A personal sideblog for posting about autism, disability, cool things that aren't Fallout (see my main blog @theartofblossoming) or Japanese (sideblog @anagumasaru).
I am a colourful mixture of Autism and Ehlers-Danlos Syndrome etc.
AS(D), hEDS, POTS, CFS, FND, FM, GAD, OA...diagnosis scrabble, anyone?
Coming out letter to parent from a young non-binary teen (image below the cut):
"This is Jeff (hullo). He's been with me for about four years now, the poor sod. You see, with all this talk about 'gender this, gender that', every time I stopped to ponder it, it did my nut in. So, like many other headache-causing thoughts, I kinda left it be, right next to the dusty corner of my brain home to most philosophical puzzlings. PTO.
But at one point I decided to give Jeff a go. Before I even knew of other Jeffs around the world. And what can I say? Sometimes its a Jeff day, sometimes not. He's a nice chap 'n' all, but sometimes it simply is not a Jeff day or week. Anyway, Lord knows what this makes me but I thought this fella deserved some kudos. Jeff says hi.
~ Don't mind being a girl tho! ~ Still your daughter! I know money is tight and all this is undoubtedly a surprise (though it could be just as easily argued the opposite - I've always been... I dunno. A bit of a gender hazy kid?)
- Replacement - a 'Jeff II' perhaps, so to speak?
And you may marvel at my ingenuity. But though Jeff has been with me for a while (not previously named, however), he has seen many iterations. And though he has been ever so helpful, he never really did sign up for this and is looking fondly at the future: retiring back into a pair of socks.
Jeff says bye."
Shared with direct permission, hoping to be of some help and support to other young 'gender hazy' kids.
what you need: ibis paint x, premium or free version doesnt matter
step 1: color
yes we're starting with color! I highly suggest using multiple colors for a prettier finish. I prefer parallel gradiation but as long as its blurry anything should look nice. pick analogous colors for the best result.
step 2: write the text or draw/import the shape.
as it says! if youre drawing it, make sure its on a new layer above the gradient! I suggest using rounder, bubblier fonts/shapes, one of my favorites to use is starborn on all uppercase. the color you use does not matter as it will be the background color in a short bit
step 3, the jellificationing
this little friend called "water drop (rounded)" in effects under style is your best pal. its here to help you and make the process so much easier.
so just press it and fiddle around with it until you're happy with the result.
step 4 (optional): refracting
to help it make look more 'realistic' I tend to add another layer of the water drop. to do this I simply copy the previous one and go do the same effect on the top layer
step 4.5: tips
you need to make sure the refractive index for the second one is turned down all the way, or itll look weird, streaky, etc. make sure the highlight and highlight size settings are lower than the previous time you used this effect. and make sure the little sun symbol (the light source) is on the edge of the opposite direction of the previous time you used the effect. so if the first layer of jelliness had the light source coming from the top right, the second layer should br on the very edge of the bottom left.
step 5: begone, background
yeah, we're done with that, this will also be the big reveal of the final image
and then you just crop to fit and then save as a transparent
bam! heres the final thing!
I dont know how good I am at explaining but I hope this helped! if youre confused dont be afraid to ask!
With the rise of cheap printing in the early twentieth century, mass-marked paperbacks swept the world, each offering lurid thrills for obscenely low prices. Sex, sadism, and incredible violence for as little as ten cents. An easy purchase to slot in between fifty cigarettes a day and enough bourbon slugs to kill a small garden.
Pulp fiction is where some of the greats of American literature cut their teeth, including the big three, Raymond Chandler, Ross MacDonald and Dashiell Hammett. The contents of these stories, both the dizzyingly good and astoundingly terrible, have been absorbed and digested and remixed and regurgitated in nearly every permutation imaginable, fuelling pop culture some one hundred years on. This isn't an essay on that. Nobody likes to open a tutorial and be greeted with a wall of text. The history is for another time.
But it is about how to paint it.
Don't let the pre-amble intimidate you, it's not as hard as it sounds. You will need:
Painting software with some image editing capabilities. You don't need all the bells and whistles of Photoshop, but I wouldn't recommend something like MSPaint, at least not to start with. I'm using Clip Studio Paint.
A really beat-up paper texture. The grungier, the better.
A lightly-textured brush. Here are the specific brushes I use, 99% of which is the well-named rough brush. Try and avoid anything with any impasto elements.
Go to your colour-picking tool and use the 'select from layer' option. Doing all the painting on a single layer is going to make your life easier.
A complete willingness to make mistakes and, instead of erasing, painting over them. It generates much more colour variation and interest! Keep your finger off the E key.
Good reference! That painting is a master copy of Mitchel Hooks' art for Day of the Ram. Find a style you really love and want to learn? Have no clue where to begin? Do direct studies!
Let's not worry about whatever is happening in the background. It's probably fine. Let's get started! Pulp magazine art is a lot more varied than you might first think, so don't agonize over having a style that 'fits' or not. I'm also specifically aiming for something you'd see on the cover after printing, not the initial painting they would use for printing. The stuff I'll show here is a pretty narrow band of it, but here are some general commonalities. This is a painting by Tom Lovell.
Let's dig into this.
The colours are very bright and saturated, but the actual values, the relative lightness and darkness of them, are actually grouped very simply! You can check this by filling a layer full of black, putting it on top and setting its mode to colour. If the value of a painting looks good, you actually get a lot of leeway with colour. But here's what I think is the most important thing to keep in mind.
The darks aren't that dark, and the lights aren't all that light! Covers are paintings reproduced on cheap paper. Anything you wouldn't want to happen in the printing process, you lean into. Value wash-outs, lower contrast, colours getting a weird wash to them, really gritty texturing. So let's get painting! Here's my typical setup.
That bottom folder is the painting itself. The screen layer is the grungy paper texture. To get the effect you want, put it down, invert its colour, then set it to screen. That washes out your painting far, far too much, so to compensate, I put a contrast layer up on top. Fiddle around with the settings, but this is where mine ended up sitting.
Note I'm saying this before even starting the painting: you want to do this as early as possible. This is where the 'select from layer' colour picker comes in handy. You can paint without worrying about the screen or contrast layer. Something not looking right? Enable your value check layer and keep painting. When you turn it off, it'll still be in colour. Here's a timelapse so you can see what that looks like.
And when you check the values...
They're pretty simple! This isn't a be all and end all, but I hope it serves as a decent primer. I want thirty dames on my desk by Monday!