#one of the ones that you paint yourself

[chronic-high-achiever]

I do worry for the people of this household

[golyadkin]

I cannot express enough that if your reaction, as a hobby artist, to not getting that many notes on your art is to say "maybe I should just stop doing art altogether" you need to stop posting art to tumblr

not necessarily forever, not even for long, but just stop putting your art on here and start doing it for you again, remember why you enjoyed doing art in the first place and stop relying on the attention of faceless people on the internet for your enjoyment of your hard work

believe me, I get it, nothing crushes the artistic soul quite like labouring for hours on a piece only for it to get like 10 notes, so you need to find your own source of joy in the act of creation and a lot of the time that means making art and not showing it to anybody

[seaghosst]

i don’t have digital art 2 post rn so here’s all the physical tmnt art ive made :)

hamato symbol necklace and leo necklace (paint got fucky cause i put mod podge on it too early but that’s ok i love him anyway)

rise baby turtles :D!! i love these ones a lot

rise leo embroidery and figure i made for the embroidery and sculpting unit in my art class!! the favoritism is crazy

and my turtle and tmnt bracelets + a bonus usagi one even though he isn’t like. originally tmnt. but im including him anyway :)

[jawz]

i saw the tv glow is legitimately one of the stupidest, most tryhard movies i've ever seen in my entire life. absolute dogshit. and everyone is pretending it's the most lifechanging thing they've ever seen LOL give me a break! the gall to claim this is inspired by fucking DAVID LYNCH??? i can't

[deoidesign]

how did u learn to paint?? like i just cant wrap my head around it

<3 I love answering asks like this!

You will have to bare with me, I don't save many of my studies, and my files aren't that organized so I don't have as many images as I would like.

The studies I've found most helpful for myself personally with painting are various master studies. (This is also, as always, alongside study of fundamentals.) And always follow a study with self-critique (and, if you can get it, outside critique!)

"Master" in this sense means anyone who you want to learn something from.

One way you can do this is by copying an artist's work directly. This is to try and understand some of their stylistic techniques. Leyendecker, Andrew Loomis, and John Singer Sargent are personal favorites of mine! I try to keep these quick, I'm not trying to get an exact copy.

I also get a lot out of copying photos. In this case, I'm not trying to glean some technique, rather, I'm trying to interpret the photo and explore my own stylizations.

(photo credit mountain men of alaska )

I also really enjoy taking a painting or piece that already exists, and making it "mine" by putting my characters in it haha, which is sort of a combination of master studies and photo studies!

(William Bruce Ellis - Covent Garden (1930)) (Barberini Faun)

And then, in my work that's not a study at all, I'm informed by all of these!

What master studies do is help me refine my style and practice my technique, but also I'm communicating with artists of the past through my art! They're teaching me! And I have so much to learn.

And of course... most importantly... I paint.

a lot.

I don't do as much study anymore, not because I feel I've learned all I need to, but because for work I draw 50+ drawings a week. 'Drawing for work' and 'study' occupy the same space in my brain and I need some fun drawing time!

So to sum up, draw a lot, reference constantly, and copy the people you want to draw more like!

(and, of course, when doing a study off of someone else's work, always give them credit. If it's your photos there's no need.)

[emry-stars-art]

YES, PLEASE AND THANK YOU @snazzy-jas-z-is-a-fan-of !!

(Find the royal au writing masterpost here 💕)

And I’ll do an art-only version of this post for your reblogging pleasure here :) there's always always more to be said about this so I might make another post on the same topic but later

Anyway onto the juicy stuff

Okay so. Evermore and Palmetto both have glove etiquette, but in Evermore Nathaniel never had to worry about it, because he was expected to constantly be wearing gloves from first day he’s able to after getting nasty scars on his hands. Except for when he’s working or helping Nathan work. The nobles and specifically Prince Riko made it clear that they had no desire to see how ugly his hands were. (This is also why he has a habit of wearing a little of his hair down on the left side; it helped cover the scars on his cheek that ruined his pretty complexion.)

Then he comes to Palmetto and Day introduces him to a whole new set of rules. Gloves are a common and important part of dress and fashion, but people are also able to decide whether or not to wear them at any given time. The only real rules on gloves are when not to wear them; you always take off gloves to eat or drink, and to offer your hand in greeting or service.

Nathaniel gets to kind of ease into it; he’s not around anyone important enough to need to offer proper greeting or help, so mostly he takes his gloves off to eat in the servants quarters, where he doesn’t deal with more than curious glances. There’s a lingering fear of letting anyone important see his hands, no matter what Day says to assure him otherwise.

Then Nathaniel becomes the prince’s guard. Nothing changes for a while - the prince has always been more self-sufficient than most - until one day Nathaniel sees the prince eyeing the fall from his horse. (Really Andrew is trying to get up the courage to dismount, because even if the fall isn’t actually an issue for him, his fear of heights sometimes catches up to him when dismounting horses.) Nathaniel understands by now that he’s allowed and expected to help, so he reaches out - and remembers. He’s also acutely aware that the prince hasn’t yet seen his hands, then also also acutely aware of how serious Day was about the proper etiquette, and slips off his glove. The prince gives his hand a curious look, but accepts the help and all but crushes Nathaniel’s hand in his as he finally makes the fall. Even on the ground, though, he doesn’t let go quickly. Instead, the prince’s thumb brushes once across the back of Abram’s hand and he turns his hold, pulling Nathaniel’s hand up to examine it. The only thing keeping Nathaniel in place is the bone-deep instinct that he isn’t to deny anyone, especially a prince. Maybe the prince would decide he didn’t actually want to see Nathaniel’s hands and Nathaniel could go back to wearing his gloves with little more than a strike to the cheek for making the prince look at them.

But the prince does no such thing. He drops Nathaniel’s hand and continues on as normal. Nathaniel does his best to do the same, but that’s probably the first kind skin to skin contact he’s had in years. He isn’t recovering as quickly as he imagines he should.

(Meanwhile Andrew was NOT about to let an opportunity to hold Nathaniel’s hand slip like that, and he finds that he doesn’t mind the roughness. Most other guards were pulled from a much more privileged crowd - usually who had some callouses or scratches at most. Nathaniel’s hands show Andrew that this one isn’t all bark and no bite. Andrew… really likes them.)

Gradually, Nathaniel (likely soon or now Abram) gets used to taking off his gloves. He doesn’t without reason, it takes him a while not to feel naked without them, but it only takes a few more instances for him to realize that the prince truly doesn’t mind his scars. Helping the prince from his horse becomes easy habit (GS isn’t necessarily tall, but neither is Andrew. No step stool = Abram’s help).

Maybe there’s even a few times Abram is completely gloveless when he’s around only Day or the prince. He finds himself hiding his hands subconsciously when he’s not thinking about it, but he’s never once told to cover up.

Then Abram is kidnapped, taken back to Evermore. All the same rules are enforced and more. In this case, gloves aren’t all that different or upsetting. That much is okay.

It’s when he gets back that things change. Since he’s blind for a while, he’s relying much more on touch and hearing. It’s also a good tactile reminder; if he were still in Evermore, he would never be bare handed. This is when he truly gets used to not wearing gloves. (During this time he’s also touched more gently and more often than ever in his life. Others’ bare hands on his naked skin to care for scars and rashes and fever, first Day and medics and then Day and Prince Andrew. Abram finally, finally realizes that this is what he’d been missing. He actually finds himself calmed and cared for in being touched.)

Even when his sight returns, Abram only wears gloves out of doors or to formal events. Slowly and so, so carefully, Andrew finds more small reasons to touch Abram’s hands, and Abram always finds rationalization to accept. Then Abram even leaves his gloves in his saddlebags or pockets when they go out.

Winter hits. Abram has very few burn scars on his hands, but even the simple knife scars can seize and ache in cold weather. By now Andrew is very attentive to Abram’s pain or discomfort, so he notices. Abram’s hands hurt.

So Andrew buys him new gloves, lined with soft, warm fur. Abram is both pleased and disappointed - pleased because any gift from Andrew is a good gift, and disappointed because the prince expects him to wear gloves again. But the first time Andrew sees Abram wearing them indoors, he says easily, “They’re to keep your hands from the cold. Wear them only as much as you need.” (Because, again; he’s not going to admit it, but he loves Abram’s hands.)

It probably takes a long time for Abram to get accustomed to much more touch. He likes holding the prince’s hand, he’s used to that this far into their courting, but anywhere else with anything more than clinical intent - sometimes including with clinical intent - he gets overwhelmed very easily.

Andrew is careful with him. Like we mentioned in the last post, Andrew’s had about six to eight years longer to get readjusted to wanting and touching; Abram is essentially starting fresh. It’s a lot for him to handle.

(Don’t worry, though, I promise they figure it out. Just like they always do, in every universe, for all of our mental health.)

[bonefall]

post/734733274896809984/do-you-ever-worry-your-own-writing-might-come-off that makes sense. i was asking because i'm afraid of accidentally writing misogyny myself and i kind of admire what you do

Hmm... I wish I had better advice to give you on this front, but honestly, the only thing I can tell you is to consider the perspective of your female characters.

Women are people. They have thoughts and feelings of their own, so like... just let them have their own arcs. A lot of the worst misogyny in WC comes from the way that the writers just don't care about their girls (or, in the case of tall shadow, actually get undermined and forced to rewrite entire chapters), so they're not curious about their lives, or WHY they feel the way they do or what they want, or any direction for their character arcs.

Turtle Tail as an example. She'll often just end up feeling whatever Gray Wing's plot demands. She's gotta leave when Storm dumps him to make him feel lonely. She shows up again to love him in the next book. Lets her best friend Bumble get dragged back to Tom the Wifebeater, but is sad enough about her death to be "unreasonably angry" with Clear Sky, and then calms down and accept Gray Wing is right all along.

And then she dies, so he can have his very own fridge wife.

In this way, Turtle Tail's just being used to tell Gray Wing's story. They're not interested in why she would turn on Bumble, or god forbid any lingering negative feelings for how she didn't help her, or even resentment towards Clear Sky for killing her or Gray Wing for jumping to his defense. She isn't really going through her own character arc.

She does have personality traits of her own, don't misunderstand my criticism, but as a character she revolves around Gray Wing.

So, zoom out every now and then, and just ask yourself; "Whose story is being told by what I wrote? Do my female characters have goals, wants, and agency, or are they just supporting men? How do their choices impact the narrative?"

But that's already kinda assuming that you already have characters like Turtle Tail who DO have personalities and potential of their own. Here's some super simple and practical advice that helped me;

Tally the genders in your cast. How many are boys, how many are girls, how many are others?

And take stock of how many of those characters are just in the supporting cast, and compare that to the amount you have in the main cast.

If you have a significant imbalance, ESPECIALLY in the main cast, fire the Woman Beam.

It's a really simple trick to just write a male character, and then change its gender while keeping it the same. I promise women are really not fundamentally different from men lmao. You can consider how your in-universe gender roles affect them later, if you'd like, but when you're just starting to wean yourself off a "boy bias" this trick works like a charm.

Also you're not allowed to change the body type of any girl you Woman Beam because I said so. PLEASE allow your girls to have muscles, or be fat, or be old, or have lots of scars. Do NOT do what a cowardly Triple A studio does, where the women all have the same cute or sexy face and curvy body while they're standing next to dwarves, robots, and a gorilla.

Or this shit,

If you do this I will GET you. If you're ever possessed by the dark urge, you will see my face appear in the clouds like Mufasa himself to guide you away from the path of evil.

Anyway, you get better at just making characters girls to begin with as time goes on and you practice it. It's really not as big of a deal as your brain might think it is.

Take a legitimate interest in female characters and try not to disproportionately hit them with parental/romance plots as opposed to the male cast, and you'll be fine. Don't think of them as "SPECIAL WOMEN CHARACTERS" just make a character and then let her be a girl, occasionally checking your tally and doing some critical thinking about their use in the story.

(Also remember I'm not a professional or anything, I'm just trying to give advice)

[quintiliusheartripper]

Needed to finalize the t4t voice and claw of koda and here they are.

[accultant]

this meme is so puck @bloodtwin

[gayofthefae]

"The van scene is just for Will's plotline it doesn't affect Mike" what if I said the opposite was true. What if I said it did not serve as a climax for Will because he had already demonstrated an ability for honesty, vulnerability, and the self-assurance required in his confrontation of Mike in episode 2. What if I said that it only served his story as an inciting incident for the Jonathan coming out scene - a scene which, as I've said before, was the actual climax of his season arc, which was about his queerness, not Mike.

It is a setup for Mike, we know that, but it also doesn't really directly serve Will's arc at all. It is a self sabotage - setup for season 5, but something we already know him to do. It is a transition point for Mike. And it is the straw that breaks the camel's back for Jonathan. Besides that, it speaks directly to the audience at best. But it does not serve Will. He gets nothing truly off his chest because he is not unburdened - if anything worse off because he gave up his hope, he doesn't teach us things we couldn't otherwise deduce, and it moves him no internally closer to closure.

The speech only serves for Mike to react to and Jonathan to witness (and the cinematography reflects that). The following scenes reflect that too. The only scenes of importance in either plot following that are Will's scene with Jonathan and Mike telling El he loves her. Both directly tied to the speech, Mike's more textually, and no independently actionable resolution for Will.

This was the post but I had more thoughts, per usual

Will has a theme of unactionable resolutions. In episode 2 he is honest and from there the ball is in Mike's court. His most actionable plot is the painting, which he has demonstrated the vulnerability for already but the self-prioritization required is not a line he as a character is willing to cross, something that isn't a character flaw in need of resolution given what he logically believes the effects would be. The ball is in Mike's court from the beginning and remains there. And will remain there. Will had no arc necessity to confess because not confessing exposed no character flaws (shoutout to the writers for not presenting choosing to remain in the closet as a character flaw!!!). He was put in a helpless position of heartbreak and sadness and, like all of us wanted for him, wanted to do something about it, wanted to be able to do something about it, so he tried, but ultimately realized that the risk outweighed the reward, and the cost of the reward (El) would outweigh it anyways. That is logical. He is logical. He does everything logically. He is helpless this season. And he wants to believe he isn't, and we want to believe he isn't, but he is. Because the ball is in Mike's court. It was then and it is now. And it has been since the Snow Ball, really.

Because in December, 1984, after Will's perpetual but logical inaction towards a relationship, Mike took action against one. And since, it has been his job to undo, and his job to communicate contradictory to his actions that he wants one. Inaction does not require a solution unless it is representative of a problem to be solved. Will's is not. Mike's problem is he takes protective action impulsively when he gets scared that ultimately traps and harms him and others. Mike's problem is not inaction either. If they had stayed silently pining 13 year olds forever it would not have been a character flaw on either of their parts. But Mike took unnecessary - understandable, but unnecessary - action in the eyes of the plot. One can debate whether he did it in December 1983. Or whether he did it in July 1985. Or whether he did it in March 1986 when he ignored Will, because silence is not inaction if it as an active change. But no matter when it became an unnecessary choice,

The ball is in his court because it was never in anyone else's. The ball is in his court because Will never stepped foot on a court. Will isn't playing the game, he didn't pick up a ball. He sat in the stands and watched. In March 1986, he moved to the bench and Jonathan saw him but still, he never stepped foot on the court. He was never playing the game. (Apologies. This isn't a stupid sports game)/ref.

The ball is in Mike's court because as far as actionable plotlines reflecting internal growth go, Mike and Will's relationship is and always has been Mike's plot. Will's is allowing himself to take up space; he's getting closer, and allowing himself to have Mike will be the ultimate demonstration of that, just not its purpose. But Mike's is Will.

[programmedtoexterminate]

HGK live action is producing a lot of interesting ppl who somehow watch a show about how isolating having a disability can be because of able-bodied people's lack of empathy or willingness to reach out and connect with disabled people on their level and how that can hurt, and then turn around and call one of the disabled characters a raging irredeemable bitch because she's standoffish towards their able-bodied precious cinnamon roll and insults him (notice how she never says anything other characters haven't already said to him) not considering why she might act or feel that way.

[uncanny-tranny]

For TST

I just finished listening to Elliot Page's book and I have to say it was an interesting piece of literature. I highly highly recommend it.

I have never read a book that is so closely aligned with myself as a trans man and my upbringing. I never thought I would read book that defines what it means to be a trans man in the public eye. I do not want to be as famous as him but I would like to make a change to the world as he has.

I am comfortable in who I am and who I love and how I choose to express my gender. Things really can and often do get better with time. And I hope that any person that sees this knows that they are not trapped in the shoes that society has put them in and they can actively choose a different pair.

I would love to read Pageboy soon; these memoirs and other art and literature are our history, part of our lifeblood as a community, and it's vital that we read each other's lives and understand that we truly are here in this world💛

It's great to read such a glowing review from you, and I'm so happy that his words lit your soul like it has

[arealtrashact]

(Anonymous because i tend to be Shy af when it comes to making asks like this XD)

First things first, your artwork Always takes away my breath and legit You're one of my inspirations to keep drawing and improving Myself as seeing your art always brings a smile to my face and def makes me want to practice digital arts

Secondlly, if its ok to ask. What are program do you use? I am always curious into what other programs artist as the curious cat that I can be. Personally I use Clip Art Studio and i've love it so far (Still learning how to fully use it tho lol) Sorry if it came out as a weird question or you have answered it before

-Phantom

Thank you for the kind words ♥ Knowing that my work helps motivate you to create in any small way makes me very happy.

Not a weird question at all. I use Paint Tool Sai. I've been trying to make the transition to Clip Studio for a little while now but I'm an old dog. Learning new tricks seems less and less appealing these days.

[mister13eyond]

talking to a friend about getting back into art and i think the #1 most important piece of art advice i could ever get or give is just "figure out what is FUN to you"

like i think there is sooooo much emphasis on how to build SKILL in art but a lot of it really treats art like a job or like video game grinding, like it's this thankless job that you have to work at in order to reach a Threshold and i know it's not EASY to make yourself have fun but like

imo a solid 70% of the reason i create art is because the Act of Drawing is fun to me. it's fun problem-solving and planning and putting down lines and playing with colors and tools. it's fun to depict little scenes in my head or to create outfits or to find ways to fill the canvas. never forget that creating can be fun. sometimes it's hard and sometimes you have to battle through your own blockades to get there but the ultimate goal should always be to ENJOY it, to find what you enjoy doing and then do it forever. improvement will follow enjoyment.

i think especially with all the debate about ML image generation it's more important than ever to embrace FUN. if you're only focused on the end result it's so easy to get in your own head- to think about what doesn't look good or what skills you don't have yet or to compare yourself to other artists. but photography didn't kill the art of drawing and AI won't either because, simply put, there will always be people who want to do the physical act of making art because it's fun to do! using paints and markers, splashing colors around, doing shitty pen doodles, using the symmetry tool in your art program to do abstract mandalas that are just squiggles formed into patterns. do art like you're 5 and you've been handed markers to pass the time. do art like you're bored in class and you're keeping your brain entertained by drawing stick figure comics in the margins. do art like an absent thing, do art because it satisfies your brain. the goal is not to make something beautiful and perfect, the goal is to make something because your hands need to make and your body needs to make.

[horseshoemybeloved]

It’s so funny painting shit like this knowing tonight I’m gonna draw American rock band fall out boy as wombats

[mochasucculent]

Kinda weird but this is still like one of my fave things I've ever drawn lol, it's just a background study from Shawn James' cover of Arkansas by Damien Jurado (there was a character here too once iykyk lol) but I was Going Through It at the time and painting this was soooo cathartic