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criminalamnesia · 8 months

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Simon x Reader whose already work with TF 141 for a pretty long time. And one day, there's a traitor around the base, leaking their information. All of the proof are leading to reader but reader always deny it! And they interrogated reader, and reader always deny it! And he's (with other 141 members, of course, but it mostly him) do their torture methods to get information out of reader. They keep doing it until someday, the real traitor finally captured!

And make the reader traumatized, pls. Like, she would have trust issues, trauma, and others. She wouldn't forgive them, tho.

ooooo the angst. had to sit on this one for a few days before I wrote something, but here goes nothing.

ALL PARTS CAN BE FOUND HERE

when you blink open your eyes, the room is dimly lit. it’s silent save for the sounds of your labored breathing.

you must’ve passed out. one second johnny— a man you’d known for years—was slicing into your skin with a knife. the next, you’re staring into an empty room.

your hands jerk up involuntarily. still bound. the rope holding them to the arms of the chair have rubbed them raw. the skin is bright red and bloody. it makes you grit your teeth.

you look down at your lap, taking inventory of the parts of your body you can see. large gashes break up the fabric of your tac pants. the blood surrounding the deep wounds is dry and crusty.

one of the cuts looks like it’s getting infected. you swear you can see bone.

you’d taken this kind of suffering before. been capture by enemies, held and tortured and pushed to the brink of death. this was different. this was being done by your team. men you’d bled with. cried with. laughed with.

one you’d even slept with. the same one you loved. the one you called yours.

the door to the room swung open, hitting the wall with a metal thud. your head slowly lifts, eyes squinting to see him. by his stature, you know it’s simon.

he doesn’t bother shutting the door behind him. instead, he walks towards you slowly. as he comes closer, can make out his eyes in the sea of dark paint he smears around them. the same paint you’d helped him apply a time or two.

“back for more?” you say, and it’s meant to sound sarcastic, but all it sounds like is pitiful. your voice cracks, and pain seeps into your tone.

the first rule they’d taught you about scenarios like this was to never let the enemy know it’s working. never let them know that they’re hurting you— that they’re slowly wearing down your defenses.

well, you’d just broken that rule, and you hadn’t even meant to.

you didn’t know how long you’d been tied up, subjected to torture by men you had once called your family. all because a fucking liar whispered your name into their ears. all because they fucking believed it.

apparently the years meant nothing to them. to him, least of all, considering he’d done more damage to you than the rest of them.

simon comes to a stop in front of you. his hands are empty by his sides, but that’s not reassuring. there’s a table full of weapons off to the side. he would have his pick of the litter.

“ready to talk yet?” he says, and his voice is gruff. his tone is hollow. he’s speaking to you the same way he’d spoken to countless enemies. it makes you sick.

“fuck you, simon,” you spit out.

the betrayal of john, gaz, and johnny had hurt. but simon’s betrayal? that was enough to almost put you in the ground.

you’d stopped pleading with them the second they tied you to the chair. now, you were angry. furious. rage filled your veins, and if you weren’t beaten to all hell, you’d find a way out of these fucking restraints and strangle the man in front of you to death.

the man you loved. you’d thought you meant something to him, but apparently not— because who tortures someone they love?

“if you talk,” he ignores your outburst. “it’ll be easier. quick.”

“fuck. you.” you enunciate the words, your jaw impossibly tight as you grit your teeth. “im not the fucking rat.”

“all the evidence,” he starts as he disappears from your vision. you know he’s going to pick his weapon of the hour. you force yourself not to shudder.

“points to you.”

“take that bullshit evidence and shove it up your ass, riley,” you seethe, ropes pulling taut as you lean forward in the chair.

he’s back in your line of sight now, brandishing a large knife.

“you’re only making it harder on yourself, love,” he tuts, and then he’s swinging the knife down, right onto one of your fingers.

you scream as the blade cuts right through skin and bone. your teeth dig into your lip, drawing blood as you refuse to give him more of a reaction. it fucking hurts, but you’ll be damned if you let yourself cry.

“feel like talking now?” he asks, watching as half of your left pinky finger falls to the floor.

“or should we take off another?”

you look up at him, hoping he can see the hatred in your eyes as you speak your next words. “you could take the fucking hand off and I’d still have nothing to tell you.”

“let’s see how true that is then, eh?” he replies, and raises the knife again. he’s about to swing, when someone comes running into the room.

“ghost!”

it’s johnny. he’s obviously winded as he stops beside simon, dropping his hands to his knees as he struggles for breath.

“what, mactavish? im busy.”

“they’re—” he gasps. “they’re not— the— rat.” he says between breaths.

the room goes impossibly still. so quiet you swear you could hear the men’s heartbeats (or maybe that pounding in your ears was your own).

“you sure?” simon’s voice is softer as he lowers the knife and turns to johnny. the younger man nods, his eyes trained on you. you can see the regret in them, the sorrow.

“it’s fucking shepard.”

it’s not funny, but at the news, you burst into laughter. the men stare at you in confusion, but you can’t stop.

you’re laughing so hard you’re crying, and they’re just standing there.

“are you alrigh’?” johnny’s asking as he moves towards you. he’s fully recovered his breath now, and he drops to a crouch to be eye level with you.

you don’t answer— you can’t. you keep laughing. distantly, you hear the knife simon was holding clatter to the ground. can just make out the sound of more footsteps out in the hallway, coming towards the room.

you pass out.

when you wake up again, you’re in the infirmary. your eyes open slowly, adjusting to the bright fluorescent lights.

“easy, love,” a voice to your right drawls.

your eyes are fully open now. you look down at yourself, noticing the lack of bindings. noticing the iv taped to your arm, the stitched cuts, the black and blue bruises, the missing fingernails and missing finger.

the person sitting next to you clears his throat. that’s when you look up and meet the eyes of your captain.

your captain. the man who was supposed to lead you, to keep you safe. what a fucking joke. he’d started the damn witch hunt.

“how d’you feel?” he asks, his words soft, like he’s trying not to scare off a timid animal.

you stare at him for a beat. then two. then you’re moving, pulling the iv from your arm and shakily pushing yourself up in the bed. price is telling you to stop, reaching out to push you back down, but you slap at his hands.

“get the fuck off me!” you shout, and that takes him aback. he stops, frozen, as he watches you shift in the bed. you throw your legs over the side of it and prepare yourself to stand.

“you really shouldn’t—” he begins after he’s regained his senses, but you pay him no mind. you place your feet on the ground and start to stand. your legs wobble, almost give out, but you’re able to stand. barely.

“shut up,” you growl, stumbling forward and towards the exit. he’s moving to cut you off, and you slide him a gaze that’s sharper than a knife. “and leave me the fuck alone.”

he halts again. he seems almost scared of you— but that can’t be right. even on your best days, he would still beat you in hand-to-hand combat.

he’s not scared of your threats or your frail body. he’s scared of what he’s done to you.

just then, johnny and gaz come through the infirmary doors.

“cap, y’alright? we heard yellin’—” johnny begins, but his mouth snaps shut at the sight of you out of bed.

you’re heaving from your spot next to the bed. your legs are shaking violently, threatening to give out any second. you feel nauseous and numb.

“let’s get you back into bed,” gaz says, and he starts towards you, but you stop him as your gaze snaps to his.

“don’t come any fucking closer. any of you.”

“bonnie,” johnny murmurs. he sounds miserable, but you don’t care. don’t give a fuck about how any of them feel.

“don’t. im leaving,” you grunt out, moving a foot forward slowly. you’d be damned if you fell in front of them.

“you can’t, love. you’re in no shape to be walking.” john says, and you snarl.

“and whose fault is that?”

the men stay silent as they watch you slowly shuffle towards the foot of the bed. you’re bracing yourself to walk on your own when simon walks in.

“get back in bed,” his tone is blunt. you ignore him.

you remove your hand from the bed, move to take a step forward without support, and you begin to crumple to the floor.

simon moves forward, quick as a cat, and catches you. he lifts you into his arms bridal style, and you’re screaming hysterically. your limbs are flailing the best they can in such a battered state. you’re in fight-or-flight mode, your body betraying your desire to put up a steely front.

your palms slap against simon’s upper body and his masked face. he gives no reaction. he doesn’t say anything. the others are watching the exchange silently. the room is buzzing with tension.

“get off me!” you screech, landing a slap to simon’s cheek. “let me— let me go! let me go!” you’re gasping for breath, tears streaming down your cheeks. you’re panicking. your heart feels like it’s going to beat out of your chest.

“put me down! get— get— off me! stop—” you sob.

the doctor rushes into the room then, yelling at the men for allowing you out of bed. you can’t make out what she’s saying over the rush of blood in your ears. you feel light-headed. you can’t breathe.

“put them down, now!” the doctor yells at simon. “they’re having a panic attack— I thought I told you four to stay away from them? they’re too vulnerable right now—” the doctor is chastising them as simon places you back in the bed.

spots are dancing in your vision. you don’t even feel it when the doctor sticks another needle into your arm. the words being exchanged above your head are muffled. it’s like you’re underwater.

john’s face comes into view, then johnny’s, then gaz’s. as your eyes start to close, you notice the only face you don’t see again is simon’s.

when you wake up again, it’s been two weeks.

the doctor had put you into a medically induced coma to allow your more serious wounds time to heal, without risking another episode. unbeknownst to you, the members of your team had stayed by your bedside almost the entire time— minus simon. he hadn’t come within ten feet of the infirmary since the day of your panic attack.

there’s fresh flowers on the bedside table. a steady beeping of the heart monitor. a fuzzy feeling in your head.

it feels like a dream, all of it does. none of it feels real as you settle into your body again. but then the hurt starts, and you remember the truth.

your family betrayed you. your lover betrayed you. they locked you up and tortured you. they didn’t believe you.

when the doctor came to your side to check your iv, she smiled.

“how’re you feeling?”

you look up at her, and it takes a moment for you to speak.

“don’t,” you begin. your mouth feels like it’s full of cotton. “don’t let them…in here. don’t…wanna see them.”

the doctor nods in understanding, and she doesn’t say anything else to you. she turns and walks out of the room.

the door clicks shut behind her. she lets out a sigh before turning around to face the three men.

“they don’t want to see you.” she tells them, and their expressions drop. they don’t protest, and like wounded puppies, they walk off.

no one else comes to check on you for a few hours.

you’re in and out of consciousness— can’t tell what’s real and what’s a dream. flashes of your torture come back to you. flashes of a smile. of a scarred face. of hands on your hips and—

you crack your eyes open, and the room is dark. the only light is the blinking of some of the machines. it illuminates the room enough to allow you to see a large, dark figure slip from the room. the door clicks shut so quietly it’s almost imperceptible.

that’s when you notice fresh flowers on the bedside table.

your eyes start to droop once more, and you chalk up whatever you just saw to a dream, while simon exhales heavily on the other side of the infirmary door.

————————————————

authors note:

I hope this alright! it’s one in the morning (and I’m half asleep writing this) so I apologize for the errors that are most likely present, and the sense this most likely lacks. I feel like I could write a whole book about this idea, but im cutting myself off to sleep lol.

thank you for the ask, I hope I did your idea justice. 🫶

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dragonheart2497 · 1 year

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so im working on a painting of Scarland atm based on one of Scar's screenshots, and there was something bothering me about this bench

i was struggling to draw it because it wasn't aligning with the minecraft logic within my brain!! and i suddenly realized what was wrong- why was a TRAPDOOR, which can only be at the top or bottom of a block, IN THE MIDDLE??

(reference vs my 4th attempt, oh my god it wasnt going well i even gave up and made them full blocks)

and then it hit me. the entire sidewalk is raised one slab, and the sides of the bench are not upside down stairs but rather a NORMAL stair with a SLAB ON TOP!!

which allows scar to place the trapdoors at a PERFECT height, not on the ground, not an entire meter up, but a perfect 3/4 of a meter up where it ACTUALLY LOOKS COMFORTABLE TO SIT ON???? and also making the sides of the bench stick up without sticking OUT from its height??????

Goodtimeswithscar is an absolute master of his craft i swear to god this is just ONE DETAIL that he somehow made work SO PERFECTLY GOOD AAAAAAAAAARGH

#goodtimeswithscar #gtwscar #hermitcraft #hermitcraft s9 #dh rambles

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plutosoda · 30 days

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how i make character models* in paint3d

*they are not models. you cannot rig them. but for simplicity i will call them this. also this guy is the example ⬇️

so. paint3d is very jank and not actually that good But it is fun to mess around with and for getting that early 2000s computer game effect for things. this program crashes and lags a lot especially when making more detailed stuff like this so. throughout this Please save your project periodically. I have lost so much to not doing this

if your computer isn't that great it's best to keep the quality setting at it's lowest. these models aren't really that detailed so it doesn't make a huge difference anyways LOL

when you open p3d you start with a blank 2d canvas. if you've Never used the program before i recommend fucking around with 3d view + making 3d shapes for a bit. make a Thing. like just some random object. it does not have to be good it's just to get used to how the controls work (because it is different between my mouse and drawing tablet and im not going into that here LOL). the biggest positive about p3d is how user intuitive it is compared to.yknow. blender when you're done with the Thing and u want to start with your character go back to the 2d canvas/2d view for sketching time

you could probably do this in another program but. i find it easier to just do it here. i keep these pretty simple and try to keep depth in mind

then go to canvas and make the background transparent. and then switch to 3d view to start making the base for the model on top of the sketch

at this point i don't use the 3d doodle shapes yet because they are finnicky as hell. the preset ones are a bit easier to control and move around so they're nicer for the planning part. what shapes you use depends on your character but my guy here is very circles and round so its just a sphere and some cylinders

make sure you're in 3d view and checking the pose from every angle ! if ur guy looks like a roblox avatar without the assets loaded fully then that is ideal. once you're happy with the pose it's Sculpting Time

where you choose to start is up to you but i usually get the head out of the way bc it tends to be the most complicated thing.

this is my best friend forever. the sharp edge is helpful for stuff like metal and whatnot though so i use them both.

for stuff like hair and fur i find its easier to make a bunch of small shapes and then connect them instead of trying to do it all in one go

^better examples with fluffier guys

this part is pretty much just personal preference for how you want your model to look though. just keep adding Stuff until it looks alright. also reminder to be saving your work bc this is when it gets really annoying if p3d crashes

finished head. jus keep addin stuff. copy and paste is a godsend btw.

puffier jacket. also connecting the limbs. just keep addin stuff.

these take a few hours .finished limbs. pretend the backpack is there i forgot to get a progress shot of it

now it is time for the objectively best part which is painting the guy. switch back to the 2d brush but stay in 3d view and start Coloring . i only really use the watercolor brush for shading/gradients and the marker one for lines but this part is also personal preference.

watercolor brush for the blue gradient and marker for the face .

i would Not do this in 2d art but i like adding a white gradient to pastel colors like with the hair here. it compliments the soft shapes well i think. to quote a friend it Looks Gummy

my silly highlights.

almost done with the creature. also mentioning that there are different textures for objects that you can change when picking their base color. the zipper is metal so it gets to be shinier.

theres also different lighting/filters to mess around with + you can doodle on the transparent canvas still.

save ur guy as a image and/or a turnaround gif/video/whatevar u want . and thas it! you can also mess with the model more for different poses and expressions (although this is super laggy bc it has to render a bunch of shapes at this point)

go make some CREACHURES !!

#paint3d #artists on tumblr #long post #idk what else to tag this with <3

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saturngalore · 6 months

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akua locs set 🌙

once again, happy april! im back with a very elegant dreadlock updo inspired by this hairstyle worn by akua shabaka (the namesake for this)! im not sure about the origin of the hairstyle itself but i used ghanaian (akan) influences and names for this set! this set also comes with 3 accessories that i frankenmeshed myself: the adjwoa hair jewelry (13 swatches, located in the right eyebrow piercing section), the asante cowrie shells crown (1 swatch, located in the right eyebrow piercing section), and the osram adinkra headpiece (24 swatches, located in the hat section). the headpiece can be used with either the shells or the jewelry (not both!) and it can also fit on other hairstyles besides this one! i wanna give a huge thanks to @yuyulie for helping me so much with this hair process especially with telling me how to do the weight paint for the accessories! im always grateful for them 😭🫶🏾🙏🏾 also tysm for @aestralia for kinda pushing me to do this hair because it was in my pinterest inspo board but i genuinely believed i couldn’t do it and yet here it is! i worked really hard on this so pls enjoy y’all <3

base game compatible (bgc)

maxis palette (24 swatches)

teen-elder

both frames

not hat compatible (some accessories can fit!)

distortion might occur with the cowrie crown and the hair jewels (especially on bigger sims or sims with bigger heads…it’s my first time making accessories im so sorry 😭)

custom thumbnails

disallowed for random

all lods

please tag me if you do use my cc! i would absolutely love to see it! also, please let me know if you encounter any issues with my cc! here’s my tou. i hope y’all enjoy it <3

download via simsharefile (sfs) or on my patreon - ALWAYS FREE!

tysm to cc rebloggers! @public-ccfinds @sssvitlanz

#ts4 #sims 4 #the sims 4 #ts4cc #black simblr #ts4 cc #black simmer #s4cc #sims4 #sims 4 cc #s4mm #ts4 hair #ts4mm #ts4 maxis match #sims 4 maxis match #publicccfinds #🪐 cc #saturngalore

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maxlarens · 4 months

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Hi, I have a smau request for Charles (based on c.ai bot lol, and the fact that I love painting), so the reader is invited by her friends to a house for vacation, her friends are all with their s/o and they also always try to set up reader with someone, that's when her and Charles meet, and reader finally gives it a chance because she knows her friends won't stop to set her up. They talk for a whole evening about what they do in life (reader is an artist/painter) and they get along really well. Eventually they get together and reader is very liked by the public, even if there will always be haters, but most fans thinks she's just very adorable (especially because of her insta/twitter posts)

CL: slip up and i call you baby

pairing(s): charles leclerc x artist!reader

summary: you love your friends, you really do. you just wish they’d stop trying so hard to set you up with random guys. [smau + written fic] (read on: ao3) (part 2)

fc: faceless

word count: 5.1k

warnings: mild sexual references

a/n: this is such a cute idea! thank u so much for sending it in!! u will not believe how much this idea gripped me like i never write one shots like this its just unheard of for me if im honest. anyway i know u asked for a smau so i will be doing a second part/continuation to this that is solely an smau to make up for that. (ALSO sorry for disappearing i was super sick for the whole week and have been getting my shit back together in the aftermath😭)

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ynusername italy we are in u!!!

Amalfi Coast, Italy

You’ve never been particularly boy crazy. At least not the same way your friends are.

There have been a few not-quite boyfriend’s over the years, but those relationships never last long. They never really get you, or they never really get the art thing. Which means, of course, that they don’t get you and never will— and that’s fine, you’re content with that. If living for your art means you’ll never be in love then so be it and frankly, good riddance to them.

For the most part, you’ve given up trying. You go on a few dates here and there, but you never let them stick around. Even the ones that seem interested in your paintings you don’t bother with— none of them really seem to be able to grasp what art truly is to you. It isn’t just paint on a canvas, it’s living, it’s breathing. You are only yourself with a way to make art.

It’s difficult to put into words.

So you don’t. Instead, you send texts that say ‘thanks for your time but this isn’t working out’ and you keep the men your friends try to set you up with at arm's length. You placate Chloe and her partner Rowan– who collects friends like they’re Pokémon– with, “he wasn’t my type” and “I’m not looking for a relationship right now”, which you suppose is true, but also isn’t the entirety of it. Yet, every time without fail, there’s a new boy at the scene of the crime.

Chloe doesn’t get it, none of your friends get it. You don’t try to explain it to them. So, y’know, here you are again.

Anyway, here’s the thing: they’re getting closer. Inexplicably, without knowing how you really feel about it all, Chloe and Rowan are getting better and better at picking the boys who are able to tempt you. Which is a pain really, because sometimes you’re trying to have a perfectly nice vacation in Italy without the lure of a boy you can’t let yourself have. But alas, these things generally don’t go your way.

You should know that by now.

Charles Leclerc is bang on the money, he really is. He is unbearably cute, like so cute that you have to leave the room when he walks in, because you don’t trust yourself to be in close proximity to him right now. You have a hard time looking at his face when you are forced to be around him. The dimples when he smiles, the squint of his eyes even when he isn’t. If you look too long you’re liable to stare and that wouldn’t lead to anything good at all.

He’s nice as well. So nice, just like Chloe told you. You try to pretend he doesn’t exist and he still asks you questions about your job and the area of Monaco you live in— like he’s even interested, like he’ll remember you two weeks from now. You try your best to be pleasant, to answer without it being like pulling teeth, and to ask questions of him as well. You’ll probably see him again after this, so best to not to go too far and act like you hate him. It’s difficult though, toeing the line between friendly and encouraging of more. Or it feels difficult for you. Charles doesn’t make even the slightest suggestion of the two of you being set up by your nosy friends. That’s unbearable too. Part of you wishes he’d just make a clumsy pass at you so you can rebuff it and make your intentions abundantly clear. But, obviously, he doesn’t, because he’s perfect or something.

It sucks. You hate him, you think.

Or you want to.

On the second day of the trip, you’re on the villa’s private beach, laying in the hot sun. Chloe, Anaïs and Bea are there; everyone else is either still sleeping off the wine from last night or swimming in the glittering ocean. You’ve got a secondhand book, a 2B pencil and a pair of sunglasses over your eyes. You’re trying to read but you just end up doodling, drawing your friends bikini-clad bodies over the text and shading grapes into the margins. Trying desperately not to accidentally put Charles Leclerc’s dimples, messy hair, or sloped nose to paper.

“So,” Chloe says conspiratorially, as you abort an attempt at drawing a slightly squinted eye with thick lashes, “What do you think of Charles?”

You raise an eyebrow carefully at her over your sunglasses, betraying nothing of your inner turmoil, “I think nothing.”

Anaïs laughs, rolling onto her back, “That’s such shit. You practically sprint away from him everytime he comes near.”

“I do not,” you answer too quickly.

Anaïs laughs again, louder. Chloe joins in and Bea raises her eyebrows at you like you’re a fucking liar. You frown, glaring a little before stubbornly turning your head back to your book. The conversation about Charles ends there, but unfortunately your actions have spoken for themselves. A chill of something like panic chitters up your spine and into your shoulders. You have to roll them to make the feeling go away.

As the sun climbs higher in the sky you lose some people to the heat and gain others. It’s just you and Chloe sweating onto your towels when Rowan and Charles finally give up on whatever game they were playing in the ocean. Rowan collapses unceremoniously into the space between you and Chloe, kicking up sand and getting water droplets all over you like he’s a wet dog. You let out a noise somewhere between a laugh and an exasperated groan as you roll away from him, landing in the sand.

“Watch it,” you cry, “You’re getting my book all wet.”

Rowan laughs, “You’re drawing in it!”

“So.”

He pulls a face at you that makes you roll your eyes; then he turns into Chloe, shoving his face into her collarbone and flinging limbs over her. You snort, leaning over to snag the book off your towel before it gets dragged into the mess that Rowan is causing. You’re about to get up and go inside until you realise Charles is still standing there. Has, in fact, been standing there since Rowan ran over. Your breath catches, heart skipping a beat as you look up to find him standing there.

“Hey,” you smile briefly at him, quickly looking away from his damp hair and bare chest (–which is difficult to do because, holy shit–) so you can gather up your towel.

“Hi,” he replies.

He might smile back. You don’t look. You’re trying to get the image of his washboard abs out of your head. This proves difficult when you clamber to your feet and find yourself face to face with him.

“Are you heading back?” he asks.

“Yeah.”

God, you want to kick yourself. You’re being so awkward, and right in front of Chloe too, who may not be watching but is absolutely listening to you make a fool of yourself in front of a guy you have very firmly said that you are not interested in. It must be clear to him too, that you’re trying very deliberately to not be interested in him. You cant tell what would be worse; if that means he’ll think you’re a weirdo or if it means he’ll take it as a sign that he should make some kind of move.

Ugh.

“I’ll come with you?”

“Hmm,” you blink yourself back into existence, seeing the questioning look on Charles’ face, “Yes, yeah. Sorry.”

You say goodbye to Chloe and Rowan who barely look away from one another, still rolling around in the sand like teenagers.

“Gross,” you say to Charles, as the two of you trudge through hot sand toward the sandstone steps that lead up to the villa.

He laughs, a breathy thing that tapers off with a sigh, “A bit, yes.”

You don’t say anything else, but you find yourself staring at his back and the way his muscles shift and move underneath his tanned skin. At the top of the stairs you part ways, he smiles at you and you offer something awkward in return, trying to pretend you hadn’t been looking at him. You don’t think he notices, but your cheeks red burn anyway.

You don’t see him watching you leave.

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Amalfi Coast, Italy

Dinner is a huge affair, as it always is on these trips.

You, Anaïs and Chloe spend three hours in the kitchen that afternoon making chicken fricassée and about a hundred different side dishes to go with it. Everyone crowds around the dinner table to eat and drink even more wine than the night before. Piero Piccioni plays on the old record player, crackling away as you laugh and talk and tell stories with your friends well into the night. You watch the sun set through floor-to-ceiling glass windows and you wish wish wish that you had your paints right now.

You brought along a set of oil pastels and one of your art notebooks, but it doesn’t compare at all to painting. If you could get your hands on cadmium yellow in all it’s hues, maybe vermillion and a powder blue, your lack of paintbrush or canvas wouldn’t even matter. You’d use your fingers if you needed to. It bothers you so much that you get up in the middle of clearing away the meal and go to your room for the pastels and notebook. You need to get it on a page at least.

You push a few plates to the side, folding out your notebook and immediately marking the page up with a creamy white pastel. Bea teases you when she comes over to take the rest of the dirty dishes, but you just mumble something unintelligible, too engrossed with smudging the sunset into something that looks like what you’d seen out the window. When the oranges and yellows blend to your satisfaction you take the black and brown and draw in the top of your friends’ heads, not thinking about how much attention to detail you’re paying to the shape of Charles’ side profile.

When you’re finished, you’re surprised to see that the table is cleared save for a few half-full wine glasses and a fresh bottle. Only Chloe, Rowan and Charles are still sitting by you. You’re listening to another Piero Piccioni album now, or maybe just the other side of the record. You remember saying goodnight to the others and saying yes to a glass of wine, so you’ve not been totally dead to the world, but it’s all in a bit of a haze.

You think this might be part of the reason why you can’t hold down a boyfriend. The disappearing into your art like you cant breathe until it’s finished. That may as well be the case if you’re honest.

You sigh, wiping your stained fingers on the next blank page, then you take a long sip from your glass of merlot, pretending you dont notice the others’ eyes on you.

“All done?” Chloe quips, somewhere on the border of teasing and being annoyed at you.

You look at her, your eyes just narrowing enough for her to notice. She does and purses her lips. You raise an eyebrow to ask okay, what’s your fucking problem? And you see her eyes flash to Charles. You follow her gaze to see him and Rowan pretending to look disinterested in your answer. Charles is tracing the base of his wine glass and absently biting the inside of his mouth. You have to tear your eyes away.

“All done,” you answer, tone clipped, before gathering your things (including the wine glass) and leaving the room in a move you hope doesn’t come off as too rude.

At your back you hear Rowan ask Chloe, “What was that?”

Chloe means well, you think as you wind through the villa, making your way to the balcony overlooking the private beach. She wants you to be happy and she thinks you need a boyfriend to be happy. But she’d found the love of her life in Rowan after only a few years of dating around and she doesn’t quite understand that it’s never going to work like that for you. There aren’t enough people out there that understand the kind of passion you have for your art and certainly not many that would also be compatible with you. You’re fine with that, but Chloe doesn’t know what to do with it. Especially not now she’s cottoned onto the fact that you have some kind of interest in Charles. It’s killing her.

It’s irrelevant though, whatever interest you have in Charles doesn’t factor into anything. He’s cute, he’s nice, but so were the dozen boys that you’ve already dated and not continued dating. So really, Chloe needs to stop pushing it because it’s pissing you off. You’re here for a holiday, not to be forced into conversations with a guy you don’t know. If she needs to have an argument to finally understand that, then so be it. You’ve been friends for years, it’ll blow over eventually.

You flick a switch and blinking lights illuminate the balcony. Fairy lights are wound up the posts and draped on the awning, intertwining with the lush green vines that have grown up through the wood slats. The air is balmy and the breeze light as you settle into one of two cushioned chairs situated by a coffee table. It’s perfect. You spread the oil pastels out next to your glass of wine and set your open notebook on your crossed legs, listening to the sound of waves lapping against the shore.

You’re alone for what feels like a long time but is probably only an hour or two.

When the sliding door clunks open you expect it to be Chloe coming over to have it out, but it’s not. Instead, Charles slips through the gap with the rest of the wine gripped in one hand.

“Hi,” he greets, smiling at you in a way that makes dimples carve in his cheeks, and dashing any hopes you have that he’d walk right past you.

“Hey,” you forget yourself for a moment and bite your lip on a broad smile.

He holds the bottle out toward you, offering more. You lean over your notebook and hold your empy wine glass up in acceptance.

“Merci,” you say, and in a moment of weakness (and probable wine drunk-ness) you gesture at the plush chair across from you.

Charles, somewhat caught off guard, looks between your outstretched hand, the chair, and your face, before shaking his head almost imperceptibly and finally taking a seat. Despite his apparent shock, you find it hard to believe he’d come out here simply to offer you some of the last of the wine. Surely, this is Chloe and Rowan’s doing. Though, strangely, you cant quite bring yourself to care.

He sets the bottle on the coffee table, next to your oil pastels. You lean forward to place a few back in their rightful spots, snagging your wine glass as you go.

Charles eyes’ scan your face for a moment, searching for something you suppose, then he points at your notebook, “Have you been drawing?”

You nod, “Mmm.”

You think perhaps the answer is a bit obvious. He seems to realise this, you watch a blush spread onto the top of his cheeks and he flutters his eyelids slightly, almost like rolling his eyes at himself. You don’t think about his eyelashes, thick and dark as they brush against his cheekbone, and you don’t think about his eyes, the lights reflecting off them, making them sparkle.

“What are you drawing then?” he asks after a moment of collecting himself, an edge of embarrassment to his voice.

You give in easily to the strange urge you have to show him, grabbing the notebook off your lap and holding it out for him to see what you’d been scribbling in the book for the past two hours. You let him take it off your hands, ignoring the spike of anxiety. He holds it gingerly, like it's a precious artefact (of course, to you, it is), which makes something warm bloom in your chest. You take a sip of wine and gesture for him to flip through a few pages, which he seems hesitant to do without permission. The book is angled in such a way that you can see most of the page, so you’re content to let him. Or at least you are until he flips to the page you’d started when you’d first come out here.

Panic drops like a stone in your gut because he’s looking right at a fully rendered drawing of his eyes. It’s in amongst some pillars strung with lights and covered in climbing vines; your best attempt at capturing the way the beach looked earlier in the day; and, perhaps your saving grace, Chloe half asleep on her towel. But the drawing of her is haphazard, it’s half-scribbled and half-finished, whereas the one of Charles eyes’ is as detailed as the sunset scene you’d done the page before. It had been something you just needed to get out, drawn in one of those hazes of yours. You’d felt better after it was done, your hands had stopped feeling like they were itchy.

Now, you itch to snatch the notebook off him, but you fear that would be even more incriminating. So you watch him look at the page and try to sit with the panicked feeling spreading in your chest.

Eventually, he points at the page, “Is this me?”

You bite your lip, breathing slowly through your nose to try and abate the blush spreading up your neck. You don’t say anything exactly, just shrug and rock your head back and forth in a kind of confirmation that doesn’t really admit anything. Though, there’s no denying the drawing is him.

“It’s good,” he says, seemingly stumbling over the words, “It’s very good.”

You frown into your drink, “Thank you.”

“I mean it.”

You know he means it. It’s not that.

“Yes,” you put down the wine glass, looking at him but avoiding eye contact, “I know. I know it’s good. I’m just… I’m embarrassed,” you admit.

He furrows his eyebrows– or it’s more that he squints and his eyebrows fold in with it. You watch his tongue dart out to run across the top of his bottom lip and you stamp down the less than innocent thoughts that come bubbling up at that. He waves the hand that’s not still holding carefully onto your notebook about for a moment, trying to conjure up words that he doesn’t have yet.

Slowly, he says, “You shouldn’t be embarrassed. I– It’s–”

He’s about to say flattering, so you cut him off, not wanting to hear the tone of it, whether it be pity or something else entirely.

You try to explain yourself, “Things get stuck in my head sometimes. Like after dinner,” you reach forward and flip the page back one, to the sunset, “I have to get it onto paper. Or… or… it just runs laps in my head for the rest of eternity, I guess. I don’t stop thinking about it.”

You cringe internally. You’ve just told him that you were so consumed by thoughts of his eyes that you had to draw them immediately. That is perhaps worse than just wanting to draw him because you thought he was cute. Charles raises his eyebrows, clearly surprised by your admission, but there’s perhaps also something sincere in there? You can’t pinpoint it, but it makes you feel a fraction better you think.

You sigh forlornly, “That’s weirder, huh?”

He laughs, properly laughs, and it sends some strange feeling skittering down your spine, “No. No, I get it. I don’t have any way to get it down as quickly as I’d like, but I definitely understand the feeling.”

You bite the inside of your lip, hesitant but still curious, “You understand the feeling? Really?”

“Yes,” he smiles easily now, relaxing more in the chair after he places your notebook onto the counter with a cautiousness you still don’t expect, “For me, with racing, it’s like I get an idea and I can’t sleep until I try it on track or talk about it with someone. Some of them don’t work, or aren’t possible, which is fine, but if it sounds right to me and it checks out with the people that it needs to, then, well, then it literally does run laps in my head.”

You laugh, mostly to yourself. You’re not sure yet if he understands what you’re saying, but he’s trying. That’s more than you can say for a lot of people. You try not to let that thought linger for too long.

“You think it’s similar?” you ask in a way you desperately hope comes across as curious and not accusatory.

He hums, waving his hand around again for words, “Perhaps. I think the urgency is the same. The passion is the same. Do you ever feel like something terrible will happen if you can’t–”

“Yes,” you’re a bit breathless in your haste to agree, to talk about this feeling with someone who understands, “Yes. I do. It’s like I need to put it somewhere before I lose it. Otherwise, it won’t be perfect, or it’ll be too late.”

“Exactly,” his eyes seem to light up, for a long second you watch the flickering lights reflect in them, “Exactly.”

“It’s never as good as I want it to be,” you admit, finding it easier to look him in the eye now that some strange barrier between you has been broken, “It’s never quite how I imagine it in my head.”

Charles points at your notebook, “These are very good, really. I don’t see how they could be better. But,” he shrugs, “Eh, I will win a race and still think of everything I did wrong.”

You nod eagerly in understanding as you lean back into the chair, finally relaxing into the cushions. It’s strange to have this conversation, knowing you’re talking about two entirely different careers, but feeling like they’re so similar. Maybe it’s just you and Charles that are similar, maybe your jobs have nothing to do with it? You don’t know, you just know it’s nice to feel like someone gets what you’re talking about.

Charles continues, speaking like he’ll explode if he doesn’t get this off his chest, “It’s there all the time, do you know what I mean? Maybe I’m not thinking about it every second, but it’s always there waiting for something to draw attention to it. And people ask what else is going on in my life, and of course I do other things, and I enjoy other things, but I want to be on the track. I want to be driving whenever I can.”

You nod again, more subdued now, “Mmm, right. I want to be making art all the time, and when I can’t it’s like missing a limb. To me art is– it– it’s like–”

“–breathing,” he finishes, almost the lilt of a question to it, but not really, it’s like he knows exactly what you mean… how you feel.

You exhale, long and slow, “Yeah. Like breathing.”

Both of you are quiet for a little after that. You’re trying not to stare at him, but it’s not easy. He’s looking at you almost blatantly and you can feel blood rushing to your cheeks the longer he stares. The air feels thick with some feeling you can’t place. All you know is there are butterflies in your stomach and a smile keeps pulling at the edge of your pursed lips.

The smile takes over as you catch him starry-eyed in your peripheral vision, you mutter, “Stop that. Stop looking at me.”

“Why?”

You tip your head back so you can’t see him looking at you, “Because.”

“Because?” he laughs breathily, shaking his head at you, “Okay, well, tell me if I’m misreading anything, but I’m pretty sure that drawing of me in your notebook says something, at least.”

You run a hand down your face, sighing loudly, “Yes, okay. I suppose it does. But– I–” for a moment you struggle for the right words to explain yourself, “I guess I’m not really looking to date anyone.”

He tilts his head to the side, furrowing his eyebrows and looking for all intents and purposes, like a confused puppy, “You guess?”

You nod, resisting the urge to just launch over the table and grab his face. He is very cute and he is making this so hard for you.

He sucks his teeth briefly, shrugging, “I’m not really either.”

“Alright,” you say, “Good.”

As over as that should make the issue, strangely enough it doesn’t feel like you’re done with Charles Leclerc and it certainly doesn’t feel like he’s done with you either.

(instagram)

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Amalfi Coast, Italy

You try to avoid Charles after that, you really do, but he doesn’t quite let you.

For a few days of the holiday you give him pointed looks and purse your lips a lot when he’s around. Chloe catches on straight away and that makes it all infinitely worse until she finally realises she might need to leave you alone (yeah, shocker). When Chloe finally forces everyone to get off your back about Charles, it becomes much easier to be around him. You’re not glaring at your friends while they make eyes at you, or worrying if you’re acting weird; you’re just allowed to be.

It’s nice. He’s nice.

But you knew that already.

Neither of you are looking for a relationship so there’s no pressure for it to be anything at all. But you have this sneaking suspicion that perhaps both of you are looking for a relationship with eachother regardless. You try to ignore the thought.

On day five, you’re sitting together on an outcropping of rock that overlooks the ocean and you’re letting Charles doodle in your notebook with a ballpoint pen. The bare skin of both your arms are pressed together, they stick with sweat from the hot midday sun but neither of you seem to care. As you watch him doodle inexpertly you can smell him— salt and sweat and whatever cologne he uses masking the very faint scent of burning rubber. Your hair, still damp, brushes his forearm, you wonder if you smell of acrylic paint and mildew from all the water cups you accidentally leave out for your paintbrushes.

You reach out to trace a line he’d made, “Here, it should be more like…” you taper off, taking the pen from his hand and quickly fixing the curve of the beach before handing the utensil back.

“Hmm,” he hums, giggling a little, “I guess that looks better.”

“You guess?”

He nods, “What if I had a very specific vision?”

You raise an eyebrow in disbelief, leaning back to look him in the eye you tease, “A vision. Did you?”

He tilts his head down to look at you. You’re very close now, you can feel his breath fanning over your face. In the reflection of his sunglasses you watch your lips part slightly and your eyelids flutter. Your chest grows tight with anticipation and maybe a little bit of panic. Still, you reach out and slide his sunglasses up to settle in his hair. You’re a little careless, but you like the way his hair pokes out from them at odd angles. As he breathes out you hear it catch for a split second.

“Did you?” you repeat, knowing he won’t remember what you were talking about.

He blinks twice, still staring at you, “Hmm?”

“You said you had a vision,” you breathe.

“Oh,” as he says it, his eyes flicker down to your mouth, only for a second, but it’s long enough to you know you’re done for.

You both lean in at the same time, your noses sliding off each other in your eagerness. You breathe a kind of laugh into his mouth and you feel him try to suppress a smile against your lips. It’s slow for the first few seconds, just you and Charles figuring out how your mouths fit together. His mouth is warm and wet and so soft, and it’s easy to lose yourself in it. You move the hand that had adjusted his sunglasses, sliding it up his shoulder to the back of his muscled neck. Your fingers weave into the short hair at the base of it, your nails scratching absently there. He groans, ever so slightly into your mouth and it sends heat skittering down your spine, into the low of your gut.

The hand of his that isn’t clutching onto your notebook slips forward and winds around to press at your bare back. He pulls you closer to him as you slide your hand up to cup the back of his head, tilting his head to deepen the kiss. Soon it’s a mess of tongue and teeth and Charles blindly shoving your notebook somewhere it wont slip into the water so he can grab you with both hands. He tastes like red wine and coffee and you love the way his fingers dig into your skin and the way his teeth have been grazing at your bottom lip, like he wants to sink into it.

You’re almost in his lap when you’re forced to pull away for air.

Foreheads pressed together, you breathe heavily into the space between you. Your hand is still stuck in his hair and one of his on the small of your back, the other holding your knee. The sides of your noses touch, you nudge yours against his affectionately, tempted by the proximity of his mouth.

He laughs and you feel it against your lips, intermingling with your own breath, “Alright. That was–”

“Yeah,” you finish, dipping forward to kiss him again.

You’re lost for another few minutes. Tongue and teeth and the sound of the waves crashing against the rock behind you. And his hand on your jaw and in your hair and pulling you closer closer to him.

He pulls away this time, turning his head to press your cheeks together, mouth at your ear, “So,” he drags the word out with a laugh, “are you looking for a relationship now?”

You snort unceremoniously, and tease, “Hmm. I guess I would be amenable to that.”

“You guess?” he asks— but not really needing to at all because you can feel his dimples pressing into your cheek as he smiles knowingly.

You nod, smiling too, “I guess.”

🎨 yes of course i made a playlist>> https://open.spotify.com/playlist/6cAJaZjvK0V7SrmxoMosBX?si=ADlJGHxxQYKnlZ1jWFJxfw&pi=a-AI0MKbo3RTqE

taglist: (pls message if you'd like to be added to the taglist for charles. my yuck! one is full so need to start a new one😭)

#charles leclerc #f1 #formula 1 #charles leclerc x reader #charles leclerc social media au #charles leclerc smau #f1 x reader #f1 social media au #f1 smau #f1 fanfic #charles leclerc x artist!reader #FICS #🍓anon #oneshot:cl16

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foervraengd · 1 year

Text

Mirre’s “How i render gemstones” tutorial!

(note: image above is not what is shown in the walkthrough. It is an example piece)

Ingredients:

Art program that has layers and selection tools

Patience (hubris or stubbornness is fine too)

(recommended) photo references of gemstones and/or prisms

(Optional but very helpful) Knowledge on how to use Reference layers and anti-overflow in Clip studio Paint

For this tutorial i am going to use clip studio’s “anti-overflow” feature. This post is not going to explain how to use that specific setting but you should be able to find guides on how to use it on clip studio’s official website or on youtube.

Please Note: The result of this technique will not 100% represent real life gemstones. These are more simplified but should still make an impression of the brilliance and appeal of gems, crystals and diamonds.

If you don’t work in CSP: the best workaround is to use the polygonal lasso selection tool for the same purpose.

This ended up being a long post so I am putting it under the readmore:

First off; Basic idea on how the light refracts inside a solid transparent object:

Wether it is acrylic, glass, water or crystal, the way light pass through more or less should behave the same as long as it is solid and not hollow inside. Pay attention to how the darkest parts of the stone goes along the inner edges, leaving a ”mid tone” sort of in the center. However, this might vary depending on the light setting. But it is a generally good rule-of-thumb to follow if you’re drawing something not based on a photo. Another thing to pay attention to here is how the placement of the highlight will lit up the inside of the gem in a parallel line. It also shows through on the cast shadow.

Light refraction on a cube:

I have already made two posts on this, so definitely go through them:

CUBE BREAKDOWN POST HERE

But a rough summary from those two links would be: Every side/facet of a gem or a cube etc refracts the light individually and not as one entity (that would make it look hollow and not solid). Think of it like how each piece in a broken mirror individually reflect your face back to you. Like a weird patchwork!

Putting this into practice:

For this tutorial I’m going to be nice to myself and not try to draw perfectly accurate gemstones. Instead I’m gonna draw them with a more ”natural” looking set of facets. Which actually isnt as common in real world as video games makes us think. Some crystals have geometric shapes naturally, but a lot of other stones are not as fancy. Anyway, im taking artistic liberty on these example stones because the technique I’m going to use will work for these just fine.

So, in clip studio paint, I first draw the stones on a vector layer. I give them facets for the front side. Then I duplicate the layer, remove the front facets and replace them with the facets on the back of the stone. The third image here shows both layers visible on top of each other. I now put these into a layer folder and mark the folder as ”reference”.

Now, on a layer below the lineart folder, fill with your base tone. Then make a layer on top (if you can clip it to the base tone, do that), this layer is where you decide where the highlight will be placed. In some cases the highlight is only lighting up one single facet - it really depends on the design of the stone. You can also blend and soften the highlight here if it looks good for you, just make sure not every facet is highlighted. The highlight layer should be on top of all the other layers clipped to the base tone layer.

Now it is time for the juicy juicy stuff! Turn on both lineart layers so they’re both visible. I hid the hilight layer here because it was in the way, but might not be needed in your case. Make a layer clipped to the base tone and paint in the darkest tone. This is where anti-overflow helps me out, because when i run my brush over all these crossed lines it will make the stroke pop in and out for each facet. If you dont use CSP, this is where you can use the lasso tool and select every second facet. It will take a bit more time but it should work similarly.

After the darkest tones I then make a layer for the inside light that the highlight has lit up. Here i keep it inside the darkest tone but this might vary depending on the light setting. If it looks good to me, then that’s what i stick to.

The way I approach rendering the facets here is like the grid in the example images above, every shade and tone appear more or less in each facet but the amount is relative to their position. So a gradient wouldnt have a smooth transition; it would be slightly scewed in each square on this example grid. Essentially like how some bathroom window glass panes look like.

Now it’s time to hide the lineart layer folder and check if the gemstones look decent to you. If not, then you can look up some reference photos and analyze where the values group together the most; be careful not to focus too much on the photos 500 million sparkles. Squint your eyes or blur the reference and try to see how the overall values behae.

I, personally, am satisfied with these rocks so I slap on a gradient map (you can manually color in them too if that’s your thing) and call it a day. The lit up inside of a gemstone tend to have a brighter and more saturated color than the mid tone.

Other Examples with this technique:

If you look up ”gemstone types” you can often find images displaying various facet types from more than just front view. These can serve as useful base templates for practicing this rendering technique. The backside of a gemstone is called the “pavillion” and is really useful to have at hand when it comes to painting the inner refractions. You can probably also use 3D models and convert the wireframe into lineart. But that is slightly out of my pool of knowledge.

Applying this knowledge without using a base lineart layer is of course possible. In this painting I followed a simplified summary of how the facets sparkle: Keep the highlight shape to match the front facet design, and all the inner refractions should be more scattered and split up but face a direction towards the center of the gem. Now don’t you think this sort of makes the gems look like eyes? That’s right! You can, and absolutely should, apply this on eyes to create the most sparkly anime eyes ever.

Now, refracted light that lands on the surface surrounding gemstones varies depending on the material - and if the gem is inside a metal frame it usually doesnt create this much refraction around it. But I want to have fun so i decided to break this rule in the name of pretty sparkles. :)

#tutorial #art tutorial #protip #gem tutorial #undescribed #some images have id but not all of them

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