#I realized this when I was looking for references for the drawing

[nr1chaedickrider]

you do damage to me

“it can't be all that y/n, seriously” nayeon tells you, leaning back into the cushion of the couch, her eyes focused on the show that's playing on the tv.

“you have no idea” you exclaim in frustration, throwing your head back and sighing.

“it stops me from doing other things, the thought doesn't leave my mind and haunts me when i try to sleep”

“or when i try to fuck someone” you add, nayeon laughs a little and hits your shoulder in a ‘i did not need to hear that’ way.

“you're crazy,” she responds.

“whatever” you get up and walk to your room, closing the door behind you and laying down on your bed as you stare at the ceiling.

the thought doesn't leave your mind like you told nayeon, tossing and turning doesn't help either.

it's pathetic and humiliating in your opinion.

maybe she thinks the same.

you're sighing again, laying on your side and looking at your phone that's on the nightstand right next to the bed.

one text - and maybe she would reply.

images flood your mind again.

of her on you, her voice echoes in your head.

the names she called you, god - you were addicted to it.

you never thought a stupid one night stand could mean so much to you.

it was nothing serious, you left the same night after it happened.

but you miss it so much.

stupid and spontaneous decisions always were the ones you decide on, instead of thinking it through, you decide to text her.

“are you awake?”

she replies quickly, “yeah,”

“why?” 

you stare at her reply, you could just say you texted the wrong number on accident, you could find some stupid excuse.

but instead of being smart, you text her again.

“can i come over?” you can imagine how she's laughing at your question, you're already thinking about in what way she's saying no to you, but her response surprises you -

“be quick”

-

“so?” she sits down on her bed, patting the space in front of her, signalizing you to sit down too.

you do as she says, looking her in the eyes, then away to the floor, fidgeting with the hair tie around your wrist.

“i didn't expect a message from you, honestly,” she laughs just a little.

“especially not this late”

“i couldn't help it,” you answer, voice a little shaky from you being nervous.

momo thinks it's the cutest thing ever.

“i can't stop thinking about you” 

“the thought of that one night clouds my mind and i-.. i just need it” you look into her eyes, exhaling deeply before speaking again.

“i need you,” she smiles at your confession, placing her hand on your thigh.

“you're adorable,”

“and needy.” she adds with a slight chuckle.

she moves her hand up to your cheek, her thumb slowly strokes your soft skin.

“is your heater on?” you ask which momo replies to with a laugh.

“no, it's just you baby”

you can feel how hot your face gets because of her touch and you can't help but lean into her hand.

she puts her hand away, using it to pull you onto her lap.

her face is so close to yours that you can feel her hot breath on your lips, drawing you closer.

but momo moves even closer, she leans in for a kiss.

you do too, but she stops you right before your lips can touch, her hand on your neck, holding you still.

your breath hitches as you look at her plump lips, then up to her eyes.

“what are you?” she whispers against your lips, looking at you, her look full of lust.

the question confuses you at first, but then you realize what she's referring to.

that one night, you called yourself something to get her attention, to get her to treat you roughly.

a smile appears on your lips before you answer her question.

“i'm mommy’s little brat."

[rathayibacter]

Ok so how does one MAKE a tabletop game because this is something I want to try!! Are there good references out there for non-d20 systems or how to balance mechanics yourself?

oooh, hell yeah! honestly the big thing is to just do it, unlike board and video games the gap between idea and execution in ttrpgs is incredibly narrow, so if youve got an idea just start writing stuff down and see where it starts pulling you, where it feels like something's missing, find what excites you and what you feel isn't working. but that's not very specific, so let's get into it!

first off, read games! read weird games! there's tons of free ttrpgs on itch, lots of people sharing their work here and on other social media, there's 200 word rpgs here and here, and lots of system reference documents written specifically for people looking to hack games. reading other games is a great way to enrich your work whether you're building systems from scratch or working in an existing framework, because every game you read will show you a new way of approaching design problems.

on that note, draw inspiration outside of ttrpgs too! i pull a lot from video, board, and card games in my work, as well as poetry, novels, movies, etc etc etc. im autistic, and ive spent a lot of my life thinking about and dissecting unwritten social rules, so that's another big source of material for me. take your passions, whatever they may be, and put them in your work!

next up, think about the core of your game, sometimes called the minimum viable product. this is whatever the fundamental idea at the heart of your work is, and it's important to keep in mind because it keeps you from spiraling down unnecessary tangents. the core of your game can change, don't get me wrong! in fact, it likely will. what you want to do isn't prevent your work from growing and changing, but have a point of light you can always refer back to and ask "is what im doing important to this game?" you might be surprised by what you find isn't actually as important as you thought at first, and what turns out to be vital to the experience you're going for.

next up, once you start working, don't throw things away. if youre working in a word processor or google docs, it can help to have a section at the bottom of your document that you copy anything youd otherwise delete into. i do the same with my Affinity documents, ill have a few pages i dont export to store all my scraps. i know other folks who keep a dedicated scraps document that they use across projects. whatever works for you! the reason you do this is twofold: it makes it easier to cut things if you know you can always put it back later if you change your mind, and it gives you a lot of raw material that you can pull from in the future. months or years from now, you might find yourself looking to fill a gap in a new design and realize that some cool toy you set aside is exactly what you were looking for.

lastly, i wanna strongly encourage you to practice finishing things. that's often the hardest part for people, cuz we have a lot more experience starting projects than finishing them. here id like to once again direct you to 200 word rpgs, because that strict limit means you wind up with a finished first draft really quickly, and the rest of it is polishing and editing. once you've finished some bite-sized projects, you'll have a better idea of what it entails, what parts you're good at and what parts you struggle with, when to keep working and when to cut yourself off. i find it really helpful to add arbitrary limitations and deadlines on my work because that helps me push myself to finish something when otherwise i'd just keep adding and tweaking, but you'll find what works best for you!

[quibbs126]

So I also ended up making this this afternoon

So basically the story behind this is that I decided “eh screw it, I said I’d try making that megop kid idea, might as well try making some helm designs to start out with”. And I made a bit of one for TF One, though specifically inspired by their cogless designs since I’ve drawn them a fair bit

But then it dawned on me that outside of TF One, I haven’t actually drawn that many Megatron and Optimus designs. Like I drew Animated Optimus like a couple times when I was starting out, but that’s it. And also the idea itself doesn’t really work with TF One, since as it stands the war hasn’t technically even broke out yet. It works far more in a series where it’s actually been happening

So I figured, I should start at the basics and get myself some practice on g1 Megatron and Optimus, since you know, they’re the classic designs

Also side note on g1 that isn’t really related but I wanted to add in anyways, today I got the complete set of the g1 cartoon (minus the movie but that’s okay). It was a Christmas present that was supposed to come earlier but finally came in today. And I learned my PS4 can play Blu-Rays (which really shouldn’t be a surprise, I’m aware that’s what made the PS2 sell so well, but I didn’t realize they kept doing it), so that means I am now able to watch g1 on an actual TV, legally, with presumably higher quality, and possibly even subtitles

So you know, I’m doing pretty good right now. I’m glad my dad is supporting my Transformers fixation and the fact that I’m insisting on using a DVD player (for the movies at the library, but still), which means actual DVDs

Anyways, side tangent aside, back to the drawings

I think they turned out fairly decent, they don’t really bother me. I do kind of wish I added shading/lighting so the drawings weren’t so flat, but regardless

Admittedly I think I do need to work on actually doing poses and things with these designs, I’m doing a whole lot of nothing with them right now. I need to pose those cubes

Also there’s some colors shared between the two. I don’t know if this is something actually done in the show, and maybe it makes the colors look inaccurate, but I think it’s neat to use the same colors elsewhere

Now on to random things about the characters’ designs I just wanted to mention

First off, this isn’t really a character design thing, but these were the pictures I used for references, outside of some concept art I have for full body basic anatomy (getting screenshots from the show is my preferred form of reference), and I gotta say, it took a fair bit longer to find a picture online with a proper look at Optimus’ head than Megatron’s

Like it didn’t take that long, like 1-2 minutes, but I just noticed how a lot of screenshots don’t really focus on his face, unlike Megatron. I assume because in g1, he doesn’t really have much of one, given his mask covers half of it

Also while Megatron’s helm itself is relatively basic looking and doesn’t really have a lot going on, the rest of his face has got a fair amount of details

Like he’s got defined cheek bone lines (I think), but he’s also one of the few (again I think) characters to have the shadow around his eyes that becomes more common later on

Then there’s also that whatever he’s got going on above his eyes. I’d say it’s eyebrows but I don’t think that’s what it’s supposed to be, given these characters don’t really have those yet

I saw someone, aka the person who makes Transformers Until One, granatu888 (idk if I should tag them here or not), turn the thing into a battle mask that drops down onto his face, and frankly I think that’s really cool, and that’s what I now choose to believe it is. Hasbro, make that what it is

Anyways, moving on. I don’t really have a lot to say on Optimus other than his helm being a lot more simplistic in its shapes than I’m used to, as well as very triangular. Like compared to TF One Optimus, who’s got a lot of details going on, his is super simple. I also didn’t make his antenna full triangles going down because I thought it looked weird, now they’re more like TFA Optimus

Also one last thing, but I swear the way I drew him looks just like that how one artist does, the one who draws Sparkplug (sorry, unlike the last mention I don’t actually remember the artist’s name, probably because I don’t follow them. Which tbh I should probably rectify, I like their Sparkplug stuff). Sorry it was just something I noticed afterwards and can’t unsee it. This also applies specifically to the face, they draw the actual rest character much better than me

Anyways, back to Megatron. Random thing, but he’s got a whole control panel on his torso. I’ve known he has it, because he has it in TF One, but why does he have it?

This kind of goes hand in hand, but random other thought I had today that connects, his design in general is a bit off compared to other characters because in g1, he doesn’t transform into a vehicle, he turns into a gun. Like that’s not to say he looks out of place (I mean I still think his helmet looks weird), but like, he doesn’t have a lot of kibble because of it. Like he’s one of the characters with no glass on his body because guns don’t have glass

Also does he have two guns? One on his shoulder, another on his back? I don’t know, I’m only now realizing that. They probably combine together when he transforms. Also I think his fusion cannon is just supposed to be his scope in gun mode, which ironically I’m pretty sure aren’t actually involved with the damage part of shooting. I don’t know, random observation

And uh, I think that’s it. It was mostly just random design details, and honestly not as many as I was expecting. I didn’t really have much to say on the art itself, mostly since it was just me trying to draw the g1 designs

But yeah, it was neat, I think I have a better understanding of their general designs, at least here. Now to actually use them in any way

[thatonecrookedsmile]

["So what can you expect in the coming months?"] ["…you never know!"] ["He’s always watching me..."] ["-I saw Mister Drew the other day…was meeting with that Connor fellow, holding some papers."] ["I think they saw me looking though…"] ["Just too many secrets being cooked up in the kitchen!"] ["If I didn’t know better, I’d say there was magic there."] ["A well calculated understanding between creation-"] ["-big things are coming!"] ["-and creator."] ["Massive things!"] ["That smile…"] ["..you just learn to go with it."] ["He’s always watching me..."] ["You just watch…"] ["I’ve got a good feeling something great is going to happen…”]

...

…How very interesting,such… knowledge.

{A message from Wilson Arch}

-----

Yoooo, guess who is having a birthday today. Me,obviously. :D

Oh, and Wilson too, I guess. If you wanna be THAT guy.

Remember when this video came out there were people who heard the voice at the end and thought the voice was either Sammy or the Ink Demon? Man, those were the days. However with all due respect, I'm glad neither case was right in the end lol.

On this day 5 years ago, "Unknown - April 14th" was posted on YouTube, which means it's been 5 damn years since we first heard from Wilson...

man, what a damn BABY MAN, am i right folks

It's interesting to think that even though it's been 5 years, we've only known who Wilson really is for 2 years now (or more appropriately, 1 year and 5 months of those 5 years). Of course, now, after BATDR was released, we know who he is and what his place is in the Bendy universe. But between April 1, 2019 and November 1, 2022, all we knew about him was that he…existed. He was someone - someone bad apparently - who sounded old and who would have some relevance in the plot of Dark Revival. And that's it. We had no name, no appearance, nothing. He was someone, but we didn't know who.

It's no wonder he was only referred to as "Unknown" by fans during these 3 and a half years.

In the end, I would say that this drawing is a mix of 2 things. The first being the result of an idea I've had for a while, which is basically making a drawing in relation to the original video/"unknown" tape, but this time with Wilson, since now we know it was recorded by him. Plus it's been 5 years since the original upload,5 years of Wilson. I think this would be the perfect time to do this.

And second, a strange kind of redux/homage/"final chapter" in this kind of "collection" of drawings I did between 2019 and 2022 all based on the idea of "the unknown weirdo from BATDR saying How Very Interesting Such Knowledge" and so on. All of them having other characters in mind in the role of the Unknown. And now, here I am, redoing this idea again, only with The Man Himself this time. The real Unknown. Now as the Known, so to speak.

Going back to what I said before, you can see this drawing as a kind of farewell to this particular idea that I've kind of repeated over the years, as I've now done it again only with Wilson this time. (Does this mean I'll never draw this concept/line of thought again? I mean, I assume so. But there's no guarantee I can't make something similar again down the line. Who knows what the future holds. We will see what happens in the next 5 years.)

But,yeah. 5 years of Such Knowledge™.

Have a good April Fools' Day.

(Also, there are still a few hours until the day ends where I live, so for me it's still April 1st, so yeah, this still counts)

[shininas-ideals]

The King, his Princess and her Knight

[deoidesign]

Hi, how did you learn to draw Steve's physique?

Ohh what a complicated thing to answer...

When it comes to how I learned to draw anything, it's hard to say anything too specific since it's always a culmination of many years of assorted study and practice... but I can try to do my best to explain some of the biggest things that helped me learn, some tips I keep in mind, and maybe at least some places to start/delve further.

(just a little disclaimer it's not like my drawings here are going to be 100% medically accurate.. they're just to illustrate concepts!)

The main thing about learning various physiques is understanding anatomy. Which feels obvious, but I don't mean proportions; these are important, but perhaps more important is understanding the skeleton and how it moves and learning where muscles connect to bones and where fat grows on the body. When you understand how these function on a more mechanical level, depicting form and movement in a way that feels natural comes in tow.

For instance, understanding things like the pronation and supination of the radius and ulna, as well as the fact that muscles can ONLY contract or relax, will help you understand a bit better which muscles will be flexed and which will not while someone moves. It's inherent to the positioning based on the structural makeup of the body... It's not like you NEED to memorize all the muscles and bones, of course, but understanding and gaining at least a passive familiarity with the concepts really helps.

In tandem with this concept is the way parts of the body flow into eachother. Muscles ALWAYS come in groups because they can only contract. Whatever muscle is there to lift something, there is a muscle on the other side to pull that bone back down. What this results in is a series of straight edges next to curves, which gives us a lot of really lovely "s curves" and dents and folds and so on and so forth just naturally occurring.

I would suggest at least learning the "bony landmarks", which are bones (usually) visible on the surface of the body. things like the iliac crest, the great trochanter, the 7th vertabrae, the acromion process... These can be used to help you understand the parts of the body as angles and relationships, rather than trying to remember lengths and sizes, which vary immensely... (since you asked about steve, he can be our model... also study these on your own don't just take my word for it haha, these are the ones I personally keep in mind)

I've done the same thing with body hair... learning where it grows and in which directions... It helps me make up variations without needing reference, because I have a set of rules I can follow.

The biggest thing that helped me understand all this on a much deeper level was my ecorche course. I sculpted this guy. We started by sculpting the entire skeleton to understand the bones, and then we added muscles on top. Not every single muscle, of course, but the "artistic muscles" AKA the ones which directly affect the surface of the body. Doing this let us see where muscles connect, because we would make a shape, put it on the bone where it actually goes, and then you get to see how other muscles overlap that.

This helped me, perhaps, more than anything else. But I also didn't just start with this course, I had been drawing for years before I even took it. I had been in school for years before I took it. Not that I think it wouldn't be helpful to someone just starting out, but I do think that the more you know going in, the better an in-depth course like this will help you and stick with you. Classes are also expensive, though so I'm not really like... recommending you pay potentially thousands of dollars to take one... But it did help me a lot, personally.

I also, of course, have done many figure, gesture, and master studies...

These just help you quickly gain a stronger understanding of generalized anatomy, and gives you real life examples of and practice with of how people move and balance.

What all this does when combined, is gives me a very solid ability to depict movement and form in a way that feels relatively natural from my subconscious without the need for reference.

The rest of how I've learned to draw his physique is honestly mostly just stylization. I understand the body, and this is how I am depicting it for his level of musculature.

And as I move into depicting him in other ways, either moving in comics or in animation, realistically rendered, or extra stylized, these concepts inform every step of that process for me! When he keeps the same/similar relationships between parts, he gets to still look like himself.

It ALSO really helps when putting clothes on, because the way cloth falls and bunches and lifts is all directly related to the form it is on... So the more you understand that form, the more you can depict clothing and movement in a way that feels natural.

This is all, of course, true when I draw anyone, you asked about Steve so I'm trying to mostly show with him! But because I'm just drawing from raw information of general anatomy rather than trying to study one body type at a time, it allows a lot more "give," I think!

Like, here's most of the cast from TTA so far... actually, they're not as varied as I thought they were nevermind LMAO ignore this part

But, it also makes monster and alien design much easier! It's a lot easier to come up with non-human anatomy when I understand human anatomy, because I can manipulate the knowledge I have...

There is infinite more to study in the world of anatomy... The complexity of the human body goes extremely deep. For our purposes as artists, we need only depict a fraction of it, but more information rarely hurts the process.

I'm sure there's something in here that's wrong on a technical level, I'm mostly going off of memory. But that's kind of my point - I understand enough generally and conceptually that when I am missing something and need to find reference for it, I understand what I'm looking at. It's much easier than trying to learn AND draw at the same time.

I hope even one thing in here helped you! Sorry it's so long.

[miramelindamusings]

@prudensvulpes requested Sora with Dylan Hollis' energy where he has his own cooking channel! Thank you so much for your patience! And this was alot of fun to do! I used Dylan Hollis' "Fake Apple Pie" tiktok (shortened to certain moments and some moved around for comedic effect!). I hope you like it and thank you again :)!

And here's a bonus sketch because I couldn't resist drawing Sora's face lighting up the same way Dylan Hollis' does when a recipe is actually good!:

[yuriyuruandyuraart]

motorcycle sketch featuring cross!! >:)

[springlock-suits]

Au where Mike fucking died in that hallway and they made him possess the empty dog animatronic

[puppyeared]

XIN YA MOMENT

[conflictedemma]

Henry The Kipper Express

[robotsafari]

deep in the kingdom hearts trenches..

[sunbloomdew]

"could you love me more if by the sun and moon i swore that i would never flee?"

background is a screenshot from our life beginnings and always :]

inspired by this pin i put on my board for these two:

they are a "black strawberry dress/pink strawberry dress" couple ueueueueueue (˃̣̣̥ᴖ˂̣̣̥)

[deklo]

i am so sick of AI “art”. i have seen multiple comments on an artists’ process videos claiming that they are using AI as a reference for their art…….are you kidding me

[touteytout]

drew my horrible little ocs from when i was 16

[mozart-the-meerkitten]

Realized it was Leap Day this week and wanted to do Something, so I drew two leap year birthday boys meeting:

(I meant to color this but ran out of time rip)

Happy birthday to Hiccup Horrendous Haddock III and Takashi (Shiro) Shirogane. I realized while working on this that they actually have a lot in common: they both have insane adventures they just get thrown into, love flying, got marked with something that was meant to dehumanize them and ended up using it to help them start a rebellion (slavemark, Shiro's arm), they both end up LEADING rebellions, the creatures they fly with have been abused (Black Lion and the Windwalker), their enemies are a power-hungry evil dude and a WITCH (?!? like??? Haggar??? Alvin's mother??? just realized this one today and it's still blowing my mind a bit). They're extremely loyal, brave, kindhearted, love their friends and go up against impossible odds to save the world. Idk man, I think they'd be friends.

Bonus: Black Lion, Windwalker and Toothless hanging out in the background (Windwalker and Toothless not to scale because they'd barely be visible but Cressida often makes the dragons bigger so they're visible in the books so it's fine)

I've never drawn any of them don't come for me