#I imagined this project a bit differently

[dollsahoy]

(disclaimer: I'm not saying your approach is wrong, and I'm not saying mine is objectively correct, I'm saying everyone is different)

The thing is, I have seen so many people who don't realize that these are mistakes at all.

They cut fabric cross grain, with the pattern pieces going every direction, and when the finished garment doesn't fit or hang right, they say "I don't know what I did wrong" and then they do it again in other projects. (I saw one person cut their sleeves cross grain, end up with the sleeves being a bit too tight, then said "Well, it's a Japanese pattern, and Asian people are smaller, so that's probably what went wrong.")

They don't use facings or interfacing (or stay stitching) and just fold and stitch their neckline, and it ends up too big and doesn't lay flat, and they fix it by re-sewing the shoulder seams or adding darts along the edge, not realizing that the neckline itself stretched out because of the lack of the stabilization that comes from facings/interfacing/stay stitching. (And then that neckline frays the first time it's washed.)

They don't notch or clip the curves--which are usually the necklines they skipped the facing on--and they say "This turned out kind of lumpy, I guess I'm just not good at sewing ha ha!"

They line their sheath skirt with quilting cotton and then talk about how they have to constantly adjust that skirt because it sticks to their legs--so annoying! (end of story)

It's really hard to learn from a mistake when you don't know you're making it.

I have a vintage "How To Sew" pattern on my desk right now. Not only does it include facings, but it also includes "A tissue lesson on how to fit a princess dress or jumper." Maybe modern easy/beginner sewing patterns don't think people are capable of sewing facings or clipping seam allowances or using the right kind of lining or cutting fabric out following the grain, but they used to, and people are just as smart now as they were then.

I grew up around sewing, and then I took a sewing course in college. With all respect to my mom, that sewing course taught me things that she didn't know she didn't know. And I've only learned more in the last 30 years, especially how and when the rules can be ignored to get the result I want, and I'd say it was easier for me to figure out where I can deviate because I had that solid foundation in What To Do--I didn't have to figure all of that out for myself first.

Everyone is different! Some people rebel against being told what to do and are happiest figuring it all out themselves, some people take in being told what to do and then start figuring out how to play with the rules, and some people just want to make that cute dress they saw online but don't understand why their version fits weird and think it's just because they made the stitches wrong. And then some of them will abandon sewing completely because they don't have the kind of thought patterns that will really interrogate why things aren't working the way they expect.

My original post was not saying that anyone has to do these things, but I was saying that there are reasons to do them, and thinking that there aren't reasons can lead to predictable issues.

Also, it is very funny (genuinely) to think that I don't still make mistakes. Not only do I still make mistakes, but I share them, so people will know that mistakes are part of sewing, no matter how advanced you are. But they're mistakes I'm aware of making, which are always easier to fix than mistakes I can't even imagine were made at all (which I'm sure I still do, too. I just don't, y'know, know.)

I cannot stress enough that all those things in sewing pattern instructions that seem pointless are actually very important

Yes, how you fold your fabric before putting down the pattern pieces and cutting matters, because it influences how the fabric drapes, and ignoring that can cause fit issues in ways you wouldn't expect

Yes, cutting an entire separate piece to sew to the edge to finish it is going to be better than turning the edge and stitching it on its own, because there are geometry issues in play that make it actually harder to just fold a curve to the inside.

Yes, cutting clips or notches into the seam allowance around curves should always be done, because those geometry issues will work on the seam allowances and keep the curve from laying flat (remember, clip when the curve goes in, notch when the curve goes out)

Yes, interfacing may seem completely superfluous and frustrating and an extra step to work with, but it adds rigidity and stability to areas that need it (especially under buttons)

Yes, using a fun quilting cotton print for lining looks nice, but the point of lining isn't to make the inside pretty as much as it is to make the inside slip smoothly over the layer under it, and quilting cotton is going to instead be prone to grabbing everything under it, so you really should use those annoyingly slippery lining fabrics

Yes, in general, you should use the kind of fabric the pattern tells you to use, because there have been centuries, if not millennia, of people throughout the entire world figuring out what fabric best suits what kind of garment, for reasons beyond aesthetics

I know that a lot of people new to sewing see these things and feel like they're things that just aren't necessary, because they skip them when they sew and the item ends up just fine. And if you don't mind the idea of your clothes looking homemade, then it is fine. But...if you're consistently skipping these things and end up unhappy with how homemade your items look, please consider that that result is at least partly because you're not following the entire directions

"Sewing" involves so much more than just the stitches

[yvaineseleneposts]

The quiet moments

Requested: no

Pairing: Nico Hischier x reader

Words: 1800

Warning(s): none

It was always Nico. Always the quiet, thoughtful boy who noticed things others didn’t. From the very first time I saw him, I knew he was different. He didn’t have that air of confidence that most guys my age had, but there was something about him that drew me in. Something gentle, something kind.

We met when we were both 14, our first year of high school. He’d just moved from Switzerland, his English still a bit rough, but his eyes were already full of curiosity about this strange new place. At first, I didn’t think much of it. He was just another guy in the class, albeit a little more reserved than most. But somehow, every time I caught his gaze, I felt like I was seeing something more.

I was the talkative one. Always surrounded by friends, always the centre of the group, but Nico… he always seemed content to hang back. He wasn’t shy, not exactly. He just liked to observe. I remember how he would listen when I talked, how his gaze would occasionally flicker to my lips as if he was absorbing every word. But it was never anything more than that — just two friends, navigating the awkwardness of adolescence together.

The real change started happening in the summer, right before we entered our junior year. Our group of friends had grown closer over the years, but Nico and I started spending more time together outside the group. It wasn’t anything big at first. Just sitting next to each other in the library, walking to the bus stop together after school. I thought it was because we were both introverts in our own way. The others would scatter off in different directions, but Nico and I would always linger, sharing that comfortable silence between us.

Then, one afternoon, it happened. We were walking home from school after a long day of tests and projects, and we were talking about everything and nothing at all. I don’t even remember what we were saying, but I could tell by the way Nico was looking at me, his lips pressed in a faint smile, that something had shifted. His expression was softer, more vulnerable.

“You’re a really good friend, you know that?” he said, his voice low.

I laughed, teasing him. “I hope so, since we’ve been friends for years.”

He chuckled, but there was a weight to it, like he was holding something back. His fingers brushed against mine as we walked, and for the briefest moment, I thought I felt something — a spark, an electric jolt that made my heart skip a beat. But then it was gone, and I convinced myself I had imagined it.

The next few weeks were a blur of mixed signals. There were moments when Nico would catch my eye, his gaze lingering a little longer than usual. And then there were times when he’d pull away, his typical calm exterior hiding whatever was going on in his head. I wasn’t sure what to make of it. Was he just being his usual self? Or was there something more?

The turning point came during the winter break. We had planned to go ice skating with a group of friends, but most of them bailed out last minute, leaving just Nico and me. The cold winter air wrapped itself around us as we skated across the rink, our breaths visible in the frosty night. The sound of skates cutting through the ice was the only thing we could hear, save for our laughter as we stumbled and tried to keep our balance. There was something undeniably perfect about the way the world felt so still when we were together—just the two of us, lost in our own little world.

Eventually, we stopped to take a break, settling down on the benches by the rink, our cheeks flushed red from the cold. We both reached for the thermoses of hot chocolate we had brought, the warmth of the cups a sharp contrast to the chill in the air. I could feel my heart still racing from the adrenaline of skating, but there was something else too—a quiet tension between us that I couldn’t ignore.

Nico sat beside me, his leg brushing mine just enough to make me feel aware of how close we were. He wasn’t saying much, his eyes focused on his cup, and I could see the way his fingers fidgeted with the rim. He was always so composed, so controlled, and yet, tonight, there was something different about him.

I couldn’t help myself—I turned to him, studying the way his brow furrowed in that thoughtful way of his. “Nico,” I said, my voice soft, almost hesitant. “You’ve been kind of quiet. Is something wrong?”

His eyes flickered up to meet mine, and I saw the vulnerability there that I hadn’t expected. The usual calm demeanour he wore so effortlessly was gone, replaced with something raw, almost unsure. He opened his mouth to say something, then closed it again, as if the words weren’t coming out right. He looked down at his hands for a long moment, and I could tell he was gathering his thoughts, trying to decide if he should say what he was clearly holding back.

When he finally spoke, his voice was quieter than I had ever heard it. “I… I think I need to tell you something.”

I nodded, my heart suddenly pounding a little faster. I didn’t know why, but the way he was looking at me, the way he was acting, felt different. More serious.

He shifted on the bench, taking a deep breath before continuing. “I’ve been wanting to tell you this for a while now. It’s just… I didn’t want to mess everything up between us.”

I frowned, not entirely sure what he was talking about. “Mess up what? What do you mean?”

Nico paused, his gaze dropping back to the hot chocolate in his hands. I could see his fingers trembling just slightly, and it was like the world held its breath around us. There was an unease to him now, and I could feel the weight of his words pressing in.

“I like you,” he said, finally, his voice so soft it was almost swallowed by the night air. But even though his words were quiet, I could hear them clearly.

It was as if time itself had frozen for a moment. I couldn’t quite believe what I had just heard, but I couldn’t look away from him. Nico, the quiet guy who always seemed so in control, was suddenly so vulnerable in front of me.

“I—” I started, but I wasn’t sure how to respond. I didn’t want to say something wrong, to make him feel awkward. But my heart was racing, my stomach doing somersaults.

Nico’s eyes flicked up to meet mine, and there was an intensity in them that made me feel like he could see right through me. “I think I’ve liked you for a long time,” he said, the words spilling out in a rush, like he’d been holding them back for too long. “I’ve just… I’ve been scared. Scared that you didn’t feel the same way, scared that it would ruin everything between us. You’ve been my best friend for so long, and I didn’t want to risk losing that.”

I felt a wave of emotion hit me, and my heart thudded loudly in my chest. I looked at him, really looked at him, and for the first time, I saw just how much he had been hiding. The quiet gestures, the little moments of tenderness, the way he had always been there for me. It all made sense now.

“Nico…” My voice cracked slightly as I spoke his name, and I could see the anxiety flash across his face, like he was waiting for me to shut him down, waiting for me to tell him I didn’t feel the same. But I didn’t. I couldn’t. I couldn’t deny what had been building up between us all this time.

“I like you too,” I said, my voice steady now, despite the excitement bubbling inside me. I reached out, gently touching his arm, feeling the warmth of his skin beneath my fingers. “I’ve liked you for a while, Nico. I didn’t know if you felt the same way, but I’ve always felt something… something more than just friendship.”

He looked at me, his face softening, as if he couldn’t quite believe what I was saying. His lips parted, and for a moment, he just stared at me like he was waiting for me to change my mind. But I didn’t. I knew, at that moment, that this was real. That what we had—what we were—was something I had been waiting for without even realizing it.

Nico let out a small, relieved laugh, his hand coming up to rub the back of his neck nervously. “I… I’m so glad,” he whispered, almost like he couldn’t believe it. And then, in a sudden surge of confidence, he smiled at me—this full, genuine smile that reached his eyes.

“Can I… can I kiss you?” he asked, his voice barely above a whisper, but I could feel the question hanging in the air between us.

I didn’t even hesitate. My heart was in my throat, but I nodded, my hands trembling as I reached for him. “Yes,” I breathed out, just before his lips met mine.

It was slow at first, cautious even. But when I kissed him back, something shifted. It wasn’t just the electric current that ran between us—it was the confirmation, the seal on everything we’d both been too scared to admit.

When we pulled away, we both laughed softly, our foreheads resting against each other. There was so much more I wanted to say, but for now, this—this moment—was enough. We had crossed that line, and it felt like the start of something new.

“Guess I was right,” Nico murmured, his voice still a little breathless.

“What do you mean?” I asked, still dazed.

“That you’re perfect for me,” he said, his smile wide and so full of warmth that my heart melted all over again.

And at that moment, I realized that he was right.

[askponyinuyasha]

The gang's all here!

Sorry I haven't uploaded an answer in a while. Got a bit distracted with some other projects, one of them being this. I drew Kagome first, then Shippo and then Naraku (se below the cut) and I was like "well might as well draw them all!" and s I did!

(High-res PNGs and more of my yapping below the cut)

Okay for starters, here's Naraku. He turned out super good imo. His whole thing in canon was absorbing different demons into his body, so whatever he is in ponyverse, he's absorbing other creatures and stealing their powers. He's got a little kirin, and a little changeling, some griffon, and some dragon. I imagine if they ever were to meet, Naraku would give Discord a run for his money. He's not a draconequis, but I'm still not entirely sure what.. he's a freak is what he is XD

Oh! I also created a custom kirin scale brush just for Naraku, so like hmu if you want the brush tip for CSP.

Kagome... yes I did kind of do this whole thing just to make the joke that she's a G5 pony. FWIW, I think she turned out pretty good, even thought the G5 style isn't my personal favorite.

Not much to say about Shippo. He's a little guy! The kirin ended up being kind of the analogue to yokai/demons in ponyverse, and I maaaaay eventually get into some lore stuff with that but... that's for another time.

I think the most interesting thing I have to note about Miroku is his cutie mark. He's a Buddhist monk, so I wanted to give him some kind of Buddhist symbol, but I ended up torn between meaning and aesthetic. I ended up going with meaning. His cutie mark is a parasol, used in Buddhist iconography to represent protection from evil. I felt like it warranted some explanation because even I had to do some research for this one.

KIRARA!!! No notes. I'm love her. The real challenge was making a cat (big and small) that didn't look bad in the G4 style.

I. DREW. SO MANY SANGOS. She's so cue I'm gonna die. I'm super proud of how she turned out, and also super proud of her cutie mark. It's lilies like the ones from the secret garden episode. She probably got her cutie mark when she realized how important her family is to her and how strongly she loves them. Kind of an Applejack vibe. I figured it also fit specifically because she represents the soul of love in the four souls of mitama, so of course her cutie mark would be about her love for her family.

[briskchips]

HELLO!! big fan of your animatics!! How do you make them and do you have any tips for inspiration, planning, and what software do you use?

Thank you! I'm glad you like them!

I think the realization that revolutionized the way I think about storyboarding the most is that you HAVE to let your imagination drive. I start off every animatic with super loose, super messy, barely legible sketches, with wrong anatomy, janky movement, etc. Instead of focusing on making it look good, I can just focus on setting it up for its potential, and starting my motivation at the highest point it can be. I never let my first draft take more than a few hours over the course of like 2 days max, or else the drive dissipates.

If I start a board right away with the cleanest, most beautiful art I can muster, I'll kill my own motivation, like "Oh god, in my head, I imagined a huge spinning 3D camera shot here, with a bunch of dancing characters. That last panel alone took me like 30 minutes to draw, I don't wanna do this! I'll draw a simpler, flatter scene instead." and then it ends up looking nothing like how I imagined, and I get demotivated before abandoning the project. But if I start with super messy lines, just barely enough to get the idea out onto a screen where I can watch it, the excitement and imagination will drive, like "Wow, this shot with a huge spinning 3D camera and all these complicated characters looks SO COOL! It's gonna take a lot of work, but look how interesting it looks already! I can't give up on this!"

For reference, this was puppet boy's first draft!

Storyboarding is a bit different from a lot of other visual art mediums because it takes a LOOOOT more work before it starts feeling rewarding. Learning to manage your own motivation is a huge part of building the skill that I feel a lot of people don't mention.

But when it comes to learning how to finalize it, study up on your storyboarding rules! Learn about perspective, anatomy, screen direction, and learn to draw FAST (that's a big one). Draw out shots from your favourite movies, study their composition and take note of their camera/character movement, and how it aligns with the shots sandwiching them. Learn from other artists (I recommend Toniko Pantoja, he's a very experienced board artist who makes a lot of videos abt improving your boards and what it's like to work in the industry), and PRACTISE! Your first piece of art, whenever you try anything new, is going to SUCK. You're gonna think its bad. That's just how art goes. But the next time you do it, you'll always, always, improve, even if just a little, even if you can't see it for yourself.

The biggest thing to keep telling yourself when making storyboards is DON'T GIVE UP YET. YOU'RE SO CLOSE TO MAKING SOMETHING COOL. And then you have to keep telling yourself that over, and over, and over, and over, through all the sighs, and the frustrated rage-quitting, and the exhausted temporary give-ups, and then eventually, those animatics you keep building in your head get to be real! And it feels incredible.

[icantbotherwithusernames]

You know I just realize that Evil/Henchmanic Ford au is kind of similar to Chaotic neutral Mabel. So how do you think Chaotic neutral Mabel would react to Evil/Henchmaniac Ford?

Also another question, how would Chaotic neutral Mabel would react to Cannon Mabel?

Anyway I hope you have a nice day

in regards to the second question: here's an event that very much could've happened considering the timeline difference between the canon and my au:

in terms of the first question, it depends on what type of henchmaniac Ford au we're going for. for the sake of the ask, i'll choose the type where 30 y.o. Ford learned Bill's plans and decided to join him (in whichever way)

[sherlock-is-ace]

.

[du-hjarta-skulblaka]

Some mild existential dread in the house today

[cuteniaarts]

2 hour rough drawing of Ehuang, my precious Green Opal child who I don’t draw nearly enough <3

[nonuggetshere]

I'm gonna continue with the requests later, but I also felt the need to doodle my two PVs with a little bit of gender on the side

They're both still very much genderless, but because not every non-binary/agender person will have the same perception/feelings regarding their gender and won't have the same gender presentation, I decided to mess around with it a little

Hallow is genderfluidv(though after some consideration I realised agenderflux describes them more accurately, but oh well, these labels don't even exist in their story so who cares), they're non-binary but their alignment fluctuates between fem-leaning, masc-leaning, something in-between and neither. They're fine with any terms and pronouns but mostly go by they/them.

Luna is genderfae/transfem, their gender fluctuates between agender and fem-aligned non-binary. They mostly go by they/them and gender-neutral and feminine terms, they're fine with she/her and some neopronouns, but any masculine terms and pronouns are a big no-no for them. Currently, I'm considering making them an enby lesbian, but that might change in the future.

[cetoddle]

i do like writing in second person. but i hate trying to get other people’s opinions on it because they either don’t actually understand what i mean or try to make it about h*mestuck

[mcybree]

yknow I wasnt feeling like finishing my flower husbands essay (I feel less of a push to now that I dont technically Have To meticulously prove/justify my stance— people do just. agree with me now! which is insane) but I’m starting to think maybe it’s still needed actually

[ragnars-tooth]

Biannual chamberlain crew posttt

I think they're silly, nay, goofy

[juniperhillpatient]

literally adore my silly little doomed original characters so much I think I might write horror & tragedy forever from now on if this book works out

[floororangejuice]

Dude imagine how fucked up it would be if (your interpretation of) Faklex had the ability to turn afab when he consumes Realex’s DNA. And Realex’s spirit just gotta go through the mind fuck of watching an imposter of his past self be happier than his own past self… Insert allegory of transmasc guilt for “Killing the little girl in me.”

that could be cool..... I personally though do think faklex himself is transmasc on his own too just cause I like it and it's fun... but that is a very cool idea that can be used in a cool way

[coolskeleton3000]

THIS SHIT IS VERY FUN TO DO

RIP Bella Satlzman you would have loved roomboxes

(it isn't fully furnished, I just called it quits for today)

[kruxton]

realising that i dont care for band aus because of my own experience with all things Music and how it fucked me up time and time again