#i would be flattered

[bobbywarren]

hi y’all so today i brought you my amazing(no promises) headcanon

so i personally believe that bobby’s crush on warren was done absolutely wrong bc warren isn’t just sexy he’s y’know rich & so confident & successful & beautiful as well but as well. and they have something in common; it’s a little, but it’s enough for person like bobby to think so. what i’m trying to say is such crush may be considered as ‘i just want to be like him’ and only then you can understand the whole picture

[perhaps-relax]

And it KEEPS REPEATING

[canisalbus]

[chloesimaginationthings]

This could be a kart if FLAF wasn't fucking around..

[idolomantises]

me: im not flattered when people assume my work is referencing (or flat out stealing) jokes from something else. I want people to knock it off.

Hazbin Hotel/Helluva Boss fans for like the past 48 hours: but why do you care :( its not a big deal :( you're being so mean to us :(

me:

[chalkrub]

so i got through to the top 300 for the pokemon tcg contest. i'm feeling normal about it........feeling very normal and sane. which is why i also drew this in ms paint

[chickenoptyrx]

....I just wanted to draw gators :T at this point these 2 are more 'a representation of my last 2 brain cells' then they are actual characters 😅

[pearlbracelet]

the joker shooting at batman but it's one of those joke guns that has the banner that says "BANG!" on it

except he's written "we should" above it

so it says, "we should BANG!"

[emry-stars-art]

You may ask “Emry how do you imagine it goes down if Neil and Andrew are comfy enough to use the pool they miraculously have to themselves”

Shameless flirting and simply enjoying each others company ✨

[merakiui]

I want to ruin Rollo so bad that he he stumbles out of the student president's office before he has time to fix himself. Maybe he comes back for seconds, if he does, he's getting thrown on the bed.

SO REAL OMG..... I need to give him just a crumb of pussy,,, a film preview, if you will, so that he's laying awake every night thinking about it in the most debilitating of ways. I need him to be drooling over me,,, that scene from Hunchback where Frollo's eyes are all red from monologuing in front of the fireplace,,,, that but instead Rollo was up all night writing erotica in his diary because he's down bad, and somehow the bags under his eyes are even darker and deeper than they were before. You can't give him just a tease of romance/lust/sex and expect him to be normal about it.

Giving him the best head of his life and it leaves him grabbing at the air. I need him weak in the knees. I need him desperate and pathetic. I need to peg him.

Rollo Flamme after succumbing to his lust:

[nevesmose]

Separation 11347

This was, by Trazyn's infallible reckoning, his eleven thousand three hundred and forty-seventh divorce from Orikan. The Diviner, on the other hand, was adamant that it was in fact only their eleven thousand three hundred and forty-sixth. This dispute was what had caused the current divorce.

At first he had settled contentedly into his usual divorce routine, entering his meticulously-preserved time loop of a "Happy Divorce" party plucked from the Terran city-state of Nova Yoruk in early M3 as the Imperium kept its years.

As had been the case so many times before, the Lord of Solemnace basked over and over again in the reassurance of the assembled middle-aged humans that he was indeed so much better off without that asshole in his life, rounding off the festivities with a cake depicting a miniature confectionery figurine of Trazyn using a guillotine on a similarly-constructed sugar-based effigy of Orikan.

It was all very gratifying, and he was certain that when the amusement faded he would return to find Orikan waiting for him apologetically, his eminently bullyable faceplate resembling a weeping juvenile felid.

It was, however, not to be. He returned to the Galleries to find no trace whatsoever of Orikan. He was so disconcerted that he even briefly considered retrieving his much-prized clone of the primarch Fulgrim from stasis, but decided against it. It had, after all, only been a few subjective decades since he had placed the clone into a detailed diorama of the genuine being's final battle with his erstwhile companion Ferrus Manus for enrichment purposes. He had been thoroughly pleased with himself for coming up with entertainment of such realism and, judging by his mute tears of joy, so too was the clone.

What a wonderful caregiver I am, he had thought, jauntily walking away. Perhaps he and Orikan should adopt, which when used by Trazyn the Infinite is a word which means kidnap, an Astartes or Aeldari together.

Time passed and with no sign of Orikan's return, Trazyn felt it justifiable to seek other outlets for his multifarious urges. After exhausting every category on Cronhub and getting banned from Nemesorindr, he arose to find that the necrodermis of his lower limbs had spontaneously reformed itself into the shape of a baggy, ill-maintained example of the Terran garment known as sweatpants.

This could not stand. He resolved that he would start A Project, an undertaking of such majesty and glory that no one, least of all that cycloptic fool Orikan, could deny him the attention he deserved.

After brief forays into stop-motion animation and painting miniature Space Marines (accomplished by shrinking normal Astartes through arcane technosorcery and ignoring the resulting high-pitched noises as he applied pigment of a much too viscous consistency to their battleplate) his thoughts returned once more to his display of the battle between the primarchs on Isstvan V.

Theirs was a tragic tale of heartfelt companionship severed by corruption and betrayal. He himself had mentally projected several hundred phaeronfics about them to the great repository of the Necron race whose name, although untranslatable into any other language, was best rendered as The Sarcophagus-Belonging-To-Us-Alone, and some of them had even received multiple scarabs of approval from the discerning audience entrapped there forever.

Surely, he reasoned with the confidence of a being who had long since activated the developer console of his necrodermis body and manually increased its confidence, intelligence and charisma variables to 100, this meant that no one other than he could restore their friendship.

And so, in single-minded pursuit of compassion and friendliness, the Archaeovist and his forces wrought a swathe of destruction across the galaxy.

A foray into the Eye of Terror itself resulted in the capture of Fulgrim through the use of a vast two-pronged stick to pin the writhing daemon prince to the ground where he had been basking one day, while the sacrifice of his entire collection of ancient Terran doujinshis to the haemonculi of Commorragh itself had given him forbidden knowledge sufficient to wrest back the very soul of Ferrus Manus himself and place it into a suitably prepared necron host body via the biomorphic resonance of the necrodermis which had coated his hands in life.

Finally, the moment of glory came. The daemon Fulgrim and the metallically resurrected Ferrus Manus were placed into the same containment chamber and -

It was not at all what Trazyn had hoped. After a monumental bout of hand-to-hand combat lasting for hour upon hour, the two primarchs had settled into an uneasy stalemate, in the sense that Fulgrim was currently coiled around a light fixture on the ceiling and Ferrus had run out of objects to throw at him.

"You're even uglier now than you were when you had flesh," Fulgrim hissed venomously.

"And you were more of a snake then than you are now," Ferrus shot back, the frozen inexpressiveness of his necrodermis faceplate matching the famously stone-faced countenance he had displayed in life.

Fortunately Trazyn, who never made a mistake of any kind whatsoever, had prepared for such an eventuality. A concealed slot opened in the ceiling of the containment chamber, dislodging Fulgrim from his perch, and through the opening there descended a vast garment of woven silver-metallic fabric, emblazoned with inscrutable Necron symbols and sized in such a way as to accomodate the bodies of both primarchs.

"This is your get along shirt," Trazyn said, his voice amplified throughout the containment chamber. "You will wear it."

[13eyond13]

Something very... interesting? funny? fun to think about to me regarding L and Light is that L is the shamelessly NOSIEST most INVASIVE person on earth about Light, to an actually illegal point, and yet also like SO scornful of Light ever trying to get to know him personally a bit back, or Light ever misreading any of his nosiness as genuine personal interest on any level other than a professional investigator/suspect one ... I think if the tables were turned even in the slightest power dynamic-wise this way L would be extremely mad and uncomfortable about it, and even more dramatic about doing something like suggesting Light must have nefarious ulterior motives behind such an invasion of his privacy. I think L KNOWS that it's a bit uneven and that it's probably a bit hypocritical of him to be like that, but he doesn't particularly care because it gives him an advantage over Light. He has the upper hand in the situation most times and can get away with it or not be seen as too massively inappropriate for it only because he's actually right about his hunch about Light being guilty, and because Light always goes with the flow of it, and because the stakes of trying to go up against a mass-murderer like Kira are so high. And I wonder sometimes if he would ever think about things in a way where he might feel slightly guilty about it, like that Light's almost a bit too naive and too used to being judged/scrutinized constantly and too enjoying of their relationship to actually see it as unfair to him as it sometimes kind of really is? IDK exactly what I'm trying to say here but hopefully ya know kinda what I mean

[wellfine]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[canisalbus]

I've had Ludovicas girlfriend on the brain for months and finally sketched her out. I see her as the opposite to machete in that she has dark colours and softer shapes. Her ears and facefur kinda blend together and she gets big soft browneyes..

.

[karakuuls]

some more of my nasty death-shaped shepherd (guest-starring his vampire boyfriend who he hates)

[faceeeeee]

Imma need your ver of banban to pucker up fa’ me. *applies chapstick”

He can't exactly pucker his lips cause he has none to begin with.