Jason being the easiest kid is super funny. Bruce looking at Jason and remembering Dick at 18: “we can work through this. He’ll come around if I don’t give up on.”
Bruce, watching over a freshly street-snatched Jason: Why is he so calm
Having Dick as the rambunctious, feral, and unhinged first child must've given him SO much whiplash once Jason entered the picture. Lil guy just vibed in his own world. Just reading books and doing schoolwork. Baby Jason hurt nobody.
Bruce will just be going over the ground rules of the manor, remembering all the chaos Dick brought upon the household.
Bruce: No swinging from the chandelier.
Jason: ?? I wasn't planning to?
Bruce: No murder.
Jason: What? That never even crossed my mind-
Bruce: And please, for the love of God, don't sneak out and try to beat up the nearest criminal on our block
Jason:
Jason: WHO is responsible for these rules being created??
Bruce will just come home from a long day of work. He's tired and just wants a nice, quiet evening, but he's subconsciously psyching himself up to prepare himself for the chaos he'll witness once he enters the manor
but then Jason's just quietly doing his own thing, maybe even helping Alfred with some chores, reading, or just lounging about in the manor. In general, just causing no trouble and Bruce just turns to Alfred, all worried like, "Is he sick? I don't think children are supposed to behave this way."
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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!
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Mist and Alpha late night talk be upon ye. Their relationship is very important to me.
It's quiet on the roof. Getting there isn't easy, but once settled, Mist relishes in the sense of peace that washes over her. Tonight, though, she only gets two lungfulls of smoke before a voice cuts through the relative silence of the night.
"Got one for me ?"
How Alpha always manages to find her hidding spots is beyond Mist's knowledge.
"Die," she grumbles without looking at him, even as she extends the pack of cigarettes toward the fire ghoul.
The fact alone that he lights it without flourish tells Mist Alpha is preoccupied. That and the tension sitting heavy in his broad shoulders.
"You good ?" he rasps after a long inhale, voice always a bit veiled, scratching in his throat.
Mist shrugs vaguely, eyes finding a star and latching onto it. There's a long silence, an unusual display of patience from Alpha, before she sighs in defeat.
"Worried about Omega."
A gush of winds raises goosebumps on her skin. She should have brought a jacket. It becomes a bit more bearable when Alpha reajusts his stance and the heat he naturally radiates washes over her.
"Yeah, me too."
Smoke billows in front of them as it escapes their mouths, curling in hypnotizing shapes.
"...don't get me wrong, I love Terzo, I think he's a great guy, but..."
"He's human," Alpha finishes for her, "mortal. And Omega is not. I mean not really. No one's eternal, but us ghouls come close."
With a heavy sigh, Mist nods, lower lip bitten raw and stinging.
"Omega always had a big, bleeding heart. If- when he loses Terzo to human fragility, he's going to feel it with his entire being."
Alpha grunts in agreement. There is no way Omega won't fall appart at the loss of his lover, no matter the circumstances.
"Can't get too close to humans. Will just bring pain."
Mist huffs.
"Hypocrite."
"Fuck you, Secondo and I are just a thing of convenience, nothing more."
What a poor liar Alpha can be, when it comes to these matters, a tremor in his voice and longing in his eyes. Mist raises an eyebrow, tilting her head toward him.
"I didn't even mention him."
Shoulders sagging in defeat, Alpha runs a tired hand on his face, through his hair. Mist wonders if he still struggles to sleep, or if he stays up late just to catch a break, have a quiet moment to himself. If so, her presence doesn't seem to bother him; after all, he sought her out in the first place.
"You still having nightmares ?"
Mist tenses.
"Fuck d'you think i'd be doing here if I wasn't ?"
Alpha doesn't answer. Mist bites her lip, inhales, exhales, shaking off the guilt churning in her guts. It's instinctive, biting when she feels cornered, when a touchy subject is on the table. And if it was anyone else, she probably would storm off. But this is Alpha. The fire ghoul knows, and understands.
"Sorry. I meant, yes, I still have them."
Somewhere in the night, an animal screeches. A cloud momentarily hides the moon. Nightmares are terrible things, forcing Mist to face her deepest fears without being able to do anything about it. She doesn't remember when it started, but now she can hardly spend a night without having her own mind playing those cruel tricks on her.
Some nights, when Mist wakes up with the taste of bile in her mouth and torn sheets sticking to her clamy skin, she forgets where she is. All that she feels is how small and lonely she is.
"You don't have to sleep alone, y'know."
It's as if Alpha read her mind. A tempting offer. Mist considers, stomping on the butt of her cigarette.
"You'd hold me, sparkling ?"
The light tone she tried to inject in her voice falls flat, as does the nickname Alpha hates so much. As it is, he only hums and finally turns fully toward her.
"You know I will. If you let me."
The cloud drifts away, silver moonlight pouring once again on Alpha's face, highlighting the deep scars on his cheek, the days old stubles, the crease between his eyebrows.
"Alright then."
They stare at each other in silence for a while. There is something off with Alpha's expression, like he's trying very hard to school it into his usual bitch resting face. Mist is not sure how to word the question she's burning to ask.
"Do you- did something happen ? You look...upset."
The way Alpha opens his mouth in an instant, ready to retort, lips starting to pull back in a snear, reminds Mist of herself just a few minutes ago. But then he looks away, shoulders and chest rising with the inhale he takes.
"Got into a fight with Pebble."
"Again ?"
Mist isn't sure what Alpha and Pebble's relationship is. Most Siblings and a few other ghouls are convinced they hate each other's guts - and given the amount of screaming matchs they get into, it's a fair assumptions. But Mist knows damn well it goes further than that.
She knows they both respect each other, despite everything. She knows Pebble tends to seek Alpha's gruff approval, even if the earth ghoul would vehemently deny it and possibly comit murder if anyone mentionned it. Mist has keen eyes, and she can see that Alpha orbits toward Pebble much more than you'd expect. That he looks out of the earth ghoul and genuinely seems to care about him, in his own way. Their fights tend to get to both of them, no matter how much they try to shrug them off.
"...yeah. It's fine, we'll get over it, I just...wasn't even trying to piss him off, you know ?"
Yes, Mist does know. Whatever bound those two share, it's torny and full of knots, a difficult thing that's still strong enough never to let them severe it. She hopes the squeeze she gives to his shoulder is enugh to convey her understanding, all the reassurances she doesn't really know how to put into words.
It seems to be, if the way Alpha leans into it with the faintest hint of a purr is anything to go by.
Her musing is interrupted by a jaw-dislocating yawn.
"C'me on. It's so late it's almost early," Alpha mumbles, rubbing his eyes.
They don't speak of the fire ghoul's offer again, but when Alpha steps into his bedroom, Mist is right behind him.
Maybe, tonight, warm limbs will ward off the horrors of the night.
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Character question! TWST is an isekai, right? What was Tia doing before she got zapped into the setting?
If TWST is not an isekai and I'm mistaken, just ignore me 😂
TWST IS AN ISEKAI SO YOU’RE RIGHT, DW. It’s pretty much baked in that the viewer makes up who the MC is (not everyone does, but, I do) 🩷 Sry it took a minute (WEEKS) to answer. I was drawing things. Sometimes I don’t think I articulate with words well enough to explain myself nor to retain attention. I did not proofread and the text got wonky so excuse that.
Now what was Tia doing before being forced into the setting 🪷
Prior to being whisked into Twisted Wonderland, Tia was a normal person from New Orleans, yay! She lived with her grandmama (but she doesn’t like being called that, she ain’t OLD m’kay?) and older brother (Not appearing in the following images.)
There’s a bit more background but I’ll stick with the most recent and basic stuff.
At the end of her school year, Tia got accepted into some kind of once in a lifetime apprenticeship program, where she and 4 other selected people, will shadow a world-famous chef in New York City. During the summer, she’s been cooking, reading, and doing part-time jobs nonstop in excess-preparation.
She was intending on transferring to a new school and live with her great aunt in NYC (grandmama’s sister), graduate, then get started in her career climbing up the ladder and eventually be able accomplish a long term dream of hers— opening her own restaurant.
Though, obviously, Tia has issues with being so laser focused on her goal she tends to neglect everything else in life. Like, y’know. Having friends, having fun, literally doing ANYTHING outside of working. Let alone sort out her own feelings or heck, even consider if this is truly something she wants to do. She’s pretty much convinced herself into it, and for the past year in particular she’s been more engrossed than ever.
Either way, things were going swimmingly by her standards. Tia was just SO CLOSE to getting a foot in the door and everything was about to go right for her— Almost there, even. Two weeks until she flies to NYC to start her new life and really get her dreams started!!
Well.
Till the black carraige showed up. Shit.
[EVENT NOT DEPICTED]
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