#Any mistakes are my own

[jazzies-stuff]

Happy boopween

[thunderc1an]

how to love a stranger

[wardingshout]

slowly getting back into stuff...

[ihatebrainstorm]

More Rogues Gallery AU portrait design sketches bc why the hell not

CD Scarecrow was a fun one to draw skdkfs

[auxxrat]

so sick and tired of the “jedi are an evil and abusive cult that steals children” as if half the reason they weren’t protecting these children is bc sith were out killing them or TURNING THEM INTO SITH. they weren’t even STEALING children to begin with I thought we all knew that was Palpatine’s game not Yoda’s.

[sparkdoesart]

(YOU CAN'T LET THEM GO HOME.)

[luminique]

You don't have to do this but I NEED me some Lighter as an adopted older brother or has a baby with the reader. I'm a sucker for big brother or fatherly things!!

‘it’s a rough life out here in the outer ring.’ those words echoed through his head as he scooped up the little baby wrapped up in a blanket. it’s face was all red, seemed to be a few weeks old at most, but he didn’t recall seeing this small package here before. its cries were quiet, due to it being muffled by its own blanket.

the hatred he had in his heart could not overtake how much it throbbed at the sight of such a small bundle of joy, pressed up into his chest as he cradled it to sleep. how was he going to explain this to the rest of the girls? how was he going to explain this to you? but more importantly, how was he going to bring it back without waking it from the loud roar of his bike? piper’s driving was out of the question and calling all of the girls over would just scare it even more.

as he made his way back to his bike, the baby’s little fingers had found its way to his scarf, tugging at it gently. once he had sat down on his bike, he carefully removed his scarf and used it to cover up the precious baby. it was preoccupied enough to not notice him turn on the engine but now was the difficult part; driving back one handed while ensuring it doesn’t wake up.

slowly, he was able to arrive back, a lot later than usual however. he was carefully shushing the baby, stroking its cheek so gently as he made his way to the fire pit. he paid no mind to lucy questioning his absence, nor did he try to entertain caesar’s invitation for a spar. he flopped down on the couch, the warm fire reflecting off of his shades. he looked around for you, desperately wanting some sort of reassurance in this situation.

of course the girls had immediately swarmed him but the moment their eyes landed on the little bundle of joy in his arms, they immediately softened up. awww’s and ooh’s could be heard, like a weirdly harmonized symphony. not before long, your head popped through the crowd and it felt like he had let out a breath he didn’t even know he was holding.

the baby was so good, barely making a noise as he carefully handed it to you, albeit a little clumsily. however, it’s little hand was wrapped around lighter’s finger, gripping it like it’s life depend on it. “this little one really likes you, huh?” you’d try teasing him but he was using all of his power to not just melt at the sight.

he didn’t know he was such a softie. yeah, the Sons of Calydon have made fun of him for being soft once in a while, especially when it came to you, and he knew it but constantly denied it. now seeing you cradling this baby, cooing at it, something in his chest felt warm and it was definitely not from the fire.

after a few minutes, the baby started crying and of course everyone went into a panic. they scrambled around, trying to figure out what had occurred and it turned out that the baby just needed a change of diapers. a kind mother nearby living nearby was more than happy to assist, teaching how to clean and feed. no one ever told you about how stressful it is to handle a crying, squirming baby but after changing it’s diapers and giving it some milk, this was when you realized that the little baby was a girl.

everyone was exhausted and the girls had gone to rest in their rooms. it was fun nonetheless but taking care of a baby is a lot more work than you thought. you flopped back on to the couch, baby still in hand, slowly patting her to sleep. lighter followed you around, wanting to keep the baby close in his sight.

“what should we do with her?” you quietly asked, eyes slowly closing as the baby’s breathing could be felt on your chest.

‘it’s a rough life out here in the outer ring’ there it was again. that same voice in his head. was it telling him to keep the baby? or was it telling him that staying here isn’t the best option? the proxies down in sixth street might know an adoption pla-

he felt your head resting on his shoulder, the slow rise and fall of your chest. a bundle of joy, all wrapped up in his scarf, gripping it tightly like how she did with his finger. as long as he had you, he was sure she would be brought up well. the other members of the Sons of Calydon would also not reject because that’s another girl for them to adore.

he removed his sunglasses, taking one last look at her small face before resting himself. then he looked at you, clearly exhausted yet keeping still for the baby. they say it takes a village to raise a child, he’ll come to understand if it’s true. the start of a new life, for not just this abandoned baby, but for him too.

[parisoonic]

How the hell do you manage to superimpose the hilariously exagerated proportions of the tf2 mercs into a cohesive 2d style? I always struggle SO much with like, the way the mercs' models have huge hands, the way they have relatively low-poly definition on things like arms, shoulders, and legs... and Especially the way like, the models are kinda janky when you pose them for art purposes- when using movement tools, things like armpits and seams between body parts get all deformed... Which makes the study of form and silhouette rather difficult.

I assume that a lot of your ability to translate the concept of the mercs from their original mediums into your own works of art comes to you quite naturally- through experience you have with drawing and art style stuff, as well as through intuition. I was simply wondering if I could poke at your mind and get some insight into your process, any thoughts you have about the proportions and silhouettes of the mercs, any quirks you've found while drawing the mercs, or simply what you enjoy drawing about them. Like, don't be afraid to infodump about something just because you think people wouldn't find it interesting- I am here, I am sitting, and I am listening- if you so choose to speak.

I am utterly fascinated and enraptured by the more behind-the-scenes aspect of art. The mundane things that come second nature to great artists yet seem so revolutionary to less experienced artists.

I love your work, I look forward to seeing more of it, and I hope you have a nice day :]

Sorry for the late reply! I've been a little…stuck on how to answer this but that's mainly because to me, drawing is composed of SO many different little skills - you have form, anatomy, shape language, silhouette, appeal, rhythm, acting and posing…not to mention everything AFTER your raw draughtmanship like line style, rendering and colour theory. Trying to distill a multiude of small skills into some pithy advice is overwhelming to my brain. So I'll take the invitation to ramble instead :))

I don't think I have any new or revolutionary insight into the tf2 guys specifically - more I'm using them as work horses to excercise general silhouette/posing/shape-language and further my skills when it comes to drawing characters!

I do agree though the proportions are rather silly when you stop and think about them realistically…they can be kinda tricky if you follow their 'actual' proportions. what looks great individually was maybe never meant to be directly compared (ie: Heavy's hand size against Spy's lol). It would've been funny if the TV show exsisted and we had more content to review…would the animators have had rules like Spy and Heavy can never shake hands? Would they cheated the proportions for shots? Or would they have said WHATVER it's gonna look weird and embraced it? (Like Kingpin in Spiderverse lol)

Paul Lasaine for 'Into the Spiderverse' This is AWESOME. But it's also one of the silliest designs I've ever seen comitted to screen. The varied scales of the characters work because of the unifying treatment (lighting, rendering, consistant hand anatomy, consistant clothing fold treatment etc) and because they are sort of proportional within themselves. A common mantra is that hands should be about as large as a characters face....which they all are here!

Human brains are very flexible and forgiving though. It's totally fine for you to put a character with huge hands and head next to a teeny tiny character! Vanellope and Ralph from Wreck-It Ralph look grand next to each other! And in that film you even have varying levels of stylisation sitting against each other (unified by the look dev treatment of the shaders and lighting). I think as long as the chracter is proportional within themselves it sort of works out. IE: a general rule is that a hand should be as large as the face so…you can have some large arse hands as long as their placed on a body with a big arse head. Unifying characters with the same treatment (ie: lineart brush, colouring style will also help them look cohesive next to each other :) )

I don't actually reference the 3D models/animations very much at all and instead draw their proportions based on my tastes for stylisation following their general vibes/silhouette profiles. I don't stick THAT close to their in-game looks and there are artists who do that are so so so much better than me (Creedei and Flapjack come to mind). I'm not amazing at body-type differentation and TBH they're all wearing chunky clothes all the time so I usually draw the guys as one-of-three body shapes: Heavy is the uniquely wide guy; Sniper/Scout/Spy are all tall and slim and Demo/Soldier/Medic/Engie have a little more of the generic 'hero' bodytype with varying tallness and broadness of the shoulders

Something like this! You can vary all these individual elements in terms of size, thickness, taper amount etc to create different characters. If you ARE going to reference the 3d works though you'll need to apply some anatomy knowledge to overcome the weird shoulders, armpits and knees which desperately need blendshapes to correct the 3D volumes and approach it a little more like an animation supervisor. There's a reason why you see in making-ofs and art-ofs character designers, character leads or animation supes doing drawovers of the models. These are character models that have had great effort put into their 'base' silhouette but it still needs to be reinforced in every frame for maximum appeal.

Shiyoon Kim for 'Raya' This sort of thing will occur at multiple stages during the animation process. Shiyoon Kim's notes are post final model but pre-animation. Most likely for internal rig tests, exploring what blend shapes and alt shapes are needed for the rigs etc. If your production has time, this will continue all the way to final anim. IF! But it's interesting to see how he emphasises the shapes and enhances the character acting of the 3d model.

As for 'mundane things' - I wouldn't say they're second nature! (If that makes you feel better!) I have to actively really persue certain advice and try to figure out how to best apply it. This can sometimes involve redrawing and redrawing an element of the drawing until I've grasped the nettle of whatever I'm after or…..until I get frustrated and either delete the drawing or just call it done lol

Here, I'm looking for a really specific flow of the head that sells both the acting and a subtle head tilt. I'm also trying to apply the general mantra regarding faces that converging lines (set by the eyebrows and mouth) are more appealing than parallel. It's tough! I also tend to use a drawing I've already done as a template/reference on the page too. Oh! This page is an amazing example of why I'm not an animator or storyboarder…consistancy? Who is she? 💅

Converging lines (that form tapered shapes) are always more appealing than parallel. Using this logic you can loft the facial features across converging lines to create dynamic appealing espressions. Combining this with anatomy, perspective and rotation is the tough part though. I'm still learning o7

The things I probably think about MOST are always flats vs curves, simple vs complex and general line of action/flow...and then eliminting tangents. Each of these can be a dedicated visual-essay on their own - hence my stumbling as to answer your question. Anyhow, not sure if it's ever come up on this blog but I looove dinosaurs :)) so i'm using a wee piece to demostrate these ideas! (but also to demostrate these concepts apply to everything from humans characters to animals, props and background design)

Okay, I'm getting self-aware that this is getting really long :') I have a wee tutorial tag for my blog if anyone wants to comb through my garbled art-thoughts. Learning, studying, repetition and practice will always be the greatest teachers! I'm glad you like my art- thank you so much for the lovely comments - I feel like such a noob still and not qualified to give people advice but we're in it together learning! High-five! 🙌

[chrisbangz]

happy birthday chris ♡ insp.• insp.

[turtleblogatlast]

“Haven’t You Noticed (I’m a Star)” from Steven Universe works so ridiculously well for Leo

[luck-of-the-drawings]

[OLD ART ALERT] A COLLECTION OF SCENES FROM THE GILLIONS CATSCRATCH ARC THAT BROUGHT ME GREAT JOY. i love fishy chips especially when its just gillion being delirious and violent and hostile

[frongle444]

[BREAKING NEWS: GREAT ASTRONOMICAL DISCOVERIES]

teehee you may have seen this coming :3 i love these sillies especially margaret you go girl

(btw i havent listened to the ghosts of antikythera yet so no spoilers plsplspls :3 tyy)

[aappleslice]

THEY DON'T KNOW YOU LIKE I DO

[mblue-art]

"—matsukawa, quit pushing me down, asshat!" "nah." "i will kick your shins bro do not test me—"

alt. ver. before the redraw (bc i still kinda like this 😔)

[worthyprnce]

gwaine had many hidden talents.

we all know about his amazing skills with swordfighting. a skill he learnt from watching knights and squires play and fight, from picking up fights even being too young to do that and during his many years traveling alone. he had to know how to defend himself and, most importantly for him in the begging of his life, his mother and sister as well. but that's not all he knew.

growing up without his father to teach him the arts of sword fight, he learnt a lot from his mother and older sister instead. at seven he got tired of his clothes tearing up all the time, so he asked his mother to teach him how to sew. even after becoming a knight, gwaine took a few minutes to mend his own clothes whenever he could. he needed this time alone. at nine, his sister taught him about the language of flowers and how to dance. he did it for them. he used to steal flowers from luxurious gardens around to gift his mother and sister, and he always took them to dance, using any excuses to do it. he just loved it, and he loved to see them happy, not worrying about money or grieving for once.

at eleven he already knew how to steal food from the market without getting caught. and he was an excellent bargainer too. he was known by some as the child who stole valuable objects from distracted rich people and sold them at a lower price afterwords. robin hood style. it didn't take him too long to learn how to make his own dagger. courtesy of the local blacksmith who took pity on him and his family.

but most of his little secret talents he learned along his travels, wandering alone after leaving home at an early age. he learned to play the lute, to play cards, to steal by cheating playing cards, how to get easy money, how to impress a girl, how to impress a boy, how to whistle, to cook — although he was not actually good at it, just very practical. he knew french, a little latin, how to orient himself by the stars, how to bandage a wound by himself and what to do if it became infected, body anatomy (for medical and first aid reasons only. mostly), cut his own hair, trim his own beard, how to read maps, how to identify poisonous mushrooms, how to cut wood for fire, to swim, and many other little things.

but the hidden talent he was most proud of, was his drawing skills.

when he was around twenty, he once saw an elderly man struggling with a few home repairs he had, and decided to help him. as a return, the old man let him stay in his home for a few days. gwaine soon found out the man loved to draw. he had plenty of sketchbooks filled with many different portraits and landscapes, gwaine was in awe. seeing gwaine's genuine interest, the old man taught some basic and quick drawing principles, and gave gwaine a sketchbook and a pencil as a gift for all the help and company.

during his long years alone walking aimlessly around, gwaine used his sketches to immortalise every place he passed, every interesting person he met along the way, passions that made his heart beat differently, animals he helped save, taverns that served a good ale.

by the time he met merlin, his sketchbook pages were full of sketches of camelot, gaius' chambers, bottles of potions with funny names, little details inside the castle most people wouldn't even notice. but gwaine did.

he found himself making sketches of gwen with flowers in her hair, of arthur with the worst expression possible, of gaius with his usual worried face. but merlin was the main focus of his new drawings. every page had a sketch of merlin, doesn't matter how big or small.

and when gwaine was no longer in camelot, he realized his mind had never left merlin's room. he went back into drawing landscapes and taverns, but no other person were interesting enough. not when he once had merlin.

the pages of his sketchbook were getting boring and lifeless, not what they used to be before. but it seemed like they would come back to life whenever gwaine and merlin were together again. he had many sketches of merlin with white lillies around him, merlin's eyes shining as bright as they did the night gwaine confessed he was doing it all for him, wyverns, an old and dirty trident he had no idea what it actually was for but he liked the shape of it. even arthur made a comeback to his sketchbook.

when he was made prisoner by jarl, he lost all of his sketchbooks. everything inside his bag was stolen and discarded, and since gwaine's escape was rushed, he had no opportunity to try and find it. he lost it all, all the memories of his travels, the beautiful places he saw, the people he met, his early adventures with merlin. all lost. he had only his memory now.

after he became a knight he was reluctant to go back to his old hobby. still bitter about losing it all suddenly. but after getting to know his new friends better, and after he started to see merlin everyday, he couldn't resist.

he used every moment he had alone to draw. he loved drawing lancelot's hair. he had his fun giving leon extra curls. elyan, percival, and even lesser known knights and guards owned gwaine's sketchbook pages.

but his muse was always merlin. drawing merlin was like muscle memory for him. he would be lying if he said he never lost himself in his own thoughts while admiring merlin's features and carving them into his memory so he could draw him later.

his drawings were directly affected by his mood, so it was easy to know when he was angry or upset. but there was only one emotion showing whenever he drew merlin, and it was love. pure, powerful and unconditional love. sometimes a brokenhearted love. sometimes a melancholic love. and there were even the times he felt a certain kind of guilty love, a mixture of insecurity and uncertainty. but it was always love. and it was always merlin.

the first sketch he made after getting back to draw was a memory very dear to him of the first day he met merlin. he was smiling, looking at gwaine with hopes he would stay, begging him with his eyes and words for gwaine to stay in camelot with him. for him. whatever his reason was, he wanted gwaine close, and gwaine remembered those eyes and words very clearly.

his last sketch was also one he made of merlin. he was smiling as he held gwaine's hand. just before he was the one leaving gwaine this time. and even though gwaine had his eyes blurred by tears, he made his best to register merlin in his pages one more time, one last time, forever.

[fearandhatred]

to rome: a play by fearandhatred

(5k words, 1/1 chapters)

While trying to tempt Caligula, Crowley makes a discovery that renders all his efforts for naught. But then it turns out that Aziraphale is here too, so maybe his trip to Rome isn't wasted after all.

***highly recommended to read on a phone because of the Multiplicity Of Line Breaks that just look very weird on a laptop unless your font size is huge

-----

i've always loved the idea of crowley falling in love with aziraphale in rome. in some ways it really is my roman empire so i figured i might as well make it happen! featuring many shenanigans and an annoying emperor :)

any and all support is greatly appreciated <3

anyway it all started with a dream:

so this is for @eybefioro @captainblou @crowleys-bentley-and-plants who challenged me to write a fic with no angst and also, coincidentally, for that one commenter who asked me on the same day if i would consider writing something happy for once. against all odds and with much difficulty, i have done it. love u guys sm <333