#ill have to find a tutorial or something

[raddestrose]

I wanna learn the Link Click hand dance SO BAD

[bf-rally]

okay so im back in navbar hell (when i thought i escaped...!!!) but ive managed to get this set up today :D

[cerealmonster15]

gave up on socks for now

[ohmrbandy]

GUH

[thedeadthree]

the brainrot is brainrotting !!!!!!!! 🥀🥴🤧

[loveindefinitely]

༊*·˚ GOT LOVE-STRUCK — how the cod men react to you having a heavy period

featuring. simon 'ghost' riley, johnny 'soap' mactavish, kyle 'gaz' garrick, john 'bravo six' price

warnings. fem!reader, sfw, periods, blood, cramping, minor miscommunication

simon 'ghost' riley

⤷ this man is defs educated. either because of previous partners or because of his mother discreetly teaching him how the cycle worked.

⤷ when he finds you curled into the fetal position in bed, glassy eyed and breathing heavily, he first thinks that you've hurt yourself and refused to go to sick bay

⤷ however, when you start getting defensive, it kinda hits him that it's your period, not a bullet. he slightly calms at that, but seeing you hurt makes him want to solve it with violence against who caused you pain, not comfort

⤷ would absolutely hold you against his chest, his hand rubbing at your lower stomach

⤷ he'd be kinda quiet cause he's upset that he can't just solve the problem like he could if it was something like a mission instead. lowkey mopey whenever you whimper or shiver a bit because of the pain

⤷ doesn't even FLINCH when you ask him to get you more products, some food, or a heatpack. just does as asked with a sharp nod and hasty movements

⤷ him not knowing how to delicately comfort you, so just hoping that his body heat and rubbing at your tender spots is enough for you :(

johnny 'soap' mactavish

⤷ freaks the FUCK out when he sees a bit of blood on your sheets. like, full on, you're on the verge of your death bed, he has to jot down your last words level.

⤷ you're in the kitchen, heating up your heatpack when he comes barreling down the stairs, wrapping you into his arms and checking all over your body

⤷ "oh my jesus, fuck, it's gonna be okay, jus' tell me--"

⤷ you have to awkwardly explain that you had woken up with an earlier period than normal, and that it was way worse than usual, meaning you needed a heatpack before changing the sheets

⤷ man proceeds to fuss even more, refusing to let you move from the couch as he changes the sheets, grabs all of your favourite pillows and blankets, and proceeds to make you your favourite breakfast so you can relax and watch your fav movie/show

⤷ acts like you're terminally ill or smth, because he is at your side, ready to do absolutely anything to ease your pains or worries

⤷ orders in your favourite fast food for dinner, spoons you, gives you sosososo many kisses and cuddles

⤷ he just wants the best for his baby, and he will provide like the man he needs to be to deserve you !!

kyle 'gaz' garrick

⤷ knows immediately. you're not sure how, but he just does, as soon as he walks through the door and sees you cuddled into the couch, face scrunched in pain.

⤷ asks if you need anything from the shops, before making you a drink and getting you the icecream he bought for you just a few days ago, knowing you were due soon

⤷ comes over to rest your head in his lap, giving you a head massage and playing with your hair, listening to whatever you say, or when you're silent, murmuring about his own day or musings to keep you relaxed

⤷ presses soft kisses to your forehead and your stomach, giving you practiced massages that he had watched many youtube tutorials to master

⤷ "shh, sweetheart, i got you."

⤷ knows your preference for tampons/pads/other without having to double-check, in the case that you run out

⤷ when you fall asleep in his lap, he picks you up and softly puts you to bed. whether he's tired or not, he just cuddles you to his chest, loving that HE gets to comfort you, that HE gets to make sure you're safe

⤷ super super sappy throughout it all :(

john 'bravo six' price

⤷ realises that you're in a lot of pain when he wakes up to you whining and curled into a ball

⤷ softly pulls your hair from your face, confused and worried that something had happened while he was asleep, even though he was so careful to keep you safe

⤷ then he remembers that last night you had been wearing your period-proof undergarments and that you probably got it this morning

⤷ when you wake up it's to a heatpack on your stomach and a hand playing with your hair soothingly

⤷ is a bit unsure about it all because he wasn't really educated on the cycle, but still tries his damn best to make you comfortable and happy

⤷ figures that he doesn't give a shit about your natural blood when he's had much worse, much filthier blood on his bare hands

⤷ treats you like you're delicate, and kinda orders you to take it easy

⤷ lets you take charge and request him for the things you need, because he's just unsure and new to it all, having a woman who's so aware of her needs and open to share them with him !

a/n. idk what this is, idk if it's any good, i've been in the city since 6am and it's now 7pm so i'm an exhausted mess. pls excuse this clusterfuck

[heretherebeturtles-comic]

Hello! Many people have said this but ill say it too, I LOVE YOUR COMIC SO MUCH ( ´ ▽ ` ).｡ｏ♡

I really wanted to ask you about how you do the backgrounds? (Something i struggle with) whats the process? Like from start to finish, also, to do the rise backgrounds do you use reference from the show and generally real photo of ny? Or do you come up with them? And last question- The shadow and light on the background- Like HOW

i know it’s a lot of questions but i’m just so curious qwq and wanna learn to be better, thank you again in case you read this and respond, in case you don’t, i hope you have a nice day and a wonderful life uwu keep up the great work! (≧◡≦) ♡

Backgrounds are a really broad subject and I'm always a little overwhelmed when asked this question. Just like drawing the human body, backgrounds take time, repetition, and practice!

My answer got a bit long, so it's going under a read more :) but if you digest info better in video format I found this on youtube

It pretty much goes over everything I wanted to say, but in a much better way. I wish I had found it before writing all this out lol

ok, first of all, I'm not a teacher nor was I built to be one of those cool helpful art tutorial people who do a full coloured tutorial filled with illustrations. This is just going to be a messy "how I do backgrounds / environment layouts from start to finish." kinda thing.

... lets start with a sight tangent.

Sketch from Life!!!

If you want to get better at backgrounds I recommend doing some sketching out in the real world!

When I was first getting into doing backgrounds I went to cafes and parks to just sketch the buildings and objects. Sketch rocks, flowers, clumps of grass, garbage cans, bottles, tables, street signs, etc. If you are drawing a tree observe how the trunks twist, how the bark flows, or how the leaves are bunched.

If you can't leave the house the same still applies! Sketch the interiors of your house, the walls, or common objects like chairs and bookshelves. How are objects stacked? items on the floor?

If you aren't comfortable with drawing outside or in public you can take some photos to draw from! They are good for practice and you can use them again as references later. Alternatively you can find pictures online of buildings and objects to sketch as practice.

All spaces have objects in them, it becomes easier to draw those kinds of spaces when you already have spent time observing and sketching them.

ALSO! They don't have to be good sketches! It's just to build out your mental catalogue and strengthen your perception of perspective.

now the actual thing...

BACKGROUNDS

(the pictures used for this are my own. I dug them out of my 2022 folder)

Backgrounds have slightly different rules based on what you are making them for. Videogame Environment Concept Art vs Animation Layouts vs Comic Backgrounds vs Illustration backgrounds.

They all follow the same basics, which I will go over here, but the intention and function of those designs are going to be different. It's all about how you set up the scene and what it's purpose is!

Brainstorming and Thumbnailing

I like to think about a location as though it is a character. An abandoned old house with creaky sagging floorboards is very different from a futuristic space ship with sharp metal floor panels. A gas station has a very different feeling from a library.

I usually start by asking what is this location's story? Why was it built and for what purpose? What kinds of things does this room need to fulfill that purpose? You don’t need solid answers, but its good to be thinking about it while you are working.

Next, sketch some ideas for how this place is going to look. For me, this usually involves drawing the idea from multiple angles and then making lists & small sketches of the objects I think should be filling the space.

Example: The main character of my original work is a Wanderer. They collect a lot of things on their travels, but those items have to be small enough to be easily carried in a backpack. I wanted his room to be in the corner of an attic, walled off by curtains, and filled with trinkets. You can see some of my brainstorming above.

References

I only look for references after I've done some sketching and planning; this is to solidify my idea first so that I don't accidentally copy anyone else's work. I will make a moodboard with pictures of lighting, colours, items, rooms with specific ceiling beams, old chairs, etc. basically whatever I feel fits the vibe.

Honestly, I don't use references as much as I should. For ROTTMNT fanart I look at backgrounds and screenshots from the series to study the style. I also reference actual photos of NYC to get a feel for how Rise condenses the visual information.

In general, it's good to have references of real life objects/locations, because there are so many details like cracks in pavement, stickers on polls, crowning on buildings, fancy fencing, weird chair legs, etc. that you might not think of. It's the imperfect details that can make a location feel more alive.

Perspective

Once you have your chosen sketch we move to.... the infamous perspective boxes. Doing backgrounds is just learning to be comfortable drawing So Many boxes and carving items out of them.

Many better artists than myself have made videos on perspective, vanishing points, and all the technical bits. Videos like THIS ONE and THIS ONE are helpful (this post is great too!!). There are probably a lot of classes to be found on Skillshare or Schoolism. I learned a lot of this in my college art course, so I can't give you a specific video which helped me.

You can get by and be a good artist without learning this stuff. There are quite a few successful artists who have admitted they never bothered to learn perspective (one of these people even made a whole graphic novel series).

I personally avoided properly learning this stuff until I was in my 20s because I thought it would be boring and difficult to do. tbh I really wish I had learned it earlier because it's so much fun to make those silly little boxes imo. It looks scary and complicated but, just like drawing humans, it just takes time, repetition, and practice to develop the knowledge and skills.

Cleanup

You have your boxes and lines! Cool! Now to make a scene out of it. Fill in the details, get everything placed were you want it! Generally, the lines of each item will point back towards the horizon line, but they can have different perspective points.

Generally you would want to clean it up and get your room completely sketched before doing the lineart. I tend to combine the steps (not recommended)

Lineart

I've mentioned how I do this before. Closer objects have thicker lines and more detailed inside. Further objects have thinner lines and less detail. I didn't quite achieve that balance with the image below, but it's close enough.

Colours and Shading will have to be a separate post. In the meantime, I highly recommend the book "Color and Light" by James Gurney. I used to borrow it from my local library and a good chunk of my knowledge was learned from it :)

[meanbossart]

i just need to take a second to gush about how much i love durge drow and astarion, they feel so fleshed out and perfectly written together in their fucked up wretched ways. They really inspire me to write more for my own tavs, hopefully one day ill be able to say im as happy with my own work as i get when seeing yours. I have to ask though, do you have any tips on drawing head shapes and faces? or maybe about wrinkles? i find i really struggle with that stuff when drawing and i adore how expressive and grungey all your art looks!

First of all thank you so much, I love hearing what people think of the two of them together 😭

Honestly you've hit on something that's quite near and dear to my heart, I love developing and figuring how to draw and stylize different faces to get the most unique, interesting looking results - everything about the details is highly rewarding to me. What does x type of nose look like from this angle? In this style? How can this eyeshape best translate to my art? How different does a face look when its making this expression? What does that MOUTH DO? etc etc.

In fact you kind of inspired me to put a little tutorial/guide together the last hour lmao and what a blessing it is that the two current subjects of this blog serve as great models here, being that their faces are basically polar opposites!

When it comes to heads, you've probably heard it a dozen times before that you want to think of them in terms of geometry and facets; my process to drawing them is pretty conventional so I won't spend too much time on it, but it goes something like this:

Obviously I don't do every single one of these steps most of the time, which is just something that comes from practice/developing muscle memory, but it is helpful to start off this way for two main reasons:

By making these guide lines and splitting a head into pieces like this, you'll have an easier time seeing and understanding it as a multidimensional object, and in turn, facilitate It for you when you venture out into doing wacky angles and lighting.

Making different headshapes starts HERE. notice how Astarion's "face" slate is narrower and longer, how my durge's jaw pieces sit lower on the head, how all of the same pieces came together in the same way but we ended up with one real pointy elf and a real brick of a drow - making characters look different successfully begins very early in the sketching process.

The next thing you want to do branches out into every day life: start noticing yours and other people's facial features. How does an upturned nose look from a high angle? How does the size of someone's cheekbones affect what they look like when they smile? How about when the light hits them a certain way? Does someone's lip shape changes when they pout? When they laugh? How does a person's hairline change the shape of their face? You do NOT need to creepily sketch every stranger you see on the bus, but get into the habit of actually noticing what people look like when you talk to them - when you look at pictures, when you watch movies - make a mental list of interesting ways mouths, noses, and eyes can come together in a variety of different proportions to make completely distinct looking mugs, and how they change depending on how you are looking at them.

Light and shadow play a HUGE role in how faces look, too, basically as crucial as actual bone structure does. As you see up there I tried to rough out how natural, head on, and underhead light would look on these two very different looking guys, and while we can see definite patterns, there are small differences that come to be because of the sizes and shapes of their features.

Here is a very, very basic look at how some of these features come to look the way they do, how they interact with one another, and how they compare between a blocky, rather conventionally "masculine" head and one that's much softer and slimmer.

Note please that it is not one or two characteristics that give a chaarcter their "look"; you can reduce a face to eyes, mouth, and nose through stylization and still have them be recognizable, but if you want to do more than that, you have to consider the whole package! Chin, cheeks, brows, direction of the jaw, slope and size of the forehead, depth of eyes, ridge of the nose, etc - I know this is probably far more than you bargained for, but if you start making note of a FEW of these things now and slowly add on, this will eventually become second nature to you.

Similarly, understanding how these characteristics come together will help you with rendering light and shadow in a realistic way, and predicting what their facial expressions may look like - if no two people are alike, neither are their smiles. :)

Lastly, remember that I'm no expert - I have developed my own methods and semiotics and yours may look slightly (or vastly) different, and that's fine! I hope only that by sharing this it has given you a base to work off of.

Anyways, I HOPE this has been helpful and not just the unsolicited ramblings of a face pervert.

[dr-spectre]

I heard about how in Bancala Walker there was a short story about Marina and Acht and their time in the domes. And I'm gonna be 100% honest with you. It kinda makes me mad, and it really highlights a massive problem with Splatoon as a whole, and that's how it treats its stories.

(Yep I'm rambling about Splatoon's storytelling for the 500th time, welcome to my blog.)

Since Splatoon 2, the series has had a weird relationship with its storytelling, the main stories of each campaign are very simplistic and are very video game like plots. "Go get the Great Zapfish back and save Captain Cuttlefish. Go get the Great Zapfish again and find Callie. Find the thangs and get out. GO GET THE ZAPFISH AGAIN AND SAVE CAPTAIN CUTTLEFISH AGAIN!!! Climb up the tower." Splatoon 1 got away with this because it's clearly the most "tutorial" mode out of any of the single player campaigns and it doesn't really try to say any deeper messages or express a character arc.

Now, obviously video game stories must have goals for the player to work towards, I'm not complaining about that, you gotta have that stuff in games to motivate the player, however, what really drives me up a wall is when they decide to add depth and interesting things relating to the characters and world, yet they intentionally throw away that same depth and chuck it to the side. Hell they sometimes retcon the optional hard to find lore or make it more confusing just because!! If you're gonna add depth and something else to these stories, you HAVE to actually explore it and expand upon it WITHIN THE STORY! You cannot add it as "extra lore" when it's stuff that should have been in the main storyline to begin with. It's like not adding seasoning to chicken and that you boiled the fucking chicken and wrapped it in lettuce and mayonnaise.

I could obviously talk about the elephant in the room... you know... this little goober right here. This freak.

And I'm going to.

From the concept art we were given, we know that Callie was originally gonna have more exploration into her troubling mental health issues as seen by her being in the shadows and being comforted by Octarians. It's a significantly different tone compared to the final product.

However in the final game, they tossed MOST of this shit away and say in the game as well as in official media, "naw she was kidnapped and brainwashed forcefully because she's a dumb clutz lmao." They tried to backtrack with an obscure relationship chart, the sunken scrolls and Squid Sisters web prequel series, but then they backtracked AGAIN with the Splatoon 3 artbook that states that she was "brainwashed." It's an incredibly simplified and frankly insulting version of events that are TECHNICALLY canon but Nintendo and others don't treat it as such and i don't know why. I dont know why they treat Callie like this. Is it because she's silly?

Wouldn't it be more interesting and more powerful as a story if they made Callie had more control and awareness of her actions? That she was truly acting upon her mental illness and isolation? Putting DJ Octavio, the fucking funny octopus guy on the same level as Talon from Overwatch and Hydra from Marvel, the literal nazis who damaged Bucky Barnes' brain and removed all of his memories, making him into the Winter Solider, is fucking psychotic and actually insane of Nintendo to do.

There is also Acht and how they were shown between Octo Expansion and Side Order.

Some of the most powerful stories in media have strong character arcs and characters overcoming their struggles and pain. It is inspirating and incredibly real to see a loved one reach out to a person that they care about who have lost their way, either from mental illness or drugs. Trying to bring them back and help them go through their pain together. When someone is under distress and mental health troubles, they can act like a completely different person and the fact that Nintendo half assed serious topics like this and made shit WAY WORSE boils my blood to no end.

In Octo Expansion, we were told that they went under Sanitization willingly in order to remove doubts in their mind and put their all into music. Now due to the unknowns of Sanitization at the time, this made for a really interesting character and brought up a lot of interesting questions as to why they would do this and who they are.

However, in Side Order when they explained Sanitization further and told us that Acht lost all of their free will and were FORCED to make music for Tartar, it kinda damaged their story a little bit. Like sure, Acht still probably wanted to go under Sanitization to clear their doubts and remove emotion, but the added information kinda goes against the interesting story they were trying to tell with Acht. Acht doesn't even mention why they went under Sanitization in Side Order and their reasoning is only found IN A SOCIAL MEDIA POST BACK IN 2018!!! THEY DON'T RESTATE IT AT ALL WHEN IT WOULD HAVE BEEN IMPORTANT TO DO SO! They kinda tell us via their letters, but guess when you get those, IN THE POST GAME!!!!!!!!!!!!!

This leads me to another big talking point, most of the lore is hidden and hard to find. You have to go out of your way to find most of the shit Splatoon has to offer. Sunken Scrolls are hidden collectables and most people don't wanna go through the effort of finding them all in the stages, the chat logs in Octo Expansion are completely optional due to entries being tied to specific stations and you can choose to easily skip them, the dev diaries are locked behind lockers and some people may complete Side Order in a manner where they can get to the final boss and be done with the main campaign before seeing most of the entries. Now I'm not saying that there cannot be extra lore tidbits for players to find, hell no, i love extra stuff like that, i think Splatoon 1 and 3's hero modes did a really job of that. BUT WHEN YOU HIDE AWAY IMPORTANT DETAILS LIKE CALLIE'S MOTIVATION IN SPLATOON 2 AND MARINA'S AND PEARL'S BACKSTORIES!?!? YEAH I GOT A FUCKING PROBLEM RIGHT THERE!

In other games, these would be cutscenes or a bunch of mandatory dialogue, BUT NOPE! THEY ARE IN HARD TO FIND SPOTS!

Some of the other lore details are found on social media posts and some of them are YEARS old or on Splatoon's dead Tumblr account. Most people would rather go to Inkipedia and even they can sometimes make vital mistakes or have wording that gives people the wrong idea on what happened in particular events, which heavily impacts the community and discussion. When i talk about my perspective on what happened to Callie in Splatoon 2, I've seen people say to me "wait really? Huh?! I didn't know that." The amount of research you gotta do to go into these characters is an absolute nightmare, AND DON'T EVEN GET ME STARTED ON THE SPLATBANDS!!! Their lore is literally locked behind Japanese exclusive expensive artbooks!!! WHY?!?!

I really do wanna stress again, is it cool to get cool lore outside of the games and as collectables?! ABSOLUTELY! You know how awesome it was to read the Alterna logs for the first time? The smile on my face seeing Pearl and Marina back in the Final Fest in Side Order. But when the main stories suffer because of important information being tossed to the side and not applied to the main games... I dont know man, it just becomes incredibly frustrating to me personally. Especially with all the misconceptions and other things that occur within the community, the fandom has an information problem and honestly, it's Nintendo's fault. Imagine if Side Order had flashbacks to a younger Marina and Acht, it would have helped with the middle chunk of the story being so... nothing.

[communistkenobi]

something I’ve been thinking about is like, the internet is this magical system of technologies, never before seen in human history, and one of its capabilities is to answer virtually any question you ask of it. Which is not even remotely a novel observation obviously lol. But I’m thinking about this in the context of a point that Adorno & Horkheimer made (in The Culture Industry I think?) about the radio: that to expedience the radio, to live in a social context where there is this vast incomprehensible system of technological infrastructure that you do not understand or control, and which allows you, a mere peasant, to listen to news broadcasts, music, and advertisements, is effectively like listening to the voice of god. Like the average person’s relationship to modern telecommunications is so mystifying, incomprehensible, and abstract that we experience technologies like the radio as an all-powerful, indestructible authority, and this (obviously) shapes our relationship to the information that is shared through it. People make jokes on here about how transmission towers are angels, but like tbh that is essentially how we experience them - vast, incomprehensible, highly dangerous objects whose impact on our lives are at once all-consuming and unknowable. We do not just turn on the radio and listen to the news, we tune into what the voice of god has to say today - right now he’s selling toilet cleanser!

and all that to say, I always find something a bit incomplete about discussions about wilful ignorance online - that we live in an age of mass information and yet people still seem as ignorant as feudal peasants, or whatever. Nobody googles things, nobody tries to branch out and experience new kinds of art, nobody educates themselves on important topics they don’t understand. and like this frustration is very real and well taken, I feel it frequently, but what I’m grappling with is whether this is the correct framing - that maybe “why don’t people just google things” is the wrong question to ask, because I tend to find the explanations offered unsatisfactory. Like specifically I’m thinking of discussions on here that are about like, “anti-intellectualism”, kids these days are so ignorant even though they grew up with the internet, reading comprehension is piss poor, and so on. Recently I’ve seen a lot of weirdly moral-panicky posts about children not knowing how to type on computers because back in my day we were forced to learn how to touch-type by age 8 even though we couldn’t look up any tutorials on YouTube to help us, etc etc. And like I just do not buy that people are individually choosing to be ignorant, that people are “getting dumber,” and that this state of getting dumber is inversely related to the amount of information we have access to (which makes “getting dumber” even more dumb). An unstated assumption that goes into a lot of these “anti-intellectualism” discussions is that “information” is this universal object that has a standardised enlightening effect on the people who interact with it - that the only reason to have an ignorant, sheltered, or ill-formed opinion on something is because you have individually chosen not to Look At Information that will cure you of your ignorance. And so going back to the god radio thing, having regular access to the google search bar is not just having access to an encyclopaedia or dictionary - it is like having a direct line of communication to god, this authority that can answer any question you ask of it. But it’s not just one answer, it’s many answers, more answers than you could ever possibly read through. Google reports the number of hits it returns for whatever you type in - you will regularly get millions of answers to your question. And these answers are embedded with advertisements, just as radio news broadcasts are. Like if god is selling you toilet cleanser while telling you the number for a suicide hotline or news about what’s happening in the world, how do you psychologically deal with that, how is your relationship to capital-I Information shaped by this relationship?

The corollary to “we live in an age of mass information” is “we live in an age of mass misinformation,” but they both show up as answers on google (again, not a novel observation). but in the face of that how do you not simply stop asking questions? & of course this decision to stop asking questions is given form and substance by social circumstance, it reinforces systemic privileges and violences, and so this decision is not one free from consequence, and in many cases it is not an innocent decision. a white person deciding not to read the news because it’s too hard to figure out what is happening/too frightening/etc has the consequence of reinforcing the white supremacist outlook that is foundational to the social context of white people because they’re not reading anything that challenges that outlook. ignorance has many social contexts and many of them are violent. etc. like the consequence of “why does nobody google anything” is just a continuation of the status quo, just with this supposedly glaring and easy fix to it (simply google it). but that just leads us back to a discourse of individual choice, of people individually choosing not to “google shit.” it is a deeply individual fix to a systematic social problem. and so maybe the question is not, why doesn’t anyone google shit, but rather, why is the primary delivery system of knowledge a god that sells you toilet cleanser 

[1alchemistart]

Hi there! This is a big ask but would you consider doing a tutorial of how you render? Even just some quick tips would be helpful, or maybe the brushes you use? Finding a brush for line art is way easier for me than finding one for colouring/rendering T-T (I’m specifically looking at your march from fields of Mistria you did a little while ago)—I love your art!!

thank you dear!

i'm not sure i'd dare call this a tutorial but it's a little breakdown of steps if nothing else, for this style of rendering in particular? since you referenced my march art in particular :]

i usually use the bong pen in clip studio paint, but any flat brush that allows you to layer color comfortably is a good idea! the size of the brush shouldn't change with pressure but rather, its opacity -- most art programs i know contain brushes that either are this, or can be edited to BE this, so alternatives can be found pretty easily :D

i'm gonna be using good ole kris deltarune for this bc of my present deltarune fixation 👍

as many people do, i usually start with a sketch -- level of roughness is based entirely upon my mood, depends on how much you feel like mixing your own mistakes in color later lol. do a better sketch if you wanna spend less time fixing and more time refining! i felt like going for a rough sketch this time around :]

then we lay some flat colors in... i neglected coloring the eye bc this is kris deltarune, the entire upper half of the face is going to be in shadow so ill just be coloring it in the shading stage, lol

the way i personally do shading and highlighting is by manually selecting the colors i think would work well with the flats i have and the lighting i have in mind :] a quicker way to do shading would be to use a multiply layer, of course, but i tend to shift things around way too much here for a multiply layer to work well for me!

the main way i select in-between shades is why i use brushes that change opacity with pressure instead of size! i select a darker color and lightly drop it on the color i want to shade. then, if i want a softer transition, i very lightly do a stroke or two with the same shadow color. the result will be an in-between color between the light and dark! pick that and very lightly brush it along the edges of the shadow :D you can also always alter that in-between color to be more vibrant and saturated, or alter the vibrancy of shadows by very lightly applying barely-opaque vibrant strokes to it. the world is your oyster

then i either merge it all together, or shove it all in a folder, copy the folder and merge the copied folder together so that i can always backtrack very easily... and we begin painting over the lines! The Rendering Has Begun.

the techniques i use for this stage are the same as in the shading/hihglighting stage, we're just being much more refined now and covering the lines. if you're going for something more realistic, you're gonna want to be rid of as many of the lines as possible by the end, which is another reason why making a neater sketch to begin with saves time haha

using references of the lighting you've got is going to make it much easier overall -- what i'm linking here is a very good resource for this, but of course do also peruse real photos of what you're aiming to draw! you can also always use yourself as a reference. i couldn't quite figure out kris's mouth in the end stages, so i used my own in that angle as a guide

make sure to take breaks from a big render, because your eyes are going to adjust to mistakes you've made and you won't be able to see them until you've taken some time to Not look at your own art. this applies to literally any art you make, not just this type of render! it's also healthier to take breaks every now and then anyway lol, don't do massive works in one sitting, you WILL suffer

don't be afraid to change stuff up in the rendering stage either if you feel like it. as you can see below, i ended up changing their expression. just make sure to duplicate your layers so you always have a backup in case you decide you don't like your changes!

keep going until you're happy with what you've got! you can always overwork it so that's another reason to keep backups lol. i like to make use of overlay layers near the end to make certain areas more vibrant where i feel like they should be :]

and you should be done! i don't render in this style very often but it's very good practice and it does look cool :] i hope this has been helpful!! MUAH

[beachbeibi]

Hello! I am super in love with your linework. I adore the softness of how it looks when you have the lines all colored to match the object/color they represent. I was wondering what your method is for drawing it this way? Do you draw it all in one color and use overlays to adjust it based on the base color later?

Hi hello! Thank you so much! Actually this is something that I saw artist do in comic books and wanted to copy it, it also took me forever to figure out how to do it quickly so here’s a mini tutorial for you so you don’t have to go through the same as me to find out, it’s really super simple!

(I work on procreate but this is a feature that exist on every drawing program, also my procreate is in Spanish but ill translate what’s important )

STEP ONE: have a layer with all your lineart, I always do it all with black first

STEP TWO: Create a new layer on top of your lineart layer and on the layer settings select “Clipping mask”

STEP THREE: Now in your clipped mask layer you’ll be able to color the lineart AND ONLY THE lineart without it being super complicated and time consuming

FINALRESULT

[am-i-the-asshole-official]

WIBTA if i told my partner to figure stuff out on his own? My partner is very sweet and understanding, def the best relationship I've ever been in. But. Whether it be bc he's a man, or bc he's chronically ill (but able bodied now that he's getting treatment), his parents have relentlessly babied him and there's lots of normal adult things he just... doesn't know how to do. Like working a washing machine, or vacuuming properly. To his credit, he's definitely trying, we've spoken abt this sort of thing in the past, and it's DEFINITELY not weaponised incompetence. It's just... normal incompetence.

Sometimes he calls me with issues that normal adults, or at least me, who is very used to to doing things without any assistance would simply do by myself. I have a lot of disabled people in my life and I'm normally the designated Physical Thing Doer. I feel like shit for thinking less of him for something that was largely outside of his control, but a lot o times it just want him to learn how to do these things without my input. I have a lot of trauma due to weaponised incompetence and it's very hard for me to see that he's just genuinely asking for help. Should I just tell him to go watch a YT tutorial or something???

So i find this later:

🪿🪿

[coveredinredpaint]

Hi! I'm trying to start making my first battle jacket, but idk where to start, any tips?

thanks you for your atention!

-🐛

heyey!

i remember making a post about this but once again i cant find it. so ill just make one again.

step one is gathering inspo! i personally use tumblr and pinterest. sketching out ideas you have to see how they fit together also helps create an idea of what you might want. if you want to make sure you like the placement of a patch or chain, you can attach it with safety pins first.

dont let yourself be stopped by gatekeepers or elitists, its your jacket and thus there are no rules. although i do advise you to not put political patches on your back, to prevent bigots from attacking you from behind.

also dont put big and/or sharp spikes on gear youre going to be wearing while in the moshpit. you dont want to seriously injure yourself someone else, also make sure you dont have any patches attached with safetypins on your jacket while in the pit, for the same reason

if you dont have a jacket yet id advise looking out for them on fleamarkets, garagesales, thriftstores or online secondhand sites like vinted. i advise buying one that is a bit bigger on you, cause jackets tend to shrink a bit when you sew patches onto them. also a sturdier one like denim or leather (dont buy "vegan" (plastic) leather itll disintegrate in a year) makes sure your jacket will last longer.

i made a tutorial on making patches last year,

also made a tutorial on making bottlecap buttons

for chains id look in hardware or craftstores, spikes can be found in craftstores sometimes but etsy is a good alternative. if you have other alternative friends you can also trade with them! i get a lot of my coolest stuff from my friends.

ehh i think thats about it? let me know if you want some more in depth info about something.

[teabeexo]

𝚃𝚎𝚊’𝚜 𝙷𝚊𝚒𝚔𝚢𝚞𝚞 𝙾𝙲𝚜: 𝙷𝚒𝚖𝚊𝚛𝚒

Information and images continue below the cut!

Information

📝 ┈➤ just the basics!

Name: Himari Tagawa

Age: 18 (pre time-skip), 24 (post time-skip)

Affiliation: Karasuno (third year)

Birthday: September 30th

Height: 5’3” (ft), 160.0 (cm)

S/O (if applicable): Tetsurō Kuroo (eventual boyfriend)

Notable Friends: Kymora Iwasaki (oc), Noa Higashi (oc), Shinju Kita (oc), Daiwa Fujimoto (oc)

Character Overview

🗒️ ┈➤just the basic idea! complete lore/stories will be shared elsewhere.

Himari lives with her mom and dad in the rural suburbs of the Miyagi Prefecture. From a young age, her proclivity for theatrics and performance made itself known. She dipped her toes into every metaphorical "pool of dance" she could find: ballet, waltz, tap… if it was under the sun, she was trying it. What she really fell in love with was contemporary styles, taking inspiration from Broadway, hip-hop, and the blooming subgenres she came across.

In middle school, Himari's assortment of dance lessons had to be halted. Her family wasn't particularly wealthy, and her parents were spending their "wiggle-room-money" on their daughter's dance classes. After Himari's paternal grandfather fell ill, her family made the decision to contribute their spare savings to funding his care and treatment.

For the remainder of her Middle School years, it was up to Himari to find dance tutorial videos online and attempt to teach herself. But independence, is good, right? And she'll be damned if this will stop her.

Himari has her dedications: dancing, family, her friends. What she didn't see coming was something she couldn't help but become attached to: a too-tall, messy-haired boy with a penchant for driving her up the wall.

Letters of Recommendation

✉️ ┈➤ A. K. A. how she’d be described!

Himari is -- and always has been -- a little spitfire. While she doesn't seek to be inflammatory or rude, her inherent resting "resting bitch face" and prickly demeanor often strikes others as off-putting. And while Himari knows it, she's of the mind that it's not her responsibility to curate how others see her, or to correct them if they make sweeping generalizations.

Even so, this can lead others to be driven away by her unwavering personality. She's the type of person you have to acclimate to being around, and learning to interpret her tones. Fiery and harsh, you've got to stick around long enough to see the sincerity beneath.

Gallery

🖇️ ┈➤ photos!

follow/check her oc tag (teas ocs: himari) for content about her, or the tag OCxC: Himaroo for stuff about her and Kuroo (+ writing by others that I picture as encapsulating their relationship).

[decafbat]

i really like how much depth your art has, do you think you could show how you break down bodies when sketching if that makes sense? it’s something i struggle with a lot in my art! ｡ﾟ(ﾟ´ω`ﾟ)ﾟ｡

ok apologies in advance, this is probably going to be a really long and tangential rant about art that may or may not actually help you in learning how to construct bodies. im just gonna put it under a cut to save everyone from seeing this huge text wall.

i dont think its gonna be possible for you to replicate my methods here, because theyre mostly just really specific shortcuts for finding certain proportions and reference points for anatomy, which i'm fairly versed in, but not as much as i'd like to be. the shortcuts you'll need will be different from mine. im glad you think my art has depth, that is something i am trying to seek very intentionally right now, and i dont think im even close to the depth of form i am actually aiming for. so like. this makes making a tutorial kind of inherently hard. nevertheless, i threw this quick sketch together after like 3 failed attempts. (i was doing those attempts digitally, ended up giving up on that and going back to traditional because its what im most comfortable with rn)

i didnt get all the steps i took to get here because scanning that much would be cumbersome but ill try to explain how i got here. i start with the head almost every time.

i use a lot of symbolic/graphic shapes when drawing heads and dont stick to using forms very often besides the circle at the center of the head, which i use as the base to form these graphic shapes around. think of it like "wrapping" the ball in various textures and masses. the eyes are usually "textured" onto the head, notice how the her left eye looks narrower then her right. of course i try to make sure her bangs sit along the curve of the sphere and her ears look like they sit on opposite sides of the head. its easy to forget that part, making the head look unsymmetrical. the particular masses of leica's head would be her snout, which is just a curve extended slightly outside the diameter of the ball, and her hair, which are two strange organic shapes that are quite hard to draw, two hair sprig anime antennae things (forgive me, i forgot the word for them,) and the back of the head, which i usually need to extend slightly. its a little too extended here, needs more on the top, i fix this in the final pass. this was a quick sketch, so i didnt focus too hard on the forms of the head beyond the most essential ones for her design, but i sometimes highlight the form of cheeks with curved hatching, or try to make the eyes appear more sunken-in as they are on human faces. i dont know how to proportion the neck and torso correctly until i draw the head, so i always do it first. next, i did the torso.

so heres why i said that you probably wont be able to replicate this approach. you do kind of just have to practice anatomy, i cant just make it make sense because im not very good at explaining this stuff, but ill try to go through what i did here. so, i generally use simplified bone shapes to find proportions and reference points, as well as more complicated shapes like those of elbows and knees. i try to study fairly often because im not satisfied with here im at with this stuff yet. of course, i dont think i'll ever be. so i'll usually start with the ribcage, add a shoulderblade out the back to find the shoulder, the armbones come out of that, the bone in the upper arm connects to the ulna with a sort of three-pronged attachment, one big knurl in the middle, which forms the thrust of the elbow, two little ones on the side. i think those are part of the ulna but i dont remember. see, you dont really have to know what exactly they do as long as you know what they look like. the ulna does some goofy rotation shit i dont understand, connects to the wrist, and then we have a hand, which, i mean, im not good enough at hands to even be telling you how to do it, but i just have a big squarish mass and some little hotdog fingers coming out of that. you can see on her left hand that ill have a big circle forming the the area on the hand where the thumb attaches... theres more depth to the hands, i think you can easily find better tutorials then i could offer. anyway, under the ribcage theres the pelvis, represented with a box. ill get into that when i talk about the legs. i wanna briefly talk about the way i add the flesh and fat to the bones.

so, i really can't give a comprehensive crash course on anatomy, but i can point you towards the morpho series, which is where i get most of this stuff from. you can get very far with the volumes Simplified Forms, Fat and Skin, and Skeleton and Bone Reference Points. moving on, i just kind of have a feel for where the masses attach by now. the important thing to remember when drawing fat characters like this is that the fat should "hang" from the bones and flesh, drooping down slightly. leicas fat hangs substantially, so she's not very wide despite her weight. this is important to her character design i feel. i almost always draw characters naked first when doing serious drawings because it will come in handy knowing where the forms of the body are when i add the clothing. by focusing on the way her body looks naked, i can modify the impression of those forms when adding clothes, and when i add them later on in this drawing, leica will take on the distinctive boxy look i try to draw her with.

if you look at the arm, youll see that the place the line of bone sits is very high compared to the whole mass of the arm, the flesh and fat of the arm "hang" from the bone, and then the upper arm squishes against the bent forearm too. even if the anatomy in the arm is indistinct, it can still look convincing when the forms act realistically against one another. the elbow has much less fat connected to it, so its more bony then the rest. this isnt actually consistent on all people so like, think about that kind of thing when designing characters, like i was talking about before, fat can sit in infinite different ways. maybe if i was doing a more objective anatomy lesson i'd draw cath, because i do have a sort of vague understanding of muscle placement that doesnt come through here, but probably would if i was drawing a scrawnier character. let me know if you want that.

a word on the breasts too: they hang a bit lower then you'd expect, keep that in mind. the attachment point is also angled, as the line shows. the line starts roughly in the middle of the torso and ends around the armpit, but the form of the breast can go underneath the armpit or even connect around the fold of fat in the back. many things to think about. i love boob shapes. ok lets finally get on with it and talk about the legs.

so, the really specific shape of the pelvis doesnt matter that much unless youre drawing a really thin character, so its just a box here. out from the sides of the pelvis, extending out more then you'd expect, is the femur, which ends in a similar joint to the arm. this shape helps me figure out the form of the knee. two masses on each side with a bunch of complex and weirdly shaped bones forming the kneecap, which i have omitted because i dont yet know shit enough to include them. i am learning though. so, obviously the feet are just scribbles here because im just gonna put her feet in socks anyway. you really dont have to do more then you have to. a few tips i can offer here, the butt should hang a bit too when drawing fat characters, i think the butt is supposed to start just below the pelvis if i remember, but take that with a grain of salt. i also didnt really do that here but its hard to tell because she's facing mostly forward. again, i dont think i can really communicate what's going on here. morpho has a lot of great drawings explaining the shapes and muscles of the legs, all things i might focus on more when drawing a scrawnier character. for this case, i regrettably don't go too hard on the legs. also i should note that legs would usually be much longer, leica is really short so ive exaggerated the proportions to communicate that. i may change my mind on that front in the future and give her more grounded proportions. the important thing to remember with legs is just getting a nice hierarchy of forms going. bigger thigh going into smaller calf going into smaller foot. it mostly comes automatically now.

i added the clothing, shaped up her head a bit, added a bit of fur. i put her in her classic outfit, just a sweater and jeans. i enjoy the big thick folds that come out of these clothes, and big areas of white space too. its nice. i try my best to form all the folds around the forms of the body i drew earlier. thats one case where i really really have no idea what im doing and could never explain it in words. its just some fun intuitive play with loops and lines. this is at around the stage for a sketch where i'd do inks, or if it was going to be a finished pencil drawing i'd erase out parts piece by piece and replace them with nicer and more defined lines and tones.

i guess that's all i can offer , i hope that halped.