#handwriting techniques

[onlinelearningclass]

Mastering The Art of Handwriting: The Ultimate Guide To Handwriting Classes

Nowadays, people usually explore work by tapping on a keyboard or a touchscreen; handwriting might seem just an outdated artifact. Though its significance has faded in many places, it remains relevant in how people exchange information, including letters, memos, and private and public documents.

Read for more:- https://bestonlinelearningclasses01.blogspot.com/2024/04/mastering-art-of-handwriting-ultimate.html

[yogeshindustries]

Mastering The Art Of Handwriting: The Ultimate Guide To Handwriting Classes

Beyond a doubt, handwriting is not a skill that needs practicality.

[ghostember]

Hiiii Im absolutely enamoured by your art and your choice of colours! Can I ask for tips on how you emulate the feeling of an underpainting? Thank you so much!!!!

sure! i wouldn’t say i’m a master at underpainting, but here’s how i go about it:

you can see here how the red underpainting provides warmth to my overall piece while also harmonizing my color choices:

i think it should be noted that you can choose any color you want to act as your underpainting. for my purposes, complementary colors work best for me and the colors i’m most drawn to! i especially enjoy using something warm as a base for layering cool colors

i’ve talked about how i go about underpainting here too if you would like to check that out (though i’ve talked about it in the lens of split complementary colors instead, but the same idea applies)!!

i think what sells it as an emulation of an underpainting is that i let it be part of my piece as a whole, with some hints of it sticking out to provide contrast. brushes with a traditional-like texture helps as well

some important things to keep in mind are: what tone are you striving to achieve (warm or cool undertones)? do you want a more neutral underpainting (brown) to not influence your colors as much? these aren’t hard and fast rules, you can really mess around and have fun with it! this tip might work very well for some and not so well for others! it’s not a universal truth but something fun to try for sure

[pangyham]

been thinking about the liyue gang and how id draw their physical builds so here are some thoughts i had for xy cy and gm in particular

- xingqiu, unsurprisingly, would be quite lanky. i like to think he has broad-ish shoulders, like a thin athlete's build? hes a long boy to me haha, long face, neck, limbs, fingers etc, so naturally hes stands (comparatively) tall at 5'6" or 5'7"

i like to think hes most physically attractive one and has that handsome princely and boyish charm to him because it adds a lot to his fuckass duality LOL

- chongyun is a lot like xiao imo! short stature but with muscular arms. he seems nimble and flexible because of his normal attack animations (which bears a lot of similarities to xiao's actually! this + the fact that chongyun's normal attacks create gusts of wind further reinforces my hc that xiao trains him). sometimes i watch high energy choreography vids on youtube and some dancers look incredibly light on their feet, almost like their body is inherently bouncy? and i imagine chongyun to have that agility to him. chongyun has a delicate face and aura and i let that bleed into my hcs for his fighting style and physical capabilities hahaha. hes kind of like a cat who's deceptively strong. as for height.. just a few inches taller than xiao, so perceptibly short at 5'4"

- ga ming my new beloved. pretty much similar to chongyun but more muscular and stronger just because he wields his claymore with ease. theres a noticeable weight different between cy and his claymore the way he lugs it up after he swings (or even other claymore users like razor who, on his last hit, bounces from impact). meanwhile ga ming literally slams his to the ground LOL. i love his movements though hes very swift and expressive and radiant.. if cy has delicate movements then ga ming's is fierce and (charmingly!) assertive

ga ming is wonderfully charismatic though, i know hes not well known in liyue harbor yet, but he seems like the type to gain a reputation from his friendliness. how could no one adore him hahaha. 5'5" for height! just between xy and xq

[sandmoonyelse]

untitled

[mysticdragon3md3]

Hand lettering is still the coolest of the classic comic arts #comics #m...

[augustinewrites]

“what’s on these?” megumi asks, holding up a box of memory cards.

cleaning day always unearthed all types of lost and forgotten items. sometimes it was clothes long forgotten in you and gojo’s closet, other times it was the kid’s old books or toys. you knew every inch of your little apartment, so most times you could identify any mystery items that came up.

“i don’t know,” you hum, plucking a card from the box to inspect it a little more closely. the only hint as to what’s actually on it seems to just be a date.

2006

…and it’s in gojo’s handwriting.

curious, you pop one into the video player and turn on the tv. the kids join you on the couch, clearly eager to entertain any distraction from your cleaning crusade.

when the screen flickers to life, a familiar courtyard comes into view.

you can’t help the gasp when haibara comes into focus…but then you see satoru standing standing across from him, arms spread out.

“who is that?” megumi asks, pointing at haibara.

you think of the bright smile of the boy still lingering in the edges of your memory and tell him, softly, “an old friend.”

“suguru!” gojo shouts, looking towards the person holding the camera. he’s all messy hair and wide smiles, exactly how you remember him in his youth. “make sure you get this one!”

geto grumbles about how he’s paying attention, and suddenly you remember exactly what this is.

“ah, these are from when yaga would make us record ourselves practicing cursed technique application,” you explain as a haibara lines up a shot with a pencil.

the pencil hits gojo in the face, gifting him a small cut on his cheek. “ah, shit!”

behind the camera you can hear nanami and geto laughing as haibara apologizes profusely, and shoko comes over to practice her healing. you come over too, holding a cloth.

“don’t pout,” your younger self says, reaching up to wipe a thin trail of blood from his cheek. “you’ll get it next time.”

as soon you turn away, you hear geto snicker and the camera suddenly zooms in on gojo’s face.

he’s blushing.

“ugh,” you hear him groan behind the three of you, finally finished cleaning the bathroom. “are we done cleaning yet?”

“we’re taking a break!” tsumiki tells him, as megumi pops another card in.

gojo ignores megumi’s protests, stealing the spot on the couch next to you and wrapping an arm around your shoulders with a smirk. “move your feet, lose your seat.”

tsumiki, angel that she is, moves over so her brother can sit on your other side as the video starts.

this time, gojo is the one recording, holding the camera out so it’s pointed at his own smiling face. “haibara versus nanami, round one!”

you feel your boyfriend stiffen beside you, looking over to see an odd look on his face. “oh, fuck—”

“jar,” megumi says flatly.

he glares at the kid, and is about to get up when you stop him. “wait! i want to watch this!”

he slumps back, throwing an arm over his eyes as he groans dramatically. ignoring him, you watch the fight play out, which ends with haibara whining whilst in a headlock.

you hear geto’s murmured commentary off camera as nanami releases his classmate, expecting the video to zoom in on the victor.

but it drifts a little to the left, where you’re laughing with shoko on the sidelines.

“so obvious,” geto scoffs. the video wobbles for a moment before being pointed directly at the tips of satoru’s shoes, then ends abruptly.

when you glance over at satoru, he’s pulled his sunglasses over his eyes as if they can hide his pink cheeks.

the next videos are similar. memories of your past viewed through a different lens, showing you things you’d never picked up on when you were living them.

some moments you watch with an aching heart. like when suguru leans close to you and makes a joke at satoru’s expense, or when you reach up to ruffle haibara’s hair.

(moments with cherished friends proving that the grief of losing them never got any lighter as you moved forward with your life, but at some point you’d just gotten used to carrying the weight.)

but what might be most interesting is seeing yourself in satoru’s eyes.

his focus, whether he was the one holding the camera or not, always seemed to drift to you. for all the times he’d denied crushing on you in your early years, the camera proves otherwise.

the way he peeks at you shyly as you fix your hair before a fight.

the way he reaches out instinctively whenever you’re knocked backwards.

the way he smiles brightly whenever you laugh at one of his jokes.

the way your gaze would occasionally meet his, and his smile seemed to come naturally.

“okay, that’s enough for tonight,” satoru announces, shutting the tv off and shooing the children away. “go clean your rooms, you freeloaders.”

you stand, looping your arms around his neck before he can run away. smiling, you gently pull his glasses off, tossing them onto the couch.

“hey! those are gucci—”

you shut him up with a kiss, feeling the way his lips curve upwards against yours. “i love you, you know that?”

blue eyes meet yours, the pensive look he’d been wearing melting into something a little softer. something reserved for you. “you’re obsessed with me, i know.”

you simply laugh, letting him dip down to give you another kiss.

(because you’d had his heart in your pocket long before either of you had realized.)

[saturngas]

lover boy

[🪐] satoru didn't believe in love at first sight, but it changed when he met you.

pairing: gojo satoru x f!reader

genre: fluff

warnings: teen!gojo; pining!gojo x pining!reader; two teens in love; this is sooo cheesy; a tiny bit of angst; confort; canon au; I hope I wrote teen gojo well this is lame

word count: 3.3k

...

satoru gojo did not believe in love at first sight. love requires time and devotion, and just seeing someone can't determine your definite feelings for them. he claimed people often mistook love for admiration, physical attraction, or even arousal. his beliefs were firm and inflexible.

so when the first year students got introduced to the new second year class, he felt a bit... provoked.

the moment director yaga announced the new class was coming on thursday, satoru persuaded his two classmates, suguru and shoko, to welcome them warmly. satoru was kind at heart, but sometimes his loud and egocentric personality caught in the way.

he and suguru had prepared a few decorations around the classroom, while shoko got the party hats.

"suguru can you write a big 'welcome' on the board?" satoru asked as he stuck balloons onto the wall.

"what? do it yourself."

"no! you know I can't do it. nobody understands my handwriting."

"well satoru, you need to work on that. it is pretty awful."

"h-hey!"

before satoru could launch at suguru, the door swiped open, director yaga coming right after.

"w-what? who let you do this delinquency on the classroom?" the older man questioned annoyed. he never approved of some party for the new class, he just expected the second years to introduce themselves.

"it was satoru's idea," the black haired guy said quickly.

"what!" a gasp left his lips as his blue eyes shouted betrayal behind his round glasses. "and yet you are here helping me," he squinted his eyes accusingly at suguru.

"it doesn't matter. they will be here in less than thirty minutes," yaga sighed. "and where is shoko?"

just as he finished his sentence, the brown hair girl entered the classroom, a nonchalant facade adorning her. she was holding the three party hats along with snacks and beverages, a single maybe illegal one snuck between them.

kento nanami and yu haibara complemented each other so well. you had known them for just four days, but you were already growing a bit of affection towards your new classmates. nanami was a quiet and private guy while haibara leaned more into the extrovert side, but not being annoying at all.

when the three of you were called into the classroom where you would meet your seniors, a bit of nervous sweat adorned your forehead as you stood behind the shut door. you have heard some tremendous things about the second year students. there was a guy who literally swallowed curses and used them as pokemon, a girl who was incredibly good at reversed cursed technique, and the beholder of the legendary six eyes and limitless. you didn't know who was who though.

"are you guys excited? oh my! I can't wait to be a great sorcerer!" haibara said excitedly and it actually made you less nervous, there was someone in the school who seemed sensitive.

"yeah. it's going to be a long way," you said just so say something, as you couldn't think of an answer to his enthusiasm, when the door slid open to reveal the classroom inside.

a loud plopping sound startled the three of you, confetti cannon firing hundreds of small colored papers in your direction.

"welcome!" a white haired boy with some ridiculous round glasses shouted as he held the confetti cannon. his yawp followed by a couple of seconds of silence as you recovered from the disorientation the loud cannon caused.

"hah, thank you. that was funny." you said with a soft smile. you had to demonstrate gratitude to your seniors, right? even if it's something as random as this. maybe you were overthinking your interactions with your seniors, but you wanted to make a good first impression.

"thank you! im so glad to be here!" haibara said innocently with a big grin. nanami just looked around the room to try and cover his crippling embarrassment.

satoru gojo didn't believe in love at first sight. but when you told him he was funny? maybe the burning sensation of his cheeks claimed otherwise.

okay, you didn't say he was funny, but the confetti cannon was his idea, so you think he is funny, right?

the rest of the welcoming was spent with required introductions from both the new class and the second years. satoru was certainly curious about the three of you, he wanted to know if this generation was strong. sorcerers needed to be strong, he believed. however he couldn't help but stare you.

you were indeed a sight for sore eyes. your hair danced gracefully around your neck, your skin seemed so smooth, your posture screamed confidence, and you eyes were ones to get lost in.

but that was only admiration, right? satoru had seen dozens of pretty girls before. but the big smile crippling up his face couldn't hide itself when you introduced yourself.

your seniors were very... particular, especially the white haired boy with a creepy smile looking directly at you. his eyes were covered by his shades, but you could swear he hadn't blinked in at least the forty seconds that took you to present yourself.

"im glad there is another girl in this school," shoko shared with a relived tone, her brown eyes analyzing the three of you. "it gets a bit... difficult sometimes with so much testosterone here," she said casually while looking at his two male partners.

suguru shot her a displeased glare while satoru... kept staring at you with the biggest grin. suguru could see his blue eyes from the side being as wide as plates. he wanted to slap him from being such a creep.

satoru didn't believe in love at first sight. he was certain what he felt when he saw you using your cursed technique was pure amazement. he valued strength even over people's morals.

the raw power coming from your cursed energy made him feel almost as euphoric as when he discovered his cursed technique reversal, red.

the way your hand-in-hand combat skills made his opinion on you even more complex. was he a creep for peeping your sparring sessions with haibara and nanami?

satoru swore he just admired your hardworking skills, and maybe your cursed energy was somehow attractive to him, and maybe maybe he liked watching you because he thought you were pretty.

but why hadn't he approached you yet? his natural flirtatious charisma would have acted right the moment he said welcome to you. even as far as showing you his bright blue eyes while striking poses in front of you, showing you every single well-carved angle of his body.

yet he had been respectful to your persona. when he was told there would be another girl in jujutsu high, he thought nothing of it, guessing it would be "another shoko," just another female friend of his.

however, you had unconsciously awed satoru: with your beauty, your strength, and you even thought he was funny!

uh oh, maybe you were different. maybe he liked liked you.

"did you know that in quantum mechanics, particles such as electrons can behave both as particles and waves?" satoru said with an easy going smirk as he approached you during your lunch break.

"oh, hi gojo," you smiled naturally, making the dimples on satoru's cheeks deepen. "yeah I have read something about that in quantum physics books. something about the Schrödinger equation, right?"

oh man. satoru knew he was lost. his lanky body launched itself to your side on the bench. you were outside in the training grounds. you took a bite of your rice ball.

"oh wow," he chuckled a bit nervous. "didn't know you were a physics girl."

"not exactly," you responded muffled as you swallowed the food in your mouth. "but I figured I needed to know the basics to understand my cursed techniques."

you were just made for him. satoru esteemed your physical strength and your smart head. were you also a geek like him?

"your cursed technique involves a lot of physics, right gojo?" your words brought him back to reality. "I would appreciate if some time you show me how it works. I guess im a bit nerdy, haha." you laughed a bit embarrassed. was it okay to be this straightforward with your senior? yeah right? they were there to help their juniors after all.

"of course!" he responded loudly with a big grin. it caught you off-guard you almost tossed him your chopsticks.

you would have thought satoru would show you his technique in the training grounds, or even out in a mission. not in a bakery shop.

before one of you classes started, there was a blue sticky note on your table.

"meet me at the bakery shop in front of the park tomorrow at 3pm to show you my technique, -S.G." there was a little drawing of a cat with round glasses at the right lower corner.

satoru had bribed the naive haibara to tell him where you would usually sit and if you had any missions the next day. the junior was so happy his senior was directing a word to him, if only he knew satoru talked to him to get closer to you. poor guy.

what the white haired guy didn't tell you—didn't want you to know—was that he planned it as a date. was it considered a date when only one of them was aware of it?

satoru didn't care.

he stood straighter the moment his blue gaze fell on your figure entering the bakery shop. oh how good you looked in the jujutsu uniform. the skirt fitted you so well.

"hey!" he shouted your name while raising his entire arm to get your attention. it even gathered the attention of the others clients. you chuckled slightly at him, finding it cute that he was so careless about what others think of him.

"hello gojo," your soft voice was like honeyed melody to his hungry ears. he liked hearing his name coming from your throat.

"suit yourself with something sweet," satoru passed you the small menu looking directly at you eyes as you sat in front of him. you hadn't seen his blue eyes yet, but you could feel his deep stare.

"thank you," you murmured. "umm... gojo? I thought you were gonna show me you technique."

"do you really wanna talk about it? I mean we see sorcery-related stuff all the time, we should take a break," he suggested with a smirk. "why dont you tell me more about yourself? I wanna know more things about you."

and that's what you two did for the next couple of hours. satoru found solace talking to you, an easy person to talk to. it wasn't just the addictive sound of your voice, your answers to his questions and the funny remarks you would sometimes add made him all giddy.

he enjoyed listening to you speak, but he felt a tug at his chest and a burning sensation on his pale face when you asked him about him. you wanted to know about his innate technique and his cursed energy, of course, but satoru gojo was more than just him being a sorcerer. and you could see that. perhaps it was part of your nature to see beyond people´s facade, dip into their true feelings and just observe them.

you noticed the way his eyes cracked open when you asked him about his music taste, his long white eyelashes picking up from his round glasses.

satoru was very complex. he was funny, however his jokes were sometimes a bit off. his humor could be a bit... ahead of his time. he tried putting up an unbreakable, solid self-centered demeanor, but he was kind and sweet at heart, in his own and weird way. it was true that he wanted to have a regular date with you, to get to know you—which he was accomplishing—but it was just as true that he wanted to get his mind off of jujutsu. for a moment at least. he didn't need constant reminder he was supposed to be the savior of the world.

the "date" went smoothly. each got to know more about the other. satoru was convinced he will make you his, while you started seeing beyond the strongest, meeting the compounded and sweet person he was.

it was girl's night. one of the girls dorm was full of the only females in jujutsu high—you, shoko, and utahime.

utahime was like your super senior, she was already a graduate and sorcerer. she was nice and honest. you could notice shoko had a deeper bond with her than with her two male friends.

"shokoo," utahime sang to her junior, squinting her eyes. "ive noticed the way that guy haibara looks at you~."

"haha, nonsense," the short haired girl chuckled unconcerned. "im pretty sure he just looks up at me. he is the same with the two idiots."

"yeah, he admires you all," you said after taking a sip of your nonalcoholic beverage. "haibara just wants to be a great sorcerer to help people so he wants to learn from all of you." you yawned. it was almost midnight and even though you were still young and healthy, getting up at 6am was challenging after a sleepless night.

"well he certainly won't learn anything if he follows in the footsteps of gojo," utahime shrugged while rolling her eyes. she needed to get it off her chest after the constant disrespect the junior gave her.

shoko laughed as you did as well, just a bit nervously. "why you say that, utahime-senpai?" your sleepiness vanished completely.

"well!" she has prepared her whole life for this moment. "he is careless and bluntly disrespectful! to everyone—especially to his seniors!" utahime said with an elevated fist in front of her face, she was getting a bit agitated from the alcohol running through her system. "I dont care he is the strongest, gojo doesn't even care for the people around him. he just cares for himself and getting stronger alongside geto."

the girl with ponytails was speaking with her heart. though her words made you question satoru's morals. he was sweet with you the other day, and he always greeted you during mornings. it was clear he wasn't the most down-to-earth person, but you wouldn't agree he didn't care for others.

that night you went to bed a bit anxious, tossing around the blankets thinking about the white haired boy.

"y/n~ why do you keep training with those two?" satoru whined loudly as he ploped himself down next to you. too next to you. you chuckled softly at his dramatics.

the two were sitting under a tree, its autumn-orange leafs falling at the rhythm of the slightly chilly air. it was mid october and the climate was full of cinnamon and earthy odors with vibrant shades of yellow and orange.

utahime's opinion on satoru didn't discourage you from meeting the sunshine boy, but it was definitely interesting to know how his classmates viewed him. you decided to form your own verdict on satoru by yourself.

and you couldn't deny the feeling of an accelerated heartbeat whenever the tall boy would rush to you to start a conversation. you had stopped laughing politely and started giggling like an enamored girl whenever he would say something remotely funny.

it was undeniable satoru was both handsome and pretty. his boyish features, his striking baby blue eyes that mirrored the skies, his ruffled snow white hair, his very tall and lean figure was too much to take in. the more you would meet him, the more you would grow fond of him. he was a sight for sore eyes. and all the while, his personality was eventually getting into you.

"what do you mean, gojo?" you giggled when his clothed thigh brushed yours. "they are my fellow classmates and they are my friends."

"well, im just saying if you train with me, you'll get stronger faster," he suggested while leaning back with his hands behind his head. he wanted to appear cool and smooth.

"oh, please, every time you say we'll train, we end up in a different bistro!" you exclaimed with a hearty smile while looking at him. his cool facade disintegrated once he caught a glimpse of your eyes.

"th-then, thanks to me you know all the great small restaurants around here!" satoru said flustered. you chuckled while leaning back as well, and just slightly, almost nothing, satoru felt the ghosty touch of your shoulder on his side.

"haha, whatever you say, satoru," the taller man looked at you impressed, a rosy shade decorating your cheeks. the moment suddenly imbued to his consciousness. he was glad you two were over the last name barrier.

his dimples deepened as he tilted his body toward you.

satoru didn't believe in love at first sight. he tried convincing his own self that it took him time to be this smitten by you, that it wasn't love at first sight.

when he told suguru about you, the dark haired boy looked at him with a stoic stare with a raised brow. only a brainless person wouldn't have noticed, he had said, with the way satoru was being all over you recently, harassing your personal space when clinging to you and being annoyingly whiny whenever you had to be anywhere else away from him.

suguru did confirm, though, that you didn't mind any of satoru's loud antics, and once he told satoru his thoughts, the squeal the white haired boy left was to bully him forever. suguru decided to let him drown in his own delusions and he'd tease him later.

after the incident with the star plasma vessel, you noticed a subtle change in satoru.

you weren't in jujutsu high when they returned, however you knew there was something off the moment satoru stopped spamming you with text messages.

your flip phone buzzed the whole three days the mission lasted, with messages full of emoticons.

the star plasma vessel is just a loud youngster with no friends! ( ˘︹˘ ) ohh it reminds me of someone~ hahah y/n stappp (╥︣﹏᷅╥) (ง︡'-'︠)ง

we're at the beach! (✿◠‿◠) :D saw a little sea snail n it reminded me of you~ <33 ah satoru have a fun time!! why did it reminded you of me? *u* bc of that back hump bby you gotta work on that (´_ゝ`) enough

however, during the last day his message rate decreased, to the point that by afternoon, you hadn't received a single text from him for hours. you would have thought he was involved in an intense battle, though he would still text you while doing that.

so it was a bit bittersweet to get a solid text almost at night.

suguru and I made it back to the school, hope you're doing ok on your mission:)

you never questioned him what had happened during those three days, but you were certain it had changed him. it was evident when the day you announced you were back at the school, satoru sprinted to check on you. his hands roaming through your face and arms, looking for any cuts or wounds, while murmuring "are you okay" repeatedly under his breath.

you also noticed this new ambition of his of becoming stronger, asking you to randomly throw objects at him to test his limitless, which he now kept it automatically, isolating himself from the rest of the world.

still, you could see through him. you wouldn't insist on him telling you about what happened, but you weren't going to allow him to sulk and seclude himself from you, being by his side and opening your heart to him.

it had took him a week and a half after the star plasma vessel mission for him to go back to his silly self. such assignment left a bitter scar on his heart and soul, one that wasn't your job to heal, but satoru treasured you for it. he needed frequent assurance you were there with him and that you cared for him.

he also realized he was wasting time playing games with you. he was ready to be yours just as you were ready to be his.

and even though satoru gojo didn't believe in love at first sight, he did believe in deep, devoted love. he didn't know he would be as lucky to endure it, but with you, he was prepared to give you his all. even if he keeps lying to himself he didn't fall for you when you laughed at his confetti cannon.

taglist: @snwvie @fanficsforkicks <3 guys I really wanna make a pt 2 of this I think I can do much better

[struwberrii]

oikawa headcannons ˚⊱🪷⊰˚

i <3 tooru oikawa

begs you to come to practice with him (he always shows off when you’re there and iwa calls him out on it quick)

has a stupid embarrassing contact name for you (like pookie bear or something but he’s 100% serious about it)

whenever he finds out something like when he was analyzing the karasuno technique he comes to you so excited to tell you all about it

sassy man apocalypse final boss

he has the most complex skincare routine that his big sister introduced him to

he used to use his sisters perfume when he didn’t have cologne on him so he would jusy smell like champagne toast from bath and body works (his team also made fun of him for it)

always smells sweet (like bakery items)

his voice when he speaks spanish is like 3 octaves deeper than usual

secretly loves brat by charli xcx

wears his skincare headband with a bow on it around the house

one time he opened the door for iwa with it on and now that’s his contact picture on iwas phone

he has perfect handwriting

gets so mean on roblox, like he genuinely sees red when he’s arguing with little kids

studies in coffee shops and tries to look mysterious

is really good at solving rubix cubes and puzzles for some reason

randomly picks you up and carries you on his shoulder for no reason

like hell just be walking around talking to people and doing stuff with you on his shoulder

if you guys fight really bad he’ll say the most hurtful things with a smile on his face and then gaslight you later into thinking he never said that

candy crush veteran (he’s been playing since it came out he’s on a higher level than your grandma)

waits for golden hour and sets his phone up to take his selfies

his hair is actually so soft like it’s unreal

loves coming up behind you and hugging you and just staying there for a while

genuinely cries if you praise him

makes tiktok grwm videos

type of guy to go and get his eyebrows threaded

he builds the minecraft house while you go find iron (YOURE A MAN!!!! OFF TO THE MINES!!!)

there is not a single bad picture of him out there like even if he’s caught off guard he looks perfect

never breaks out or anything like always has perfect skin

he’s the biggest drama queen, like god forbid he gets a cold the world would literally end

he has my melody house slippers

he has a lava lamp in his room that he’s had for like 5 years

loves fruit, like strawberries are the key to his heart

buys you drinks from the vending machine if you come to practice

sings in the shower really loud

has like 5 pairs of converse

sleeps with every stuffed animal you’ve given him

secretly listens to megan the stallion when he’s working out

d1 complainer, hes always whining about something

someone just tell him everything’s gonna be ok

[valeriehalla]

Not to put you on blast, but speaking as a comic artist, I can tell you that all that random emphasis isn’t actually as random as you might think!

I’m sure every comic letterer has their own criteria for when and how (and whether) to employ this technique, but the way I see it, there’s a couple of overlapping reasons why it’s done:

It makes the text a bit more legible. The bolded words act as visual landmarks that help guide the reader through the text. Comic text is pretty weird, typographically speaking: it has a very small line-height and it’s center-aligned, not to mention it’s usually printed in allcaps. This is all done in the interest of conserving space for the illustrations, but it makes for text that can be kind of fatiguing to read. The extra visual emphasis on key words and phrases can make it easier to quickly parse the text, especially in larger speech bubbles.

It also serves the usual purpose of indicating the natural word emphasis that people employ when speaking English. Usually you’d just use italics for that, but italics are hard to distinguish in handwriting, so letterers will use either bold or bold-italics for the job. Beyond that, the difference is mainly down to quantity: comic letterers traditionally go a bit ham with this technique, whereas it’d be gauche to do the same thing in prose. But that’s a matter of convention.

Emphasis on the word traditionally in that last point, by the way. In truth, this convention has been on its way out for a while. Lots of comics these days even have lowercase letters! It’s easier to pull off with the switch to digital lettering. But I still find the practice charming as heck.

[lynaferns]

BREAKING DOWN MY ART

The artwork I'm breaking down.

(Added text descriptions to the images (I did my best) in case you don't understand my handwriting)

Basically my rendering process and art techniques for all of my artworks. There is more to it of course but this post was centered on this whole drawing specifically and had to keep each description brief or this would have gotten excessively long. Besides, I've improved since this drawing and I do some things a bit diferently than before.

I can make more of these kind of post in the future explaining how I get to figure out the shapes and colors of things, basically how I draw.

A time span

BONUS

Don't take this last image as if now the artwork is completely wrong because of "bad proportions". This is a self critique, by the estandars I put to myself. Putting that aside, it's still a good artwork, I did a pretty good job on this one and I hope one day to find the same motivation to surpass it.

[deadhands69]

the safe word is 'okaka'

MDNI

Toge Inumaki x gn/afab reader

Warnings/content/etc: established relationship, swearing, choking (not violent), cursed speech use, fingering, oral (m/f receiving), overstimulating.

All characters aged up, in 20s.

Turning on the light in your shared apartment, you notice something on the coffee table. A note on a tiny scrap of paper reads “okaka is the safe word”. You begin to wonder: did you fuck up?

Earlier, you'd had a text discussion with your boyfriend Toge Inumaki about him using cursed speech on you. Up to this point, he's only used his cursed technique on you once and that was to move you out of the way of a speeding car. He mentioned it being hard to hold back all the time, especially in bed. You understood. Your sex life was great: passionate, sweet, silly. But having seen him use his speech on missions together, you had to admit it did something for you. Curiously, you agreed. Plus, he’d never hurt you - you trust him completely. He was overjoyed. 

Back to now. 

Staring at his handwriting, you begin to wonder what the evening holds while kicking off your shoes and absent-mindedly hanging up your jacket. 

“(((don't move)))” you hear from across the room. Ashy hair makes its way into your peripheral vision before you feel the warmth of his body press into your back as his arms wrap around you. He’s wearing what he usually does around the house: baggy sweatpants and a fitted t-shirt, mouth left uncovered. The familiar vibration of his lips meets your neck and soft pecks make their way up to your jaw. He's so fucking hot, you think to yourself. This isn't like on missions but better, in a way just for you. You try to lean back into him but your body is frozen. 

His hands slide under your sweater, pulling it off - leaving you in your undershirt. One hand stays lightly on your hip, his thumb making slow circles. The other, makes it's way to cup your left breast - gently at first before squeezing tighter. His grip starts to ache before-

“(((take off your clothes)))” Already? If that's what he wants. Your body acts without effort, peeling off each item one by one until you're completely naked in front of him. His smokey lavender eyes locked on you. He pulls you close again: hands exploring your body while his lips dance softly on the back of your neck. 

His left hand pulls your hips back, shoving your ass into him. He's already hard. His other hand glides down your spine before coming to a pause in your mid back, bringing your body to an arch. 

“(((stay still)))” he whispers. 

His hands resume wandering your body. Pulling, twisting, grabbing where he pauses. Each hard pinch punctuated with a soft kiss. His fingers slide between your legs. You gasp at the pressure and feel him smile against your cheek. Cursed lips kiss you once more while he grinds his hand harder into your wetness. 

“((you're so wet))”, less of a command but you feel it resonate through your body as he slides a finger in. Hearing his voice alone is enough to turn you on. You let out a loud moan and feel him clasp your nipple harder. 

“f-fuuck Toge” you pant. 

He presses the palm of his hand against you, the way he knows you like, while pumping another finger in. Free hand making it's way to your neck. His fingers gently press each side of your throat, testing. 

“Takana?” his breathy voice inquires. 

You nod and he presses harder. Not enough pressure to stop you from breathing or whispering but enough that you feel the lack of oxygen in your brain. Your head is swimming while the pulsing in your gut increases. You feel yourself clench around his fingers and he adds another. In spite of how fragile the situation seems, Toge is your safe space. You're happy to have his hands wrapped around you. 

He's watching your face closely, eyes locked on your mouth. 

“So…Close.” you lightly whisper. His lower hand picks up speed while the hand on your neck drops. The oxygen in your blood overwhelms you while your orgasm hits like a tidal wave. You moan his name and fall back into him, feeling your cum trickling down the inside of your thighs. He continues to pump until your moans turn into whimpers. 

No time to catch your breath, he commands “(((sit on the couch)))”

Your shaky legs stumble you across the room. He sits by your side, pulling himself out of his sweatpants and giving a few strokes. “(((suck it)))” you hear but your head was already on the way down. 

Taking him into your mouth, you begin sucking as he compelled you to. His hands gently stroking your hair, holding it back. Sucking him deeper and deeper before he leans his head down toward yours. 

“(((cum)))” he breathes into your ear and your body contracts around the vibrations of his voice. 

You try to concentrate on the task at hand but it doesn't matter, the view of you writhing on the couch with his dick in your mouth is enough to send him over the edge. Bringing your lips around the base of his shaft, you feel the heat of him exploding into the back of your throat. He groans above you and rubs your hair while you ride out the end of your own explosion. 

He pulls you up into a kiss, sweetly sucking your lips into his. The vibration of his tongue lightly prickling yours before gently laying you back on the couch. You watch as he moves down your body and plants his head between your thighs. Looking up into your eyes, he smiles. You can feel his breathing hot on you before his cursed tongue spreads your lips. Melting into the couch, you run your hands through his silky hair. 

His face pulls back just enough to speak. 

“(((cum)))”

You feel the cursed energy run through you, sending a flood of sensations pulsing through your body. Half screaming, your breath catches in your throat. You grip his hair, pulling hard as he moans and swirls his tongue. 

His hand reaches for yours, his thumb lightly rubbing the back of your hand while you tighten your grasp. 

Pulling back, he presses his cheek into your leg and watches you. A few soft kisses before he moves back in, mouth opening to speak. 

He repeats this again. 

And again.

And again until you're gasping and have lost count. Eventually stopping to make you drink a glass of water before bringing you onto his lap. 

He brushes the hair from your tear streaked face, looking down at the whimpering mess he created. His hand taps your chin, nudging your face to look up at him. His eyes lighting up at the sight of you. 

“Takana?” he tenderly asks. 

“Yeah, I-”

“(((cum for me)))” he pulls you closer as you fall into him gasping once more. 

His lips brush your ear. “You’re doing great”, not quite a curse but the words radiate stronger than most.

“I don't know how much longer I can keep this up” you gasp, clutching his shoulders. 

He holds up one finger. One more. You nod. His hand dips between your legs, immediately sliding two fingers in. You grip the front of his shirt and your breathing begins to quicken again. 

Tentatively, he brings his other hand to your neck, his facial expression a question. You nod once more before a slightly raspy voice whispers “(((cum harder for me)))” 

Here comes the tidal wave. You throw your head into his neck, teeth digging into his collar bone while his hand grips the sides of your neck. But it's too much, it's been hours and the overstimulation wins. 

“okaka” you whine. 

“(((stop)))” he says quietly and it's over. 

His lower hand wraps around your legs, pulling you closer to him. The hand from your neck gently slides up your face, cupping your cheek as he leans his forehead into yours.

15 minutes later, you're cleaned up, back on the couch curled up in your boyfriend's cozy clothes, and burritoed in a blanket. Toge returns from the kitchen, setting tea and rice balls on the coffee table before joining you on the couch and wrapping himself around you. 

“Takana?” he asks, studying your face. 

“I'm great” you smile sleepily, happy to be in his arms.

[eaudera]

eaudera's detailed tutorial for skin rendering

okay loves i've put together a tutorial in text form detailing my step by step process of shading darker skin + the brushes and techniques I use and why I use them. you will be following along as we shade a piece together, you can find the lineart to the piece here. *turn off your true tone and night shift displays for the most objective viewing.

i wrote a lot on the preview pictures, if you find spelling errors (which you def will) or are unable to read my handwriting, you'll find the typed out version of the writing in the alt text feature.

disclaimer: i'm not an art professor nor am i academically/classically trained in art. a lot of the verbiage and techniques i'm using to teach you all here are from my current self taught and observed understanding of art, light, and anatomy

support me: kofi / ig / twt / commissions

firstly, here are my two staple brushes. you can find the second brush here, i modified it by making it larger.

the lineart brush is very good for easy sketching and simultaneously cleaning up that sketch to produce the final lineart you'll be using in your piece. the diffusion from the erased parts/the diffusion created by lowering the pressure of your pen creates a light graphite effect which i enjoy! give it a shot.

you'll notice quickly that there are lighter strokes throughout this lineart, these are simply acting as rendering guides for me in order to remember certain placements. i erase/draw over these lines a lot.

i initially learned to shade skin on a completely grey background with very slight orange undertones, and for a while this was very helpful in providing the most objective view of the base colors you're using (objective as in free of being effected by colors of different values). as you might know, using a white background for dark skin will seemingly darken the value and dim the vibrancy of your base colors, and using a black background will do the opposite. if you're using a darker skin tone, you want your canvas shade to be of a value that is proportional to your skin tone to avoid the same problems created by colors with too light or dark of a value. now if you're using a screened device to draw, you have the extra burden of screen reflections/wavering color output on different screens, so you're never really sure if the exact color you're using will be consistent across the board. priming your canvas with neutral colors will help with that. whereas priming with more vibrant colors will slightly change the undertone of your skintone (especially if you're using a low opacity brush), but it makes for a funner canvas and more creativity with your color palette imo. if you're a beginner i recommend you stay below the wavy line to avoid too light of a canvas shade.

for these same reasons i avoid keeping my lineart jet black. when you lay down the base colors under a black lineart it can look very unfavorable.

here are some skin tone variants that i tend to use the most, peep how i never wander off too far to the left of the spectrum where the reds are. i definitely favor red-oranges as compared to green-oranges for my skin tones, however, because i stay primarily on the left side of the color spectrum for my rendering, red can quickly become too much too fast. so i make sure to use a skin tone that can work very well with green-orange shadows. for this specific piece i will use the third shade (#2d1606).

heres where the gouache brush comes in handy. i use it very loosely to "prime" the canvas almost. if you've ever done oil painting you'll realize very few artists draw directly onto a completely white canvas, though i've already primed my canvas essentially by changing the background color, i loosely shade over it with the skin tone color using the gouache brush. i find this gives me a better grasp on the composition of the piece due to increased harmony between the canvas and the skin color. it also looks really cool to me and resembles a real canvas almost.

as stated before, priming your canvas with neutral colors (grey) can help give you a more consistent view of your base colors, when you get the hang of understanding the colors you most often use (i.e, how they interact with other colors), you can start using more vibrant and fun colors to color your canvas with! the gouache brush changes opacity depending on the pressure exerted by the pen, if you zoom in you'll notice patchy areas where the canvas color bleeds through the layer more prominently than it does in other areas. for some people this might throw off the consistency of the shadows, but you should be fine as long as you're using a consistently opaque brush (which we will be doing)

i know i recommended beginners use a grey canvas like i did, but since this tutorial is using my techniques i figured i'd also teach you guys how to use variantly opaque brushes to your advantage. we will be drawing on the pink canvas from here on out.

a reference is so helpful, i still rely on references to guide my shadows/lights. i'm past the point of relying on references for exact coordinates for rendering or lineart, but they are still incredibly helpful. in most references of darker skintones you come across, color dropping directly from the picture will give you very grey colors! we want to prioritize vibrancy in this case, so attempt to formulate your own colors or colordrop and increase the vibrancy :)! keep in mind i'm now using the lineart brush to shade. the diffuse/soft corners of this brush allows fewer pixels to be scattered wherever you lessen the pressure, this is perfect for color dropping medium colors to blend two colors together. you'll see how i blend colors later on.

as mentioned previously, red can become too much too fast- so i avoid monochrome rendering as much as possible by using shadows of different undertones. my most frequent combination is using a red-orange skin tone and then using a green-orange shadow.

the value spectrum will be your best friend in mixing values and undertones, i use it all the time to formulate the best less saturated darker shadow that is proportional (not too dark, not too grey) to my skintone value. if the shadow is too green simply increase the magenta, if you're looking for a "reflective" shadow, increase the blue.

when i begin shading, i always slide the curser to a truer orange color on the spectrum and increase the saturation (slide towards the right) while i decrease the brightness (slide down). heres how it looks when i'm jumping between shadows and highlights while trying to keep my colors proportional (but not identical) to whats happening in the reference ^. i most often times will rely on the value tool, however.

you will notice that a lot of darker skin tones have patches of orange vibrancy, these areas are most common on the nose and cheeks. this is only a detail to pay attention to if you're going for more of a realism rendering style :)

now onto how i prefer to bridge/blend colors together by utilizing the blend tool.

i do not like simply blurring colors in order to blend colors together, it can lead to overblending which can make your portrait look heavily gaussian blurred (think 2010 deviantart art... yea that). the brilliant thing about procreate is you can utilize brushes really efficiently, which include changing the brushes you use for blending. so in reality, artists who use the blending tool on its own can still have portraits that don't look it! there also exists plenty of brushes that have properties allowing it to blend into its surrounding colors are you draw. but in my case, the above photo is 99% of the times how i will bridge two colors together. doing this allows me to keep pretty consistent brushstrokes across the whole portrait, which i enjoy. it also gives me better control of the shapes i use in my rendering, an aspect that is pretty easy to lose when you're using the blending tool directly and solely.

in case the blending process is a bit hard too see, heres that same process recreated with different more visible colors:

now once you've placed your shadows where they generally tend to be (according to the reference photo), let's make those shapes a bit more specific and pick up on smaller details to make your rendering look more complete.

your base colors will never be as dark or as light as you need them to be when you begin rendering, making sure you have a decent contrast between your lightsource highlights and the shadows is key to capturing the essence of a light being cast on your character. it's much easier to keep building upon your shadows before rendering the highlights, i laid down the highlights only to create a guide/help me map my shadows better. do not darken the entirety of the areas affected by shadow, you'll find that shadows are rarely ever the same value, it's a gradual process affected by things like position, height, etc. so make sure the darkest of your shadow colors are preserved only in areas where the shadows are the or should be the darkest.

you'll notice i labeled some areas as "detail", adding very specific shadow placements is a detail. in the reference, the model has a pretty prominent brow bone, creating a shadow over where his eyelid creases just above his lash line, paying attention to feature details like this help enhance the rendering and its realism.

now that i've mapped my shadows i'm going to move onto to rendering my highlights and the region of the face where the lightsource is most prominent.

i described shadows as a gradual process earlier, this is because of the lightsource. light tends to spread when its further from the affected surface, creating a larger area affected by the light. of course, this varies depending on how intense and how close/far the light source is. in this case, the light is being casted above him further to the other side of his face, but again, remember that the face is not 2d and more prominent areas are affected more by light. it's due to this that there still exists a, albeit very minimal, shadow beneath his cheekbone. i exaggerate the shadow here for stylistic purposes, but it also helps in keeping me uphold that contrast between the highlight and shadow once again. so i refrain from blending the light into this area like i did in other areas.

midtones are the areas most unaffected by the light source, they're neither shadows nor highlights. and because light spreads, it is brighter in certain areas and darker in others. it is most easiest to blend the darker ends of the highights into the midtones of your portrait. you can emulate this by once again using your blend tool. blend the outer areas of the light and colordrop this color and use it as the darker light more proportional to the midtones. note that before i add even lighter shades to the areas where light is most concentrated, i blend what highlight placements i currently have there.

we're going to switch gears now and focus on the reflective shadow occurring on the darker half of his face.

this shadow is a reflection from the lighter background the model is up against, the light being casted above him is allowing for some bounce back from his surroundings, leading to very faint light visible in areas primarily affected by shadows. hence why i'm referring to these colors as "reflective shadows".

in this case, the reflective shadows are blue, or appear to our eyes as blue. on darker skin, "true" blues (blue-purple) are not often times present. what is present rather, is a very grey tone with cool undertones/a grey tone on the blue side of the spectrum, which creates a blue that is much more proportional to the value of the skintone than a true blue. in this case i used a deeper grey on the pink color spectrum, which is more purple. this was intentional, and was done in order to create some sort of color harmony between the contrasted deep oranges im using for the bordering shadows and the blue-grey i'm attempting to emulate.

while i utilize this blue-grey, out've a purely stylistic choice, i still introduce true blues to my rendering. in fact i love using blue/purple reflective shadows in my art, it creates a stunning and colorful render. in this case, i used the blue-grey as a stepping stool to introduce that trueer blue more naturally. you'll see this happening in the second picture above, where i used a slightly more vibrant and slightly more brighter blue, and used it on areas where this reflection was more prominent (and therefore brighter).

you'll notice how the shadows that border on these reflective colors are less saturated and darker than the shadows on his chin. introduce a darker and less saturated (more green) shadow to that area on his cheek and the darkest shadow of this photo, the sunken area near his nose bridge and inner eye corner. i emphasize this line in the lineart so you can follow this shadow more accurately:

this is also a detail in my opinion and can make your portrait more realistic if you include.

we're going to pivot to his neck area before continuing. you'll find the area of his neck with the most light is also the least vibrant, i laid down a grey base color to emphasize this detail in the portrait. afterwards i added key details. i wanted to stay at least somewhat true to the color dynamics occurring in the reference hence why i used the grey, but i'm not a very big fan of using blatant grey directly on the skin, so i made it more blue.

moving forward, the outer eye and the nose can be some of the most "detail focused" areas of the face when it comes to rendering. due to their more "bulbous" anatomy, light tends to curve around them in more complex ways than the flatter parameters of the face.

when it comes to the many creases that surround the eye, the skin folding over itself creates a very thin shadow from between the folds. the key to rendering this crease is to concentrate the blending to a very small scale, do not overblend the area because the hill created by the crease very easily captures light, creating an area where the shadow and highlight meet in very close proximity. slight blending is needed for this area, you can deepen the shadows in both horizontal corners of the eye for more accuracy. the midsection of the total eye area (eyeball and socket) tends to capture the most light, remember this is due to how bulbous rounder shapes tend to capture light from whichever direction its coming from.

this is of course the case for the nose as well. highlights are typically placed as a dot on the outermost part of the nose by artists, but highlights also spread on either side of the tip of the nose. the nose tends to collect a lot of oil, creating a sort of sheen on the upper parts of the nostril. when rendering a portrait where the position of the head is more cast to the side, the highlight of the nose changes from the bulb of the nose, to the upper nostril. in this case, the highlight spreads, causing a "half tone", or the remnants of the light on the bulb of the nose. this is the easiest place to blend highlights and shadows together. now for the shadow detailing on the nose, i'm actually drawing on top of the lineart on a separate layer. which i'll go into detail about in the next part. you want to focus the shadow on where your lineart is, the outermost part of the nose.

now were going to really detail your portrait by introducing a new layer, the detail layer! this isn't technically apart of the skin rendering, so i'm gonna keep it very brief. this is the layer you're going to render the lips, eyeballs, and eyebrows. more specifically, the purpose of this layer is to reduce the reliance on lineart. in terms of order, it goes above the lineart layer. we're going to soften and even erase the lineart in certain aspects. i use bolder/thicker lines when creating my lineart, but this can become a nuisance/hinderance when rendering.

starting out with the lips:

people w brown skin tend to have two toned lips, with the top lip resembling the same skin tone as the face and the bottom lip being redder/pinker and lighter than the upper lip. in my case, i prefer a more vibrant red for the bottom lip. once i lay down these base colors, i begin shading on the second layer.

i personally enjoy the look of a poutier lip shape, this includes emphasizing the middles of the lips as opposed to the ends. i've highlighted the shapes that this lip shape often entails. the small circles on the corner of the lip line are just pockets that occur when the mouth is closed and become emphasized by the fat around the mouth. the parameters of the lip lines do not often meet these round corners, theres often times a "double lip line", that exists around these areas. i love including that in the art, its very easy to emphasize by simply drawing a highlight from the corner of the lips along the curvature of the bottom lip towards the middle.

shadow mapping on the lips tend to go: highlight, shadow, highlight, shadow. the top lip going inward creates a highlight on the most outward part: the top of the lip. and the bottom lip curving outward thus creates a shadow on the bottom of the lip.

when it comes to the eyeball, i don't draw the white parts as solid white, nor do i make them too bright most of the time. they're most often times an orange grey, i also dont spread this color out if you can notice the uncolored white part of the eye. i do this intentionally to keep some of the shadows that are naturally present on the eye. very specifically right where the upper eyelid sits on the eyeball, it tends to create a small shadow that follows the curvature of the eye. this shadow is crucial, if you can see the first and second picture do not have this shadow, making the iris look more exposed and the eye appears to be held wider.

when it comes to the iris, i do very little. if i'm drawing a dark colored eye i will cover the entire iris brown, before darkening it with an almost black color. i leave the brown sides of the iris exposed to aid in bridging the values between the whiter parts of the eye and the very dark iris. this blended ring also appears on all eyes in real life. lastly, dark eyes tend to show light reflections much easier than lighter eyes. these reflections can be any color in art, in this case i kept it blue-green. i bend these reflections around where the pupil would most likely be depending on the drawing.

next, the eyebrow. i find it tedious to draw individual eyebrow strands when it comes to rendering, i actually prefer to blend the parameters of the eyebrows to create cohesiveness. sparse and fine eyebrow hairs are penetrated by light and shadows more than what you'd find on the scalp. it's harder to see light on someones scalp due to the bulk of hair crowding the scalp, whereas as its easier to see such light on the eyebrow. to introduce this concept to my art, i will initially draw the entire shape of the brow. then when rendering, i erase the parameters, leaving the darkest part of the brow. then i blend. the lower brow bone will be blended the least, whereas the area of the eyebrow connected to the T zone will be the most blended thanks to the shadow following the nose bridge. the far end of the brow by the hairline tends to be the lightest given the light source.

and lastly, i loosely draw a white border around the portrait for stylistic purposes. then i combine the layers (group together your layers, then duplicate and compress the duplicate group so that you still retain your individual layers) to edit. i typically add noise and play with the curve setting. and heres the finished image:

i hope you enjoyed!!

[foxy-alien]

Page (4/14)

I wanted to share my process for my 14 page Nona comic, This got pretty long so the rest is under the cut!

First, I start by making a script, as I'm weeding through Nona I’m drawing immediate reactions. This way I don't have to keep track of action as well as dialogue. This is the most dialogue heavy page of the comic so this one has the most detailed panel break ups. 

In this scene Alecto’s inner thoughts are my favorite part so I dedicated a lot of time figuring how to add them naturally. I especially love “The old man, Crux—the child Crux, barely one hundred years old”

Once I have a rough, and I mean ROUGH thumbnail for the page I move on to creating a digital sketch. 

Side note, you’ll notice I go back and forth from traditional to digital back to traditional. Having to fully redraw poses multiple times makes me really think about the action and what I want to include.

Thumbnailing is for figuring out panels. Sketching is for action and dialogue. I tend to show action and emotion over following all the rules of comic making. If you notice i break the 180 rule, but at the end of the day character interactions are more important to me.

I redraw the sketch on comic paper in mechanical pencil. Again I don’t trace the digital work because I want the linework to stay loose. I just focus on lineweight and contrast at this step. The dialogue is written out first then I line everything else with my felt tip pen.

I clean up the comic and replace the handwritten dialogue with a font I made out of my handwriting. This part is tedious but I really don't know how to skip it. My handwriting is too hard to read but I also need to make sure all the dialogue fits naturally, so that means doing it twice. 

My coloring process is really chaotic and can't be summed up in screenshots. 

Crazy right? I am constantly adjusting, changing, and generally making a mess and then cleaning it up when I color. Often when my colors look off to me it's because I have a contrast problem, so I check it in greyscale. 

If you want to know more I can share my brushes and techniques.

And with that I’m done! And then I move on to the next page.

[handweavers]

"The relationship of textiles to writing is especially significant, not only for the cuneiform-like qualities of many patterns (preserved in a Hungarian term irásos, meaning 'written'), but also for the parallels between ink on papyrus and pigment on bark cloth. There is, in fact, little difference between the two. Such connections are implied in many textile terms. For example, the Indian full-colour painted and printed 'kalamkari' are so named from the Persian for pen, kalam; the wax for Indonesian batiks is delivered by a copper-bowled tulis, also meaning pen. The European term for hand-colouring of details on cloth is 'pencilling'. The Islamic term tiraz, originally denoting embroideries, came to encompass all textiles within this culture that carried inscriptions. And the patterns woven into the silks of Madagascar are acknowledged as a language: the Malagasy vocabulary for writing and preparing the loom are synonymous, while the finest stripes are zanatsoratra, literally children of the writing, or vowels. The study of textiles is, in fact, a branch of palaeography, in which deciphering and dating reveals the stories encapsulated in cloth 'handwriting'. 

With or without inscriptions, textiles convey all kinds of 'texts': allegiances are expressed, promises are made (as in today's bank notes, whose value is purely conceptual), memories are preserved, new ideas are proposed. Records were kept in quipu (khipu) a method of knotting string used by the Incas and other ancient Andean cultures to keep accounts and communicate information, the oldest of which is some 4,600 years old. Many anthropological and ethnographical studies of textiles aim at teaching us how to read these cloth languages anew. The 'plot' is provided by the socially meaningful elements; the 'syntax' is the construction, often only revealed by the application of archaeological and conservation analyses. Equally, the most creative textiles of today exploit a vocabulary of fibres, dyes and techniques. Textiles can be prose or poetry, instructive or the most demanding of texts. The ways in which they are used - and reused - add more layers of meaning, all significant indicators of sensitivities that can be traced back to the Stone Age."

— Mary Schoeser, World Textiles

[mlmxreader]

fluffy Mortal Kombat thoughts

『••✎••』

: ̗̀➛ characters involved: Kitana, Mileena, Sindel, Ashrah, Tanya, Li Mei, Johnny Cage, Kung Lao, Kuai Liang (Sub Zero & Scorpion versions), Syzoth/Reptile, Kenshi Takahashi

: ̗̀➛ a few swear words here and there, mentions of very mild injury.

•───────────────★•♛•★──────────────•

Kitana

Kitana loves to spend time in the garden in the spring, whether it's to just wander around for a moment and listen to the gentle melody of the wildlife or if it's to practice her Kombat skills when she's alone, she loves to spend time there; she'll never admit it, but she loves to sit by one of the oldest trees with you and have just a little bit of quality time together. You could talk for hours, and she could listen for years.

Mileena

Mileena is never the first to indicate contact, but when you're sprawled out as you're sat down, she can't resist the urge to find her way to your side; her head on your shoulder as she listens closely to your breathing. She finds it relaxing, and even when she's at her worst, your breathing is an anchor; she's very protective, and has every right to be, but as long as she can hear your breathing, she knows that not everything is shit.

Sindel

Sindel likes to watch you do your own thing; when you're reading in the gardens, she likes to sit closely and watch. She doesn't want to spend every waking minute with you, but she likes to watch you when you're unaware of her gaze; she knows you're good to her daughters and treat them like your own, which means the most to her, but she also knows that you sometimes find it difficult to be the Queen's s/o. She tries to be as reassuring as she can, though.

Ashrah

Ashrah didn't know what physical affection meant, until she found you. The hand holding. The soft kiss on the cheek that meant hello and goodbye. The cuddling at night. At first, Ashrah assumed that it was just part of some courting ritual or something, but she eventually learned to reciprocate it and to be as gentle as she could with you. She was curious about affection, what it meant and what it was like to give it as well as recieve it, but at least she had you to help her find out.

Tanya

Tanya likes to check in, a lot. Popping her head in and smiling at you for a moment before walking away again. Small touches to your shoulder or your lower back to remind you that she was with you and she would keep you safe. You never felt uneasy or unsafe when she was around, and even when you were worried and unsettled about other things, her little check ins throughout the day would always calm you down and remind you that you were safe and sound.

Li Mei

Li Mei insists on teaching you how to fight; she's tough as nails and she doesn't take any shit from anyone, so she sees it only fitting that her s/o should be able to fight, too. Neither of you can ever be sure exactly how it happens, but every training session always seems to end up with a make out session and her telling you that you need to improve on your distraction techniques.

Johnny Cage

Johnny's favourite fucking thing in the world, without a doubt, is to spoil you rotten. If you so much as offhandedly mention that you liked something, whether it was a certain meal or an article of clothing, he's getting it for you. You can't count the amount of times you've come home and there's been a box on your bed with a card signed by him, some cheesy pickup line scribbled in his handwriting; it makes you smile every time. He always gets you something from wherever he's filming - usually a postcard to pin to the wall or a badge. Something small you can always keep with you.

Kung Lao

Kung Lao always shows off for you. If he's sparring or he's training, he'll get cocky enough that he ends up hurt and then sulks until you patch him up and kiss whatever wound and bruises he's wound up with. He's cocky and he's a show off, but you love him that way. You love to see him so confident in what he's doing. You could swear until the cows came home that he had seen way too many films, but you still find it endearing that he's so eager to show off for you.

Sub-Zero!Kuai Liang

As Grandmaster, Kuai doesn't really get much time to be with you, and he regrets it every time he thinks about it; but he always tries to make it up to you. Little ice sculptures of your favourite animal on the windowsill outside when you wake up. Hastily written notes telling you that he missed you. If he has time, he likes to prepare a meal for you or at the very least something to drink - just little things to tell you he's sorry he doesn't get much time.

Scorpion!Kuai Liang

To the touch, Kuai is always so warm. He pretends that he doesn't love it, but when you lace your fingers with his tightly to warm your fingers up, it always makes him grin. He likes it when you put your hands on his bare chest or press your face to the side of his neck to steal some of the warmth he's all too happy to let go. It's never rare to find you sneaking your hand up his shirt or holding onto him tightly just so you can steal his heat.

Syzoth

At first, Syzoth was always worried about hurting you when he kissed you. He wasn't entirely sure if anything would happen, but it was always a worry that he never wanted to find out about; when he learned that it was perfectly safe, though, it was like he couldn't stay away. Always kissing your cheek or your temple or your hands or your neck or your forehead. Showering you in every single one he had missed. His favourite is always to kiss you when you've just come home, your arms around his waist and the kiss so soft and so sweet that it always makes his head spin.

Kenshi Takahashi

Film night date nights have always been his favourite. Cuddling up on the sofa with you, a fluffy blanket chucked over your legs as you fidget around to get comfortable beside him; his arm over your shoulders to keep you close. Usually he would order in a takeaway, and he always knew your favourite order for each type like it was as common knowledge as grass being green. He never realised until the end of the last film that you were sound asleep, but he would simply shrug and relax as he hummed and tried to drift off himself; you never went to bed without the other if you were both home.