was watching Moira carefully, nails poised to tickle again should they need to.

“I’m waiting.” Morgan said, impatiently. Again though, feeling anything but impatient with a captive as cute and as ticklish as Moira.

“I buried it under a stump, out by the red ridge. On the North side, near the creek. I… I’ll take ya there.” Moira said, dejectedly.

“Very good. Now apologise to me.”

Moira’s head snapped up. “Fer what!?”

“You said some very nasty things to me, and I want you to apologise properly.”

“Ya’v got to be kiddin’ me. I’m supposed to get tickled to high hell then apologise to ya ‘cause ya got hot under the collar? Uh-uh. I may have said I give, but I ain’t givin’ ya that satisfaction.”

“Wrong answer.” Morgan grinned, picking up the horse brush, whilst her heart skipped in joy that it was coming to this. The bristles on the brush were soft, but that only seemed to make things worse as the fibres scraped all along the bottoms of Moira’s feet. Morgan knew from experience that this was the most ticklish of the tools she had in her arsenal. Nobody withstood the brush for long, and Moira certainly wouldn’t be able to last on account of how ticklish she was.

“Please! Please! Am sorry! I’ll do it! I’ll say whatever ya want!” Moira pleaded, dispersed amongst hysterical laughter and attempts to draw breath deep enough to laugh back out. Morgan ignored her gleefully, the brush educating Moira in ways no prison cell ever would, and the way no gallows ever could.

“Now Moira, you’re gonna laugh it up some more, and then we are going to pack up and head up to Red Ridge, and you’re going to dig up your treasure for me. You’re going to be a good girl, and you’re going to do as your told, otherwise these pretty little feet of yours will get brush again. I get the feeling you don’t want the brush any more?”

“No! No! No! No more!” Moira squealed. “I’ll be good! I swears it! I’ll do whatever you want!”

Morgan pressed on regardless, pushing the brush up against the undersides of Moira’s toes, long since aware that this was the most ticklish part of her whole foot. “Good girl. Now, tell me who is your mistress.” Morgan said in a sweet and innocent voice, yet the continence of which was growing darker with every second of tickle torture that passed.

“Wait! Someone is coming! Wait! Stop! Behind you!” Moira screamed at the top of her lungs, coughing and struggling now as she battled the brush in a losing affair. Morgan thought it was a ploy to get her to stop tickling, so she carried on, but it was only a few more seconds before something bashed her right behind the ear and she fell forwards onto the ground with a low moan, face landing right next to the very feet she had been torturing for almost an hour now.

The last thing she saw before she passed out was a pair of cowboy boots stepping closer and a feminine voice speaking. “Well look at what we have here. It’s a good thing I overheard the location of your stash. Seems quite a ticklish situation all told.” The sound of the woman’s laughter resonated within the halls of Morgan’s mind as unconsciousness pulled her deeper into the dark.

#tickling story #tickling

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i-draws-dinosaurs · 6 years

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Hi! Do you have any tips on getting into digital art? I'm getting an art tablet soon, but I don't know where to begin. I want to draw animals if that helps

Congrats in advance on getting a tablet! I’m still pretty new to the whole digital art thing myself (I only got my first tablet like one-and-a-half years ago), but I’d be happy to give some tips on getting started!

1. Don’t try to create a masterpiece the first time you use the tablet. This might sound a bit obvious but the first thing you should do with a tablet is a lot of sketching and messing around to be able to get the feel of using a tablet, which can be a pretty unfamiliar sensation. If you expect yourself to be able to create a beautiful digital painting the first time you use a tablet, you’ll probably be disappointed. Just playing around with little sketches is a much better way to get accustomed to digital drawing.

This is the first thing I ever drew with a graphics tablet. Just a sketch of an Allosaurus head with which I then proceeded to attempt an obscene amount of detail and gave up after I barely started. It’s okay to start small!

2. Play around with the brush settings in your art program. Most art programs have a wide variety of brush settings that you can fiddle around with to adjust size and transparency based on pen pressure, as well as different styles of brush that give different effects. I’d recommend messing around with these a bit while you’re doing your practise sketching to find a brush type that is most comfortable for your style of drawing.

You can get a ridiculous amount of variation in brushes by fiddling around in the settings. I use Photoshop, but other drawing programs probably have similar tools. There are plenty of tutorials online on how to create your own personal brushes on different art programs, which can be a fantastic way to personalise your art and make it a bit more special.

3. Practice shading and highlights. One of my absolute favourite things about digital art is that it gives you the ability to easily create strong, bright highlights over your drawings, which is something that you just can’t do easily with a lot of traditional media such as coloured pencils. If you put in the time, effort, and practice to get this right, you can create really solid, three-dimensional-looking art. I can’t offer a lot of great advice on this since it’s still something that I’m working on myself, but there are plenty of tutorials on the internet on shading and highlighting in digital art that are really worth checking out and studying.

This Teratophoneus is probably one of my proudest achievements in shading and highlighting so far. The ability to draw light colours on top of pretty much anything is incredibly useful for creating good, solid highlights

4. Don’t feel pressured to be amazing at digital art immediately. There is definitely a learning curve to becoming good with a graphics tablet, and you almost certainly won’t be able to create beautifully-lit, photorealistic art right away. I’m still very early on in my digital art exploration, so I know that it can often be disheartening to see accomplished digital artists creating amazing pieces of art while you’re still trying to figure out how to use the lasso tool. The important thing to remember is that these artists probably have years more experience than you. That being said, if you put effort and care into practising digital art, you will improve at it, just like any other art form. Your first attempts will probably not be all that impressive, but your first attempts do not reflect what you will develop into as a digital artist.

Two dinosaur heads, drawn by me, roughly 1.5 years apart. I only just found this really old drawing today, and I am honestly shocked by how far I’ve come. Art improvement might be hard to notice as it happens, but it’s so rewarding to look back and see where you came from.

And finally, the two most important ones (in my opinion):

5. Experiment with whatever you feel like. Digital art is an amazingly versatile medium. You can essentially make your artworks look like anything you want to. That can sound quite daunting, but it’s a great opportunity to spread yourself out and challenge yourself artistically. Want to draw something simple and cartoony? You can do that. Want to draw something so detailed it looks like a photo? You can do that too! Want to just go completely nuts with colours and see where it takes you? Guess what, you can also do that!

Don’t be afraid to try doing something new with digital art. I have at least three very different digital art styles that I can use interchangeably whenever I want it, and I feel like that’s the real power of digital art. The ability to create whatever you want to do, whenever you want to do it, however you want to do it. The ability to diversify and branch out and explore completely new styles and methods without having to worry about resources or media or buying lots of expensive pencils or paints that you might never use again. Whenever the mood strikes you, just sit down and start creating anything you want.

ABOVE: The many digital art styles of Tas. From abstract graphic design to realistic, anatomical illustrations, digital art is an incredibly broad medium.

6. Keep practising traditional art. This is something that I think is essential as an artist. Digital art should not take over any traditional art methods that you already use. Instead, it should be treated as something to expand your range, not replace it. I’ve raved about digital art quite a bit in this post, but to me there’s still nothing that feels better than a graphite pencil on a sheet of paper.

I drew a series of Triassic reptiles in graphite last year, and they remain some of my favourite restorations of prehistoric animals that I’ve ever done. Don’t underestimate the humble HB pencil.

The great thing about doing digital and traditional art is that one method informs the other. You might figure out some cool new technique with watercolours, graphite, coloured pencils, or whatever you prefer to use, and then use that same technique in your digital art. Likewise, digital art can also influence how you approach your traditional works. I have personally learned a lot more about shading since I started creating digital artworks, and I’ve been able to apply that knowledge to my traditional pieces as well.

This Bi-stahieversor is my most recent traditional artwork, and almost all of the shading and texturing techniques are based on things that I’ve learned from doing digital art. I highly doubt I would have been able to learn these as well if I hadn’t done a lot of shading practice in digital art.

Well, this has turned out to be significantly longer than I thought it would be. If anyone else has any other advice, please feel free to add it! I’m sure there are plenty of more experienced artists out there who have much more to teach than I could at this point in time.

Good luck with your new tablet, Anon, and best wishes in your artistic endeavours!

#ask #palaeoart #art #digital art #long post #I did not expect to write this much #but here we are I guess #hopefully this isn't too unreadable #art advice

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elanorgame · 2 years

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Evaluation

I feel like with this project, I went a little risky and went with something entirely new to me to try and develop a new skill with digital art, and just art in general, I went into it thinking initially it would be a 2D pixel game, but found myself intrigued and decided to make something using skills I desired rather than skills I had.

This was the first draft of the main character before I had made that jump, it is anatomically incorrect, the lighting and shading is crude, and I didn’t use a lot of helpful tools such as the lasso tool or multiply layers, as I really didn’t understand much about the software at this time.

This was the second version of the character, There was definitely some improvement, but after this I decided I wanted to get better at drawing in general, so I started practicing with pencil and paper, I wish I had done this at the start as it would’ve lead to a lot more improvement over a longer amount of time, I feel this was a very good call on my part.

After 3 weeks of practice with pencil and paper, I came back to photoshop and drew this, a lot of improvement from an anatomical perspective, but also with a more interesting pose and angle. You can really see the improvement from those weeks of practice.

(trying to recreate what i do on pencil and paper on digital, draw the circle for the head and putting the face together from there.

Perspective drawing, posing and building up the shape of a body, clothes, digital drawing, getting used to using layers. All of this served to give me a lot more knowledge and the ability draw humanoid figures. At this point, I was comfortable with redrawing my character somewhat consistently, and I’ve only improved with time, I’m now comfortable with putting a character together in clothes in 30-40 minutes, I feel this period of practice was very important and attributed to my success.

I recreated the one from above digitally by using it as a reference, in future I’d rather just photo copy it and trace over it in photoshop, it could lead to better results.

This would later become the lineart for my final piece (with a bit of patching up)

I feel this piece is a huge improvement, and a demonstration of all the skills I’d learned, getting more familiar with photoshop and making huge progress over the course, but I acknowledge there’s room for a lot more improvement, I wish in hindsight I had drawn entirely knew lineart, instead of what I improved upon instead, the sword, shield and horns also feel very lacking. This was a very important journey, and I’m looking forward for my next project, as I’m sure it will benefit greatly from everything I learned for this project. I met my expectations, but In hindsight I should of drawn a fresh piece of lineart for it instead of using lineart from a few weeks prior, I feel like I should also work on my colouring and background building, such as maybe a mountain, or some kind of distanced and silhouetted terrain, something to just fill the space.

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lmfmp2021 · 3 years

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Creating My Own Collage

Here, I will now be creating my first collage inspired by Zerka’s work that I have previously looked at. I am hoping my own piece will incorporate some elements from his work but I will also go my own direction too. To produce it, I will have to use all the skills I already know and maybe even some new ones along the way too. Additionally, I will be relating these collages to my theme of palm oil, to try and get a message across to the viewers of the effects. As well as this, I will use Photoshop to do this task.

Below, I started by bringing this image over to Photoshop, to which I got it from my own camera roll. I have mentioned before, that I wanted to try and use a couple of my own images as I feel this will make the overall collage feel more personal. This is because I took the images myself meaning I will have a connection with each one. This picture was taken on a holiday a few years ago as I was attracted my curves of the structure. I also drew to the brightness of the white as the sun was hitting on it. My initial thoughts on how I could use this was that I could cut out the structure so there is no background showing and then have an orangutans face inside the centre. I thought this could show the animals being trapped as it would look like jail bars. Although, when I was looking through Pexels (free copyright images) there was nothing that really stood out to me that I could use.

Beneath, is showing my cutting out the image, where I had got rid of the background space and just had the inside sections left to cut out. I used the ‘polygonal lasso tool’ to do this.

Once I had cut this out, I went back to Pexels to try and find another image that could work. I tried typing in many differing words and phrases to find something I could use. These include: ‘orangutans’, ‘orangutans deforestation’, ‘palm oil’ and 'palm oil plantation’. I ended up managing to find this image. I thought of placing his onto of the structure. This doesn't really represent anything but I thought I could look unusual. However, I noticed that this man isn't carrying palm oil as it its transported like this. I found this image mentioned grass in its name which is obviously not really relating to my theme. Although, I decided to go with it as I thought I could maybe add some other images along side it which do relate. I found there wasn't really loads of images that I could use, which made it very limiting to what I could use.

I have started to cut the man out from the rest of the image, where I was slightly worried that the image wasn't going to bold enough to use. I was going to leave some background space showing around him, but found it looked quite messy as you can no longer see what it is. To cut this out I used the ‘lasso tool’ because I found it easier to go around all the curves. I was also able to show the grass shape more effectively.

After that, I brought this image to the file where I was arranging and creating my collage. I did this because it was simpler to cut and edit the images on a separate page. Next, I did what I was first intending to do, which was to place him onto of the the structure. At this point I had decided on my colour palette so I chose this green colour showing on the diamond shape, where I used the ‘eyedropper tool’ to get it from the grass. Also, I chose purple as I felt this was compliment the green well. The reason for using a colour from the actually image was because I discovered Zerka did this in a few of his pieces and I thought it brought the whole design together a bit more.

Now that I had chosen the two colours I wanted to slightly change the colour of the structure as this would then contrast against the image a little more. I went into ‘colour overlay’ where I chose this dark green. I then just went through all the ‘blend modes’ to get to ‘difference’ where it shows the opposite colour on the colour wheel. This was purple. I didn't actually know at the time but felt that it was the colour I wanted anyway. I also felt this blend mode was really effective as it looks quite realistic.

As you can see I have also placed this diamond shape behind the man and structure. I did this as I thought it could make the man standout from the rest. I thought to have the fill as the green I prevsioluy chosen and a thick purple stroke.

Next, I decided to emphasise the shapes a bit more so I thought to copy and paste it, where I arranged them slightly lower than the previous one. Along with this, I decreased the opacity for each as well. Another this I included was these palm oil trees.

I got this image from Pexels, where I then cut out a few of them and placed them onto my design. This picture is showing the trees from above as I found there that there was no images from the ground view. I thought that placing them on her would show the viewers a connection to palm oil.

Here, I then decided to go back to this image on a sperate page, to which I used the ‘lasso tool’ to cut out weird shapes from the image. The reason for doing this was because Zerka used this technique of showing unusual shapes around the design. I thought to try this concept shape instead of a solid fill out using a more textured based instead of a fill colour. I experimented with this idea to which this was the outcome. I found it didn't look anywhere near as effective as his, but I wasn't sure why. I questioned whether it was the fact that it is a texture or that I wasn't positioning them right. As you can see, I have also shown sections of this image in a more purple tone. To do this, I used the options at the right side of my screen, where I got to ‘difference’ again and found this effect come up. I thought this was really striking as it matches with my colour palette but also completely changes the picture too.

Another thing I added to this design was an extras outline of the ma to which I placed behind him. To do this, I copied and pasted this man and changed the fill to purple. I thought this could make him more engaging to the viewers.

Here, I have played around with the shape as I have now swapped it a circle with only a stroke. I did try this shape with only a fill too but found it didn't really work as it too flat looking. This screenshot below, is showing with a stroke but I feel its a little boring now.

I then thought to add another image in and try to swap it with the palm oil trees. I found this image of some logs stacked up on Pexels, where I felt this would relate.

I used the ‘elliptical marquee tool’ to create a circle on top of the image. I then copied and pasted the shape. This is then how I ended up with this design below. I positioned this circular image slightly off centre from the other shape.

I thought this looked slightly weird and not really very successful so I then decided to get rid of all the aspects apart from the man. Instead, I changed the original image of the man so that he was now a threshold. I felt this looked striking with the purple silhouette arranged behind. As you can, I have also placed the palm oil trees back, but this time, I drew over the image to change its overall look. I then brought back the other smaller shapes from earlier. I tried to show the look of the image falling apart. This idea came from one of Zerka’s pieces of work where he used a picture of a woman in a pond with lily pads around her. The artist presented sections of the lily pads almost floating away. In my case, I thought this could show the messgae of the palm oil taking over the forests.

Here, I have then played with the shape again, to which I chose a circle this time. I also thought to add this outline shape. I created it by going into the ‘ellipse tool’ and changing the stroke to green and ‘stroke options’ to these dashes. I thought doing this would highlight this centre area a bit more.

After that, I swapped the image to the stack of wood, where I then brought in the cut out palm oil trees, where I placed them inside the circular shape. As you can see, I also played around with the thickness of the dashes but also moved the position of the purple silhouette too. Without realising it, I have actually ended up with a more logo looking design as I would definitely not call this a collage. However, I still think its looks quite effective and I will be saving this as a separate design just in case I ever want to go back on it.

#outcome

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sarahjart · 5 years

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PROJECT// NARRATIVE- Developing a Narrative and Digital Printmaking

The rules stated in the brief regarding a final narrative were that you must use the fellow student and kitchen implement you drew in the beginning stages of the project, as well as the location you chose for the task over Christmas. The meant that I started off with my friend Anoushka, a spoon, and my local woodland.

During the group narrative task (see previous post), I had enjoyed playing with more the fantastical elements in the story, as well as thinking about including hybrid characters I had created during the ‘Assembly’ project. During the group task I doodled the following fish/human character as a development from the ‘Assembly’ bird with legs I had made earlier in the term.

I had also gone in a whimsical direction with my location- using bright purples for my 3D model, and integrating strange faces into the trees in my sketches. With these things in mind, I came up with my narrative quite organically. I connected the fantasy location and strange fish character to my spoon and girl character by having her dig her way into a fairy tunnel and accidents turn herself into half a fish by touching some strange water.

With this narrative, I have included all three elements required in the story in a cohesive way, the narrative has an arc with a surprise for the viewer to keep them engaged as well as being interesting for me to create as well as for the audience to see.

I created a storyboard plan for the final pieces. Originally I only wanted to do six prints. I made notes on expression and clarity of intention to make sure that the narrative would be clear to a viewer how previously had no experience of it.

At this point a started seriously considering what medium I would use to make my prints. The brief stated the use of digital or physical printmaking. My initial instinct was to go straight for etching as it would give me the ability to impart the amount of detail I wanted, as well as atmospheric effects. However it quickly became clear that I wouldn’t have the time to prepare six to eight plates, draw on them, etch them and then print them in time to the standard I keep myself to.

I then moved onto considering Lino relief printing. It seemed like a good alternative to etching. I could still get a certain level of detail but with much less preparation of the plates. I bought all of the equipment, however quickly hit a brick wall with it. I was running out of time and had to review the possibilities.

Pros to using Lino for this project-

That physical printmaking ‘charm’

Happy accidents of small uncut pieces of Lino adding texture and feeling

Gain experience in the process

Cons to using Lino for this project-

It would take a long time- time I don’t really have- to carve out the Lino on six to eight different images

I’m inexperienced in the process which would make it take longer and give a less-than-perfect result for this final piece

I’m looking for a high level of detail for this project, which is possible for Lino printing but only through carving with very small tools with great care and accuracy. I don’t really have time for this

I would have to buy the tools for this fine carving

Clearly, Lino printing wasn’t really and option either for this project. This left me with digital printmaking as my only option as I hadn’t done the screen printing workshop yet. I am familiar with digital printing, and have the equipment to make a good job of it. However I really wanted to keep hold of the hand rendered charm of physical print work, so I kept that at the forefront of my mind as I worked.

I started off by making a larger sketch of the thumbnails I had drawn on my storyboard. I will be showing the process for just one image just so you can see the progression. In the final piece I made eight in total, so I repeated this eight times.

I decided that I wasn’t a fan of this more ‘realistic’ style- so re-drew this same sketch with a more cartoony edge to it. I then picked out a number of coloured penciled and hatched over the entire drawing, taking care to emphasise certain shapes and directions of shading. I would use this technique to inject some of that hand rendered magic into the final digital outcomes.

I photographed this image and put it into photoshop. In photoshop I then used the lasso tool to draw around and isolate different sections of the drawing that would be different colours, for example the hair. I then used the hue/saturation tool to change the colour of my pencil marks to one that better complemented the colours of that section. Then I used the colour balance tool to give the whole selection a colour. The colour balance tool only allows you to put bright colours and is effected by colours already existing in the selection, so this helped me to avoid that digital ‘smoothness’. I got the following effect- (using a different image because it was the only on I had that wasn’t flattened into JPEG)

In then used a pencil textured brush to add details and to complete the piece

I was very pleased with the ‘hand-drawn’ effect I managed to successfully add to my images. It was something I had never attempted before, but looking at these results I think I will continue to use this technique in the future.

#unittwo

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nikolinaboldero · 5 years

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DIGITAL Print, reflecting on my fashion illustrations.

20/11/18

I think that my fashion illustrations are unique, the face I drew in the background is effective because it is original to me, so if I were to market my own fashion collection I would incorporate my own statement piece like this. Despite not having that much experience before starting to develop these designs I am really proud of them, I got used to the different tools which worked for me. For all of the four patterns I used similar techniques. I used the Lasso Tool a lot, to draw a freeform selection outline around my objects. The magic wand tool was useful because it selected areas of similar colour with a single click. The pattern stamp tool was useful to paint a pattern over an image, I used it mainly for the fashion illustrations where I was repeating my designs. Due to my work being very illustrative I used the brush, pencil and eraser tools. Therefore, I treated my work almost like my initial drawings.

The tutors said to use our mark sample books to make our 4 patterns, however a lot of my designs were too busy and 3D, they had a lot of added embroidery because I work a lot with stitch. I thought that it would work best by taking elements of my drawings in the swatch books and then combining them in with my patterns. A lot of these elements were the floral, swirl stitch embroidery. I played around with the brightness, contrast, editing tools. Pattern number 1 was under the effect ‘subtract’, where it makes the lighter areas go darker. I think this looked really nice, it was such a contrast to the previous white background. On my second pattern, I chose a light pale colour to be in the background, I chose this colour because I wanted something which linked in with the tones on the face of the fashion illustration. In my box clever collection, I had some antique pieces of lace of which I had gathered from my mum’s office. Then using my sewing machine, I drew with an outline of the lace and the key details inside. I opened this picture in Photoshop and removed the existing area with the eraser tool. I then repeated the pattern, used the layers to build up this detail on top of the face.

The contrast between the dark black and the spots of lighter tones of blue on the face of the fashion illustration looked really nice. I really liked this design, I think that I can imagine it being used in both the fashion and interior world. It could be used as a repeat pattern, or even just scaled up as one main picture. The third pattern I designed incorporated a different face from one of my fashion illustrations, and then it had one of the prints I developed in my smaller sketchbooks at the beginning of term. All of the techniques I used in the first two patterns I used in this pattern, just slightly changing the scale, the effects and the repeat pattern. The last pattern I made had the stitch embroidery detail in white, this looked extremely bold against the darker black background. Then I took details from the first pattern and experimented with layout and composition. I like how this pattern feels almost like a patchwork, you could just select certain features to develop the design. The pattern I would chose out of the 4 would be the first one. I really like the spots of colour, the white etchings and the added blue embroidery pieces. I like how there is no repeat or mirroring because my work is more illustrative, it involves these little imperfections, it would appear unnatural if I made everything so refined and clean-cut.

Overall, to improve I am going to continue experimenting with adobe Photoshop and explore more techniques and tools of which I can use. At the moment, I think that I have developed some really unique and successful sample patterns. However, If I were to make a whole collection of garments and use digital print as a technique I would need to refine my patterns, make accurate calculations in order to get more professional designs.

The fashion illustrations I made had the face of the fashion illustration I have been using in my patterns in the background. This is because the face is very personal to my style of work, and I was trying to imagine if I had my own designer collection and what symbol/logo I would use. I took the model from one of the Rodarte’s photoshoots. I removed the background setting the model was in and then added my patterns on top. In the first fashion illustration, I used the pattern with the blue tones and the black embroidery. I repeated the pattern to represent how it would look as a new garment on the model. I think that it worked really well with the model being against the black background, it brought the design forward. The second fashion illustration was quite similar, using the same background, with the other fashion illustration face as well because it links in with the design pattern. I just chose to focus on one area of the garment, repeating the third pattern I made. I really like this pattern and think that out of them all it would be most effective as a repeat print because it has bolder details. My favourite out of the 3 fashion illustrations is the last one because it is subtler but then very bold at the same time. The colours and tones work well together, the positioning of the fashion illustration edit is successful because it is not completely covering the face design in the background. The use of the white lace detail I had sewn on paper beforehand looked really nice on top of the blue tones of the fashion illustration, it made the design more interesting by adding this detail.

To improve next time, I would try to zoom in on the fashion illustrations and make slight adjustments, there are some areas which could be slightly more polished. I think I prefer them the way they are now, they look more illustrative but if I were to use them within my portfolio for a fashion application I would need to make sure there are smooth edges where they are meant to be smooth, address the scale more, make sure each model is the same size so it is consistent.

This is an example of one of my digital prints I made on Adobe Photoshop. The fashion illustration I designed myself- then I changed the colourings, added in lace details to the design.

This is my favourite design out of all of the digital prints I designed. The fashion illustration I drew myself, with a collaged in face. Then on photoshop I edited the colours, tones and added in lace details from my embroidery samples in the stitch block.

Here is another example of one of my other digital prints-

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