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snackhobi · 4 years ago

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pairing: jimin x reader / word count: 8.8k / genre: smut, established relationship, driftracer!au

summary: Jimin’s been pretty busy recently and you’re starting to feel neglected. Guess you’ll just have to make him pay attention somehow.

warnings: sexually explicit content (NSFW), unsafe driving (back at it with the street racing), cursing, mild degradation, fingering, spanking, unprotected sex (it goes without saying but please use protection guys), creampie, controlled orgasm (delay), multiple orgasms (f receiving), dirty talk, pet names

THIS IS A FOLLOW UP TO ‘CATCH YOUR DRIFT’— please read the original first

a/n: to everyone who was asking about a cyd follow-up—here it is! it’s basically a pwp with the flimsiest of plots lmao. enjoy!! x

“Jimin's up to something.”

“Huh?” Jungkook looks away from where he’s been fiddling with something in the Pontiac’s engine. “What?”

“Jimin,” you repeat, slowly. “He’s up to something.”

Park Jimin. Breathtaking, captivating, gorgeous Park Jimin—unstoppable in his sleek black Nissan Skyline GTR, a master in his element, relentless, incredible. Your rival and main competitor on the track. The one person who challenges you, who you measure yourself against, who you always strive to beat.

Park Jimin. Your boyfriend.

“He’s been… weird lately,” you say, uncharacteristically hesitant.

Jungkook looks a little baffled but also concerned, eyes darting over in the same direction as yours. Jimin’s already kissed you good luck, a soft, lingering touch of his lips against yours before returning to his own car, and you’ve been watching him get ready for tonight’s race. He lounges against his black Skyline and laughs at something that Yoongi and Taehyung are talking about, looking every inch the king that he is.

Jimin is as striking and dazzling as always, jacket covered in jewels that burst outwards like fireworks, the cut of his metallic shirt low enough to reveal his collarbones and smooth skin of his chest. The only understated part of his outfit is the pair of unadorned silver hoops in his ears, simple and elegant. A gift from you that he wears every time you race.

Jungkook’s eyebrows raise a little. “What do you mean he’s up to something?”

Honestly, being with Jimin is a dream. At first you’d been concerned that your competitive natures would clash and that being opponents on the drifting circuit would cause friction in your relationship—but it actually works out really well. Jimin makes you strive to be a better person, the best you can be, both on and off the track. You’re both as invested in giving each as much attention as you do to winning races, and the truth is that a lot of the fierceness you show on the track melts away entirely when you’re alone together: it just highlights how multifaceted and incredible Jimin is.

He’s a ruthless competitor. He’s also sweet and caring and kind and he always makes time for you.

Or at least, he normally does.

“He keeps saying he’s busy, and he seems to be distracted when we’re together,” you admit to Jungkook in a low hush. There’s no one within hearing distance of your Pontiac but you’re still cautious. Your relationship with Jimin is well known throughout the circuit now and you don’t want people overhearing intimate details about it. It’s none of their business. “I don’t know, Kookie, it’s… it’s concerning. I guess.”

You’re usually self-assured and confident but right now you sound unsure. Jungkook’s known you for years and years and is one of your closest friends, but even so, admitting this to him is difficult—and he knows it.

Jungkook pulls the hood of your car down, shutting it with firm hands before he leans across the metal towards you. “Have you tried asking him about it?”

“Of course.”

“What did he say?”

“We, uh, got distracted,” you say, and Jungkook makes a face at the implication.

“Maybe next time you’re trying to have a serious conversation you shouldn’t let yourself get ‘distracted’?” He raises his eyebrows as he lifts his hands to make air quotations at you and you pout.

“But his ass is just so perfect, can you blame me?”

“Okay, that’s it, I’m out,” Jungkook says while looking pained, and you can’t help but laugh.

Later, though, when you beat Jimin in the race, he lavishes attention on you like he always does—you’d barely inched out ahead of him tonight and so he takes his time when he works you up, touch light and teasing as he runs his hands over you. Your head tilts forward as you pant, bent over the hood of his car as he fingers you open, deep and slow. Just the way you like it, even if you’re hungry for more.

“Jimin, please.” Your voice is desperate as you beg and try to rock against his fingers, get him to move faster. “I need you inside me, god—”

Your words choke off when you feel a sharp smack against the bared skin of your ass, a small punishment for your impatience. You let out a gasp that turns into a quiet moan, turning to hide your face in your elbow to try and stifle the noise as Jimin’s hands immediately soothe over the touch, soft as he rubs over your heated skin.

“Patience, baby.” His voice is low. “You’ll get my cock when you’re nice and ready. Okay?”

“Okay,” you murmur, a little breathless. “I just want you so bad.”

You’re still turned away from him but you can hear the affection in Jimin’s answer as he leans forward to kiss the sensitive skin just behind your ear. “I know, sweet thing.”

Once he finally sinks his cock into you, it doesn’t take long for him to pull you over the edge, your nails scraping against the warm metal of his car as your body goes tense and you cum. Jimin follows soon after, spilling himself inside you as you shiver and clench around him, trying to draw him in as deep as possible; no matter how many times he fucks you open it never gets old, the way you can feel his body move against yours, the way he gasps and moans as he reaches his own edge, the way he holds you close as you both go lax against each other, warm and tender.

“Are you free on Saturday?” You’re perched on the hood of his Nissan afterwards, arms curled around his neck as you pull away to look up at him. “I thought you might want to come over for dinner and a film? You can choose which one we watch, I’m not picky.”

A quick expression flits across Jimin’s face, faster than you can identify, before it turns apologetic. “Sorry, baby. I’m busy this Saturday. How about next week?”

“Oh,” you say. “Okay. Um. Do you want to… grab a quick lunch instead? Or something? When you’re free?”

Jimin turns his face into your hair, nuzzling into your scalp before he kisses the crown of your head. “I think I’ll be busy all weekend, but I’ll let you know, okay?”

You pause and try to hide the surprising amount of pain and confusion that shoots through you at his subtle dismissal, schooling your features before Jimin pulls away to look at you. “Okay baby,” you say brightly. “I hope you have a good weekend, either way.”

Jimin cups your face gently as he smiles at you, all warmth and open affection before he dips down to softly kiss you on the lips. “I will.”

If you didn’t trust Jimin so much you’d think he was cheating on you.

You know that Jimin has his own life outside of you and you’re okay with that. You honestly are. It’s not that you want to monopolise his time, but he’s usually so willing to give it to you without you even asking—so now that it seems like he’s pulling away, it’s all the more pronounced when it happens, and you can’t help but wonder why. You’re trying not to be pushy and you haven’t outright demanded Jimin tell you what he’s so busy with; it must be important if he’s prioritising it over you and keeping it a secret, right?

Right?

You’re not needy or overbearing or clingy, but you are a tad possessive, and you can’t help but feel jealous of whatever it is that’s catching Jimin’s attention so much.

“Uh.” Taehyung’s eyes are wide. “Y/n, uh… your bra is? Kind of? Showing a little bit?”

“I know Tae, but thank you.” You take one last glance at yourself in your wing mirror before straightening up, content with how you look tonight. “I can assure you it’s entirely intentional.”

You usually opt for feminine outfits when you race, but they’re never normally this revealing; it’s borderline scandalous, really. Your bra is visible through the lace mesh of your shirt and your skirt is hiked so high it barely covers your ass, pleats fluttering each time you move. The thing that’s covering you the most is actually your pink leather jacket, but even that’s not enough to hide you from any eyes that are roving over you.

But the real kicker—the part of the outfit that would let anyone with discerning eyes know that you’re aiming for aesthetic over practicality—are your shoes. Your over-the-knee suede boots have a killer heel and they have got to be the worst things to drive with, the heels making it hard to shift your feet when you need to slam them onto the pedals, but you don’t care.

“I still think you should try talking to Jimin instead of doing… this,” Jungkook says, waving an arm at you.

“You just gestured to all of me.” You raise a perfectly shaped eyebrow. Not that you don’t always look good, of course, but tonight you’ve pulled out all the stops and it shows.

“That’s my point,” Jungkook groans. “If I nearly catch sight of your butt cheeks one more time I’m going to call the police. I’m feeling distinctly harassed.”

“You should be grateful.” You blow him a kiss and Jungkook makes a face.

“I’m going to call 911.”

“We’re not in America, Kookie,” Taehyung says. Jungkook just sighs.

Seokjin’s organised the meet at a car park in Gangnam tonight, and you watch as the lot starts to fill up, tweaked Supras and Skylines and Fairlady Zs whose engines rumble as their drivers descend into the underground level, filling the basement with noise. There are unfamiliar faces you don’t recognise, rich residents of Seoul’s most expensive neighbourhood rolling out to show off their money by way of their beautiful cars.

You know a lot of these people won’t be racing tonight and they’re just here for the novelty of it all. Good for them. You have other things on your mind.

(If Jimin isn’t going to give you time when you want it, then you’re not going to let him take it when he wants it. He hasn’t turned up yet but you know the second he sees you he won’t be able to keep his eyes off you—but tonight you’re not going to let him have you.)

You’re perched on the hood of your flame-red Pontiac as you wait for everyone to finish turning up, pretending to be absorbed in checking your nails as you cross your legs; you don’t have to look up to know that people are staring at you and your shameless behaviour.

They can watch. You’re not doing this for them.

You glance up at the sound of a deep rumble, almost a purr, and your eyes widen at the sight of the next car that rolls into view. It must be the only time you’ve ever been caught off guard by an unfamiliar vehicle and you don’t even have to pretend to be overawed, breathless as you take in the gorgeous sight.

She’s low and sleek and magnificent, stark black cut through with a thick ribbon of blood red that rises over the car's bonnet and roof, matching the crimson wheel trims and strip of colour that trails over the edge of its spoiler. The LED headlights glow white and red, crimson halo rings shimmering through the pristine and unmarked glass. She’s all smooth lines and curved edges, every contour a graceful stroke that builds up into a masterpiece, heavenly and bewitching all at once.

“Holy fuck,” you breathe, and for the first time since you started racing, you approach someone’s car before you even know who they are.

The driver is a man you don’t recognise. He’s stepped out of the car and is leaning against it casually, arms crossed and head tilted as he surveys the other motors lined up nearby, running a hand through his dyed brown hair to push it away from his forehead. He’s tall and handsome with his defined cupid’s bow and hooded eyes, and he’d almost look sleepy if he wasn’t watching you so intently, noticing your approach and keeping his eyes on you as you step forwards.

“Oh my god. A Dodge Viper?” You can’t begin to imagine the exportation costs for this thing and how much it must have cost to get the parts to modify it, let alone maintain it. (But Gangnam is an incredibly wealthy area, after all, so you’re not too surprised.)

“You like it?” The Viper’s owner tilts his head at you, a small smirk playing at the edge of his lips. “I can take you for a drive later if you’d like, beautiful.”

“Trust me, if I was sitting in this car, I’d be behind the wheel,” you say. “I bet she drives like a dream. How did you get your hands on an SRT-10 ACR? In Seoul?”

His smirk grows wider. “Brought it with me from Chicago.” He shrugs carelessly, as if it can’t have cost him a small fortune. Like the money means nothing to him. Pocket change. Holy shit. “You wanna take that seat behind the wheel to see if it suits your fancy?”

It does. You run your hands over the leather seats and tilted wheel, pretending to hide a laugh behind your hand as the driver, Johnny, leans into the car to adjust the seat for you; you spread your legs so he can reach between them to pull the bar before he can move the chair, helping you hitch it forwards so you can reach the pedals with your feet, your legs shorter than his. It’s nothing lewd but it’s undeniably flirtatious, even if you’re more focused on drinking down the car’s beautiful interior than pandering to his attention on you.

Johnny holds a hand out to help you step out of the low car and back onto your feet, taking a second to steady yourself on your heels. You’ve been so focused on the Viper that you haven’t been paying attention to the other vehicles that now fill the parking lot, but over Johnny’s shoulder you notice a car that’s as familiar as your own by now—Jimin’s black Skyline.

Your hand is still lingering in Johnny’s as you take the sight in. Jimin looks surprisingly flashy today, jewel embellished bomber jacket catching the eye, Gucci shirt tucked into leather trousers that are cinched tight against his waist by his belt, highlighting his thick thighs and perfect ass. Still pink-haired and always gorgeous. Your beautiful, charming, wonderful boyfriend.

When you make eye contact with him for the first time that night, a hot shiver shoots through you, goosebumps rising over your skin. Jimin’s lips are a firm line and his eyes are dark through the soft touch of faint eyeshadow, and he looks almost impassive, cold; even when you’d first met, back when you’d been nothing more than opponents, he’d never looked like this.

He’s furious.

He doesn’t come over to wish you good luck today and you don’t approach him either. Even if this hadn’t been your aim to begin with, who can blame you? You’ll work with this. Maybe it’s passive aggressive, maybe it’s petty, but if Jimin isn’t going to give you the time of day you can’t be blamed if you’re feeling starved for attention, right?

Johnny might be watching, and others might be staring, but at the end of the day you’re only ever aware of one man—and Jimin knows that.

You’ve been driving your Pontiac for long enough that adding heels to the mix doesn’t throw you off as much as people might expect (besides, you’ve been practicing). Even so, it wouldn’t matter if they did, because you’re not wearing them to help achieve a victory—for the first time ever, you don’t care if you beat Jimin today. Not on the track, anyway. You wanted him wound up and frustrated, desperate to touch you, and it seems like he is.

It shows in his driving. He’s always a sight to behold when he races, swaying his body into the motion of his car as they dance together, every motion practiced and sure. But tonight his actions are sharp and angry. Jimin curls his Skyline into each turn, hard and fast; the Nissan almost seems to float as he pulls the steering wheel and sets the wheels at the perfect angle to achieve his drift, swinging effortlessly around the crescents of safety cones of today’s course.

He beats you.

And yet you’re the one who’s smiling. You step out of your car and take in his frosty expression; your heart pounds in your chest but you pretend to be unaffected, disappearing into the throng of fans who are hollering in excitement for the after party now that all the races have finished.

“Oh, hey, Y/n!” Hoseok seems unperturbed when you loop your arm through his, staying cheerful as you latch onto him. He’s still one of the few drivers who you actually like and trust to not be lecherous towards you, no matter what you’re wearing. “Wow, you’re a lot taller than normal. Where’s Jimin?”

“Don’t know,” you say. It’s true—he’d disappeared after the race and you have no idea where he’s gone, but you know you’ll find him eventually. Or he’ll find you. You always find each other in the end. “Where are the drinks? Is there anything non-alcoholic?”

Hoseok manages to find some cans of coke, much to your delight. He tilts his own can against yours in a cheers motion as you continue to cling to him, sipping your drink, eyes scanning the crowd for where your boyfriend might have disappeared to.

By the time your can is empty and drained of liquid, Jimin has yet to appear. You frown. It’s not like him to be gone for so long, even if he’s angry right now. You unravel your arm from Hoseok’s and pat his cute cheek as a thank you for letting you hold onto him for so long before you slip away from the after party; you’re uninterested in keeping up the facade of having fun if Jimin isn’t around.

The elevator is deserted when you step into it, pressing the button to take you to the roof, where you’d left your Pontiac after finishing the race earlier. It’s starting to get chilly and your sheer top does nothing to protect you from the nip in the air. You draw your leather jacket closer around you once the elevator doors open, stepping out onto the rooftop and towards your Solstice.

There are no lights up here but you don’t need any. Gangnam never sleeps, lights from billboards and skyscrapers washing over each of the buildings, and the sky is clear tonight too—the moon is shining down, silver and bright. You spot a familiar silhouette, bathed in white light where he sits atop your Pontiac’s hood, leaning back on his palms in the way he always does.

Jimin’s the only person who's allowed to touch your car like that.

You let your jacket fall back open as you approach. Jimin’s eyes flicker over to you, his face remaining hard as he watches. A cold shiver runs down your spine but you hold your ground—you’re not about to bow down immediately in the face of his quiet frustration.

Jimin’s eyes slide over you, taking every inch of you in; each part of your revealing outfit, your flawless makeup, your boots, their unnecessary heel. Even though you know he’s angry right now you can tell he likes what he sees and you can’t help but feel pleased about it.

“Come here, sweet thing,” he says. He spreads his knees apart so you can stand between his legs, because of course you immediately comply with him; he lifts one hand off the car’s bonnet to grasp your chin in his hands, tilting your face down towards him. He doesn’t let go. His grasp is firm. “Any reason why you’re so dolled up today?”

“Nope.” You pop your lips loudly around the p. “No reason at all. Why, do I need a reason to want to look pretty?”

Jimin’s grip tightens and his eyes narrow. Wrong answer. A small puff of air escapes you, knees weak—you’ve never seen Jimin so affected by anything and you feel weirdly powerful at this realisation. There’s something thrilling to know that only you can get under his skin like this.

“Of course not.” Jimin’s voice is deceptively smooth and low, something burning in his gaze. “Just seems to me like my baby wanted everyone’s eyes on her tonight, for one reason or another.”

You stay silent. You don’t want everyone’s eyes on you: you just want his.

Jimin crooks one of his eyebrows at you as you remain quiet. He takes his hand off your chin and lets it fall, dragging it over the lace of your top, through the valley of your breasts and down your stomach before slipping under the hem, splaying his hand over your belly. You can’t help but shiver, body singing under his touch when he draws his nails lightly over your skin. The sight of his hand against you, visible through the netting of your shirt, sets the blood to rising in your veins.

“Oh? Shy all of a sudden, baby?” His eyebrow is still raised as he watches your movements, the way you react to him so easily, always attuned to his touch. “Where was all that shyness earlier, hm? You seemed so bold behind the wheel of that little Viper.”

“I was just having a look,” you say, acting a little pettish. You hadn’t been planning on letting Jimin touch you, but—but you’re so weak for him, and besides, you don’t want him thinking that you’re shying away from his hands because you’d been talking to Johnny earlier.

Jimin rises, pulling his hand from under your shirt as he does. “And everyone was looking at you,” he says. You know he can be possessive and it’s fine, because you are too, and you have no eyes for anyone else but him; normally he likes it when people look at you, because they don’t have a chance and he knows it. “Do you like it when people watch you, sweet thing?”

He punctuates this question with a movement of his hands, one coming to rest at your collarbones, the other sliding between your legs with no warning, running his fingers over the material of your underwear. You jolt in surprise, sucking in a breath.

“You want me to take you right here, hm?” His fingers are rubbing small, tantalisingly light circles over your clit, your panties a maddening barrier between your skin and his. “Bend you over and fuck you on this rooftop where anyone could see?”

Your cunt clenches, entire body going tight at the idea, and Jimin’s eyes darken when he notices. He flips your positions, and your hand fly out to brace yourself against the hood of your car as Jimin shoves the material of your skirt upwards, bunching it around your waist, revealing the scalloped edges of your skimpy lace underwear and the two tiny bows that adorn the centre line of them.

“You want me to call everyone up here? Let them see how well you take my cock?” Jimin continues to run his palms over the flesh of your ass as he speaks. He digs his fingers into your skin and a moan slips out of your lips, the pain shooting through you and dulling into pleasure. “I bet you want them to touch you too, don’t you?”

“No,” you insist. “No, Jimin, only want you—”

“You expect me to believe that you’re not a hungry little cockslut, dressed the way you are tonight, hm?”

You’re blindsided by the arousal that floods through you. You know that Jimin doesn’t think that, not really, but the way he lets the degradation fall from his lips has your toes curling.

“I only want your cock,” you say, trembling. Any rush of power you felt earlier is gone. Jimin is entirely in control now and you both know it. “Wanted you to look at me—dressed pretty for you—”

“Oh, sweet thing,” Jimin hums, sounding indulgent. “You were just feeling needy, was that it?”

“Yes,” you gasp. “Yes, need you so much.”

God. You’re so weak and needy right now, and it’s crazy how much power Jimin has over you; you’ve never been so ready and willing to surrender yourself up before, your earlier planning and resolve slipping away almost as soon as Jimin had laid his hands on you. But what you have with Jimin is built on trust, and you trust him enough to be vulnerable in front of him, to let him see how hungry and desperate you are for his touch.

Then again, he’s always hungry for you, too.

He strokes his hands down your ass and thighs before he circles his hand around your throat to pull you up. He puts no pressure behind his fingertips but you feel helpless anyway, breathless as he pulls you flush against him, your back to his chest, head tilted upwards with how his hand is resting around your throat.

Jimin’s voice is pitched low and his breath is warm against your ear as he lets the words curl out of his mouth. “What does my baby need?”

Oh, he does so love to hear you beg. Your eyes flicker towards a sudden flash of light; there’s someone using the elevator, panel lighting up, letting you know they’re on the way to the rooftop.

“Jimin—”

He presses closer to you, trapping you against your car, helpless. “If you don’t tell me what you need you won’t get it,” he says, and you shudder.

“Need you to fuck me,” you gasp out. “Need you to make me cum—need you to fill me up—want you so bad—”

“Well, why didn’t you just say so?”

Jimin steps away just as the elevator dings, doors sliding open to reveal a gaggle of people, fans crowding around a few drivers. The smile on Jimin’s face is wicked as you turn around, and you almost hate how nonchalant he looks while you’re so affected. You have no doubt the flimsy material of your underwear and the high hem of your skirt is doing nothing to hide how slick you are, so you’re grateful that the rooftop is only lit in dim light.

One of the drivers peels off from the group and you realise that it’s Johnny. He approaches you despite how Jimin wraps an arm around your waist, hand sliding under your jacket—you let yourself relax, leaning against Jimin’s familiar body, settling against him in a way you don’t even have to think about any more.

“Nice driving,” Johnny says. He hadn’t actually raced himself, but his Dodge is a powerful and vicious beast, so you’re not surprised he didn’t want to risk damaging her in the tight corners of the car park. She thrives on the open road, not indoors. “Want to put those skills to the test in my Viper?”

“She’s busy.” Jimin pulls you even closer. He has his usual mask on now, distant and aloof. You’re the only one who sees his softness, or his lust. (That’s only for you.)

“Wasn’t talking to you, man.” Johnny doesn’t even spare Jimin a glance, ignoring him despite how Jimin had beaten you earlier—he just stares at you. You can’t help but feel insulted on your boyfriend’s behalf. He’s a fantastic driver and he deserves every bit of attention that Johnny is lavishing on you.

“Thank you, but it’s true, I’m busy,” you say. Jimin’s thumb is slowly brushing up and down your side; just a small, tiny motion, but you’re hyperaware of it. You lift your hand to rest on Jimin’s chest, over the raised, glittering Roman numerals of his shirt. “Enjoy your Viper. She’s beautiful.”

Johnny stands there for a second and then shrugs. “Aight,” he says. “I will. Have a nice night, I guess.”

He wanders off and gets absorbed back into the group of people he’d appeared with. Jimin turns his head and kisses your cheek, and then your ear, dipping his head to mouth at your neck, and you grip the hand that’s resting on your waist.

“Jiminie,” you say. “We need to go.”

He laughs against the skin of your throat. He sounds smug, the desperation obvious in your tone. “Always so needy, sweet thing,” he murmurs. “Haven’t heard the saying all good things come to those who wait?”

Jimin’s making you pay for your earlier boldness and you know it. There’s an ache between your legs, one that needs to be satisfied, but he seems happy to wait, unruffled. You’re so riled up right now and he seems unmoved, even if the iciness around him has melted now.

“I’ve been waiting all night.” You squirm a little, tightening your thighs, trying to offer yourself some relief; Jimin can always turn you on so fast and you can feel a physical throb of arousal in your cunt, lips swollen, begging to just be touched.

He lets out a little sigh, as if he’s being put upon right now. You’re torn between wanting to kiss him or shove him away from your car.

“Fine,” you say, making your tone a petulant one as you turn your nose up. “I guess I’ll just go home and grab my vibrator—”

Jimin tugs you against him, his forehead against yours, staring into your eyes. His voice is quiet but undeniable. “No, you won’t. I’m not done with you, sweet thing. You’re always so impatient.” He loosens his hold so he can pull his head away and then he’s smiling at you; there’s something behind that smirk, something in his eyes. “Come on, baby.”

He gives you no chance to question him. You drive beside him in your Solstice, trying to ignore how your skirt is hitched up and you can feel yourself dripping on the leather seat; the rumble and vibrations of your car provide the barest of reliefs, nowhere near what you really want.

You know Jimin’s apartment will be deserted tonight, Yoongi staying with Taehyung, leaving you and Jimin alone, but he still teases you even as you step inside. You try to crowd up against Jimin, get him to touch you— you know that he wants to and he usually gives in once you’re this wound up and aching, but tonight he seems content not to. At one point you try to guide his hand under your shirt again and he grabs your wrist, giving you a look that makes your knees go weak, even if you scowl at him. He hasn’t even kissed you properly yet.

“Be patient,” he says.

There’s a note of warning in his voice. Normally you’d be more willing and pliant, ready to listen, but this entire escapade started because you’re feeling neglected and ignored—this is just the icing on the cake.

“I have been! Come on,” you whine. “Don’t you want your reward for winning tonight?”

Jimin’s mouth is a hard line. “I’m going to claim my prize,” he says. “But it seems like you’re making this about you, aren’t you? Always so greedy, sweet thing. I guess I’ve been too lax with you, haven’t I?”

You pause. He has that look in his eye, one that you’ve started to recognise the more you see it, and you can feel your pussy throbbing when you realise that he’s starting to take complete control of the situation. You’re equals on the track, and equals in this relationship, but recently in the bedroom you’ve been giving up your position at the helm sometimes, letting Jimin control the pace.

Because you trust him.

“Maybe,” you answer, and Jimin smiles. “But you can’t blame me for that.”

“No, that’s true,” Jimin says. “That’s why I’ll only punish you for your earlier shameless behaviour, not your impatience. I’ll give you five.”

He doesn’t need to elaborate on what he means. Five spanks. Barely anything, really. You scoff. “Five? Why even bother at that point?”

Jimin’s eyes darken. “Another five for answering back. That’s ten altogether. You want to keep going, baby?”

Do you? You’re not sure. Jimin’s helped you discover that you enjoy spanking, sure, but do you really want to waste time on more spanks when you could be getting something better?

You’ve clearly been quiet for long enough that Jimin finds it concerning. “What’s your colour, sweet thing?”

A warm flush of affection spreads through your chest, the reminder that no matter what happens, you have your safewords: that even though you feel like Jimin is controlling the direction of the night, you have the power to stop it if you need to. You decide that ten is enough. “Green,” you say. “I’m green, Jimin.”

You watch as he smiles at you, pleased, before he pulls the rings off his right hand, dropping them to the coffee table and ignoring the clatter of metal against glass. Once his hand is free and unadorned he takes a seat in the middle of the sofa, patting his thighs. “Boots off, and then I want you over here, baby.”

You shrug your jacket off and let it fall to the floor before you pull the tie-string at the top of your boots, letting them sag open before you kick them aside. You try to ignore how slick your folds feel and how wet you are as you make your way over to him, draping yourself across his lap; his thighs feel so thick and firm under your stomach, shifting forwards so that your ass is tilted up towards him, settling over his knees. You glance over your shoulder to look at Jimin but he just tuts.

“Eyes forward.”

You bite your lip but obey, facing forwards again as you stretch your arms in front of you, staring at your hands. You can’t see what Jimin is doing but you focus on the sensation of each of his motions. How he pulls your skirt up like he had earlier, how the air of the room is cool on your skin.

You choke in a gasp when he takes the material of your underwear and tugs it up, revealing the bare skin of your ass when he pulls them tight; the pressure against your clit feels so good but it’s still not enough, even when you try to roll your hips forwards into the sensation. He clicks his tongue and then pulls them down instead, letting them settle at your knees, nothing better than a flimsy restraint.

“I want you to count them for me,” Jimin murmurs. He’s rubbing his hands over your skin, your lower back and ass and thighs, getting you ready; he swats your skin lightly a few times to get you prepared, each quick slap a glancing touch that quickly fades. “One to ten. Okay?”

“Okay.” Your voice is shakier than you thought it would be, so wound up and desperate for any sort of relief. Even though the light hits that he’s raining down on your skin fade almost instantly you can feel the coil tightening inside you, the anticipation building up, ready to burst.

The first real smack has you jolting in his lap. The pain quickly fades into pleasure and you clench your hands as the sensation rolls through you. “One,” you count as Jimin rubs his palm over your skin, soothing it.

The next smack is on your other buttock, Jimin’s flat palm leaving a stinging sensation against your skin that tingles outwards and into your core. “T-two.”

You continue to count out each smack. Jimin varies the intensity and speed of them, alternating between caressing your skin or squeezing the flesh of your ass between each one; you can never anticipate how he’s going to move, each slap against your skin a sharp pain that instantly melts into pleasure, sensation dulling and spreading into a tingling sting that settles into you.

By the time you’re ready for the last hit you’re almost sobbing with pleasure, trying your best not to squirm in his lap, trying not to think about how much you’re dripping. Jimin dips his fingers lower, glancing over your sodden folds, and you gasp out loud at the teasing, desperate for more.

“One more.” Jimin’s voice is low. “You’re doing so, so well, baby. Are you ready?”

“Yes,” you confirm, and then his hand is coming down against the swell of your ass for the final time. “Ten,” you gasp.

Jimin’s hands are all over you, stroking you, praising you with his words and touch. He turns your head towards him so he can crane forwards and kiss you. It’s an awkward position but you can’t help but lean into the kiss, the first time his lips have touched yours tonight, ample reward after the punishment you’d just taken.

“Did so well,” he praises. “How are you doing, baby?”

His hands are rubbing over your sore flesh. Your skin stings but the ache isn’t bad, although you can’t help but think that you’re not going to want to put any pressure on your ass any time soon. “I’m good,” you say. “So good. Thank you, Jiminie.”

He lets out a tinkling little laugh. “Thanking me for a punishment, sweet thing?”

You feel loose and relaxed, limp in Jimin’s lap, all the endorphins from the spanking running through your veins. “I deserved it,” you sigh.

Your head is turned to one side so you can glance at Jimin, though the angle still prevents you from seeing anything in any sort of detail—so you’re caught completely off guard when he pushes a finger into you, your lower lips parting so easily for him, and you let out a reedy cry when he presses another one in when he realises you can take it.

“You’re fucking dripping,” Jimin breathes, and you writhe as he presses in deeper, his pretty little fingers sinking so easily into your greedy cunt. You can’t spread your legs properly with how your underwear is hooked around your knees and you feel so tight around his fingers, especially when he presses a third one in, the slight burn fading so quickly into pleasure. “Oh, just look at you.”

The slick sound of his fingers thrusting in and out of you is lewd. You’re so, so wet, only growing wetter as he continues to move his hand; he doesn’t touch your clit and when you try to rock against his thighs he uses his other hand to hold you still, splaying his fingers over the heated flesh of your ass.

He knows how hard you find it to cum without any stimulation to your clit and doesn’t touch you where you’re desperate to be touched, focusing on turning you into a quivering, needy mess in his lap. Your skin feels overheated and your nipples are hard in the cups of your bra, almost painful, and you’re so, so hungry for your release.

“Jimin, please,” you sob. “Please, please—”

He pulls all of his fingers out of you all at once. Tears of frustration spring to your eyes and you kick your feet as you clench and unclench your hands, but then Jimin is guiding you off his lap, putting his hands around your waist to move you. His hands are quick and fast as they tug your skirt down your legs, though he’s still careful to ease the waistband over the curve of your hips and ass, avoiding the stinging skin. You feel the lace of your top rip as you both hastily pull it off, but you really don’t give a shit, fumbling for the clasp of your bra as soon as you can; you’re naked and needy in front of a fully-clothed Jimin, who’s looking at you with hooded eyes as he stands.

Normally you take the time to touch him, feel his soft skin under your hands and lips, tease him and work him up with his cock in your mouth, but tonight it seems like he’s too impatient to wait. When you reach out for him he takes hold of your wrists, his grasp gentle but firm, and he guides you into the position he wants— knees on the sofa, hands braced against the backrest, looking over your shoulder so you can drink him in as he gets undressed.

First, that beautiful embellished bomber of his, carelessly cast to one side. Next, the shirt, tugged out of the tight loop of his belt and pulled over his head, revealing his beautiful chest and stomach, the tattoos you’ve grown familiar with still beautiful as ever on his skin. The belt, unbuckled, leather trousers shoved down and kicked aside, and then he pulls his socks off and he’s finally, finally done. He looks so beautiful like this, naked save for the jewellery on his body— the chain around his neck, the bracelets at his wrists, the rings on his left hand, and of course, the simple, silver hoops in his ears.

“You’re so fucking gorgeous,” you breathe.

Jimin’s expression is clouded with lust but you can see how his eyes go soft at your reverent tone, and he bends forwards to catch your mouth against his again; it’s deep and slow but messy, sloppy with the desperation you have for each other. “You’re gorgeous too,” he murmurs against your lips, and you smile, leaning into him. “My pretty baby.”

One of his hands settles at the curve of your waist, and the other grips his cock, ready to press into you. You’re almost shivering, so, so ready for him, entire body on edge; you choke in a gasp when you feel his cockhead brush against your folds, the slide so wet and easy. You feel how you part for him once he breaches you, your inner walls opening for his familiar hardness, pulling him in deeper and deeper until he bottoms out.

The skin of your ass stings where he’s pressed against it, but it’s just another sensation on top of the pleasure singing through you, settling in your lower belly and between your legs. Jimin wastes no time and starts to snap his hips forwards, one hand at your waist and the other at your shoulder to give him leverage to drive into you, curving your spine as you struggle to hold yourself up— the slap of his skin against yours and the wet sounds of his cock breaching your cunt is almost deafening, but then he leans forward to hook his arm around you, taking his fingers and rubbing tight, quick circles on your clit, fingers still wet from where they’d been sunk into you before.

The noise you make when you finally cum drowns out the other sounds that have been filling the room. You cum so hard your legs shake and you slump forwards, thighs trembling as you fold your weight into your arms, ripples of pleasure skating through you from your dripping cunt, still stuffed full of Jimin’s hot cock.

Jimin slows his thrusts, though he’s still pumping in and out of you, aftershocks trembling through your body from your orgasm. He puts a hand in your hair and tugs, pulling you against him, the skin of your back pressed against his chest. “Is my baby still feeling needy, hm?”

You nod your head, still grinding back against him, chasing the pleasure of his cock shifting inside you and the ache of your stinging skin dragging against his hipbones. “Yes,” you say, breathless. “Yes, need more.”

Jimin laughs, a triumphant little sound. You’re too far gone to even feel embarrassed at how shameless you’re being right now. “I knew it,” he says. “Greedy little cockslut, aren’t you?”

You clench around him, swallowing down a moan. “Only for you, Jiminie.”

“No one else is ever going to be good enough, are they?” He circles his hips and you shudder against him at the feeling, how his cock drags against your inner walls. “No one else knows how to please my baby like I do, do they?”

“No,” you agree. “No, no one else, only you— oh—”

Jimin stays inside you as he turns you around, hands firm around your waist as he sits down and pulls you with him, seating you in his lap. You lean back against him, rolling your hips and arching your spine when he cups your breasts in his hands, kissing down the length of your neck before sucking marks into your skin. Once it seems like he’s satisfied with how clearly he’s marked you as being taken, as being his, he starts to bounce you in his lap, thick thighs cushioning your fall each time you drive your hips back down.

“Can you cum again for me, baby?” His fingers are digging so firmly into your hips now that you wonder if it’ll bruise, but you can’t help but want it, want more reminders that you’re his. Reminders of his touch. “Can you give me one more?”

“Y-yes,” you hiccup, breath driven out of you with one particularly hard rock of Jimin’s hips. “Wanna come with you, Jimin.”

You can tell when Jimin’s close to his release. You don’t need to look over your shoulder to know—you can picture the sweat in his hair, the set of his brows and the curve of his mouth as he moans. You know the cadence of his gasps, how the motions of his hips start to speed and go off rhythm; you know exactly when to let your hand fall between your legs, rubbing at your clit so that you can cum with Jimin, your entire body wound up and ready to tumble off the edge with him. He puts his hand over yours, pressing the pads of your fingers down harder on your swollen bundle of nerves as your fingers grow slick with your wetness, and you’re gone.

You hit your peak with a breathless, wanton cry, throwing your head back against Jimin’s shoulder as your toes curl and you cum again. You’re swept up in the sensation of pleasure washing through your body when you feel how Jimin shudders underneath and inside you, how your cunt is still clenching as his cock twitches, as he empties himself into you. You’ve never cum the same time as someone before. It’s almost like you’re pulling the cum out of him, drawing it deeper inside you with each wave of sensation that ripples through your core, and you slump back against him, your chests heaving as you both ride out your highs; the tremors slowly subside as Jimin strokes his hands over your skin, and you twist your head so you can kiss each other slowly, lazily pressing your lips together as you catch your breaths, pleasure from your orgasms settling into every inch of your bodies.

“My pretty baby,” Jimin says, quiet and sweet against your mouth. You smile and rub your nose against his, pressing a swift kiss to the swell of his cupid’s bow.

“All yours,” you say, leaning into the tight embrace that Jimin wraps you in.

You feel blissful and fucked out, lying on your side on the sofa to save putting pressure on your still sore ass, watching Jimin as he moves around the room. He gathers up your clothes and you see how he pauses when he reaches your boots. It’s like you both remember all at once what lead you to this moment, and you see how Jimin turns his head to you with a question on his lips—he knows you well enough to know that everything you do is thought out and measured and that there would have been a reason that you were dressed so provocatively. You wouldn’t have done it on a whim, just because you felt like it.

“Y/n,” he says, and you look away from him, suddenly embarrassed. Every touch tonight has cemented the fact that Jimin cares about you and gives you time and attention, so now you just feel like some sort of dumb petulant child who was being greedy—you didn’t think you were monopolising Jimin’s time, but you obviously are. “Why—”

“You kept saying you were busy,” you interrupt, though you keep your eyes off him, staring up at the ceiling instead. “I was just—I was just feeling neglected and I wanted you to look at me. I wasn’t trying to get anyone else’s attention, I just wanted you to want to spend time with me, because you’ve been so busy recently and you won’t tell me why,” you finish, your voice quiet. You feel silly even as the final words come out.

“Oh, sweet thing.” Jimin’s voice is warm and gentle. You glance away from the ceiling to see him carefully setting all the clothes and mess to one side, heedless of the tangle of expensive clothing, and he crouches by the sofa to cup your face in his hands. “I’m sorry.”

“It’s okay,” you sigh, nuzzling into his lovely hands, into the now-familiar sensation of his fingers against your cheeks. “I was just being greedy.”

“No, you weren’t, you’re right.” His hair is mussed and his eyeshadow is smudged, as is yours, the two of you vulnerable with each other in ways you never are with anyone else. His eyes are soft and his face is open as he dips down to kiss your forehead, brushing the loose hair away from your face. “I have been very busy and I’ve been unfair by not telling you why.”

“You don’t have to,” you insist, but he shakes his head.

“I’ll be right back, baby,” he says. “Hold on.”

You watch him leave the room and pad down the hallway, past Yoongi’s bedroom and into his own, and you sit up when you see him reappear with a small collection of papers, print-outs that you try to catch a glimpse of before he spreads them on the coffee table for you to see.

“I’ve been going on apartment viewings,” he says. “I was trying to work out which place was best. What’s in our budget, where’s between my work and your garage—I’ve been trying to narrow it down.”

You stare at him, dumbfounded. He’s smiling at you in that way of his that you love so much, the one that squeezes his eyes and lets you see his crooked front tooth—the smile that drives home that Jimin is flawlessly flawed, perfect with his imperfections, overwhelming in his beauty.

“Jimin,” you breathe. “You want to move in with me?”

“More than anything,” he says. “I thought it would be nice if you didn’t have to worry about anything because I would have already done all the legwork. I wanted to surprise you.”

Your face crumples. You don’t mean to, but you can feel tears welling in your eyes; Jimin moves instantly, pulling you close to him as you try to swallow down the sudden rush of emotion, overwhelmed. You’re both still naked, your skin pressed against his as he holds you, but there’s no lust behind this touch—it’s all love and affection and you still can’t believe that Park Jimin is yours. You’ve never felt so lucky in all your life.

“You should have told me,” you sniffle. “Apartment viewings suck. I could have helped.”

Jimin laughs, a light giggle that ends up muffled against your scalp when he noses into your hair. “That would have defeated the purpose of the surprise, sweet thing,” he says. He pulls back so he can look at you, and just like when he’d seen you cry before, there’s no judgement on his face—just warm empathy and fondness. “They do suck, though. It’s taken so much longer than I thought. I never meant to make you feel neglected.”

“I was being stupid.” You huff out a breath into his face. “Like—okay, sure, maybe you weren’t spending as much time with me as you normally do, but you weren’t neglecting me. I just got so used to having you whenever I wanted you.”

Jimin smiles. He keeps hold of you, pulled close in his embrace, and you know then that you’re never going to let Park Jimin go. “When we move in, you will,” he says, and you shiver at the promise of future pleasure—not just sex, but closeness, intimacy, a promise to one another that this is going to become more.

But, like, also the sex, too.

God, Jimin is so gorgeous.

You let Jimin thumb your small tears away. You hate crying in front of anyone, hate feeling weak, but Jimin never judges you. He makes you feel safe, like you can be open with him, and you know he’ll never betray your trust. You press a kiss to his Adam’s apple before you peer at the printed sheets on the coffee table, wanting to see the fruits of his labour. “So are these the ones you’ve narrowed it down to?” Your eyes flicker over the pages. “Take me through them.”

You end up curled in his lap, looking through each of his choices together—and hey, if you get distracted by each other halfway through the selection, who can blame you?

---

TAGLIST: @beyoncesdragon

#jimin smut #jimin x reader #jimin x you #bts smut #bts #jimin oneshot #jimin fanfic #bts x reader #joy.masterlist

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manyblinkinglights · 4 years ago

Text

MY PERSONAL TAKE ON UNITY-”HUMANOID” FERAL AVATAR RIGGING FOR VRCHAT

First of all: this is actually not that bad. If you avoid the many pitfalls I will lay out for you in this tutorial, the worst thing about the hookup process is the same thing that’s bad about everything in Unity: dragging the little thingies into their little boxies gets kind of tedious.

NUMBERED LIST:

1. Start with Rigify’s meta-human.

2. Modify it by deleting extra bones, and

3. altering the hips and legs and shoulders for compatibility with VRChat’s full-body IK, as per Kung’s YouTube tutorial.

4. Build your quad model around the head, neck, chest, spine, and hips of your Humanoid.

5. Lock your Humanoid legs and arms out of weight painting.

6. Rig your quad model, and

7. Get it into Unity.

8. Start putting rotation constraints on all/most of your quad model’s bones (I’ll tell you TWO BIG SECRETS). edit: I forget what two things were supposed to be the secrets. Pick whichever two things helped you most and let’s just call those the secrets.

9. Build and test your avatar, then start tweaking your constraint weights until you get the effect you want!

ADVICE:

part A: You can test an activated quad leg rotation constraint directly in your scene by applying it, and then grabbing your humanoid thigh or shin transform and rotating that, but YOU HAVE TO CTRL-Z IMMEDIATELY AFTERWARDS. NEVER apply a rotation constraint to a bone that’s been left out of its default position!

part B: Always, always, ALWAYS and only, only ONLY work on your Armature in Blender from full X, Y, or Z isometric view with X-mirroring on.

KNOWN LIMITATIONS:

The levelling bone in your backbone always points directly back, relative to root, from the user’s hips; they twist up and leave it behind if they turn from side to side too far, all the way around, or, god forbid, hit VRCEmote 6 (backflip). You cannot sexy poledance or flop onto the couch in this style of avatar without making a spectacle of yourself.

If there’s some crazy calculus that’d spit out the exact right leg lengths and constraint weights to perfectly eliminate foot-vs-floor clipping at every height, I do not know it. There are just too many variables at play; put whatever leg lengths onto your quad that it requires, and then try to come up with rough, biomechanically-inspired values for your constraint weights such that your quad feet wind up near the same elevation as your Humanoid core’s feet when you enter the Humanoid sit position. If you do this your end result will be PRETTY DARN GOOD at standing and bending/dancing heights, but it WILL get squirrelly as you approach crouch. That’s just the way it is; in fact I recommend replacing the prone and crouch animation blendtrees with the standing ones. While this tutorial will generate an avatar that crouches and crawls around prone okay/amusingly, you do get sent into the floor in crouch/prone and there simply isn’t anything to be done about it.

There is also NO WAY to migrate rotation constraints from one avatar to another. You can copy a fully-constrained avatar and hot-swap in your own edited mesh, but you (basically) CAN’T EDIT bones in an already-constrained armature without turning it all into spaghetti.

ONE.

You need a working, full-body-tracking compatible biped skeleton to start with. But... there aren’t any out there (that I’m aware of) to start with, so I recommend scaling up a meta-human out of the Rigify add-on for Blender... here’s a guy walking you through that bit of it: https://youtu.be/DS885Sk1gSs?t=30 (we will not be making an “animation rig,” we are just getting a human-shaped Armature into the project with almost all of its bones named correctly already. So just do that part.)

TWO.

...and then deleting the face stuff, some other stuff, and the extra four non-finger hand bones out of each hand (make sure not to accidentally nuke part of your thumb, like me, because you might not notice until way later that you’ve given yourself a stumpy single-jointed thumb). You want to go from this:

To this:

I mean, I guess you could leave them, but too many useless bones will come back to bite you later if Unity decides it can’t figure your shit out and makes you drag every. single. handbone. into. the L and R hand slots yourself. Set yourself up for success and don’t skip this deletion step. Also, now’s the time to rename your hips -> spine -> chest -> neck -> head chain, since Rigify has them all as like spine01 spine02 etc.

Your penultimate guy:

THREE.

Now modify its thighs and hips as per Kung’s tutorial: https://www.youtube.com/watch?v=2sfTEBAl8sA

Basically, for this armature in particular you need the tops of the thigh bones to be below the entire hip bone, as follows:

AND you need the hip bone to be above the thigh bones (Rigify’s is too far back). Personally, I got good results from just grabbing my legs and scooting them backward.

If you DON’T do this, PC people and three-point tracking people will still be able to use your avatar fine. But full-body people’s hips will jut forward in a super fucked up way. IF YOU FOLLOW THIS TUTORIAL EXACTLY and include a BEND bone, this will be a problem. IF YOU CUT CORNERS and disregard the BEND bone (and/or you choose to lock the hips out of weight painting--valid), you can skip this step. But you seriously might as well do it.

IMPORTANT! The lengths and angles of your bones here determine, in part, the later behavior & vivacity of your finished model. I like this modified Rigify base because VRChat’s IK makes it nice and lively. If you use a different Humanoid base, like a ramrod straight turbocompatible one, or a cool but non-fullbody-compatible style one (hey, go for it! PC and three-point tracking people have rights too!) the flavor of your animations later on will be different!

FOUR. Build your model around the head, neck, chest, spine, and hips of your inner Humanoid! Don’t hold me liable for anything that happens to you if you change the armature proportions, but based on this one time I helped a kid hook up their quad horse, you can get acceptable/interesting non-full-body-compatible behavior if you do change them (to perfectly follow your cool dragon neck or whatever). I will continue on as if you did not change them! Anyway, do your thing. If you’ve got someone else’s mesh for this step, do your best to pose it in a neutrally upright standing position, and then put the Humanoid in it like they’re the front half of a horse costume, scaling the whole rig up and down as necessary. Again, ANY CHANGES YOU MAKE TO THE PROPORTIONS OF THE HUMANOID RIG WILL CHANGE YOUR ANIMATIONS LATER, and break full-body compatibility if you go too far! Here’s mine, see the little guy in there? Try to pick him out from the rest of the rigging:

Your head needs to be placed so it does a good job aiming its head/so you can set the view orb so you more or less see out its eyes, and your neck, chest, spine, and hips should be in its neck and forequarters, but your legs and feet DON’T have to match up with your quad forelegs or forefeet! Your quad feet can be anywhere relative to your Humanoid ones so long as your quad is in its symmetrical, neutral standing posture.

You can see that mine are a bit in front. It’s fine.

FIVE. Parent the mesh to the armature (or uhhh is it the other way around? Whichever way around it is, do it) with empty groups. Go into your Vertex Groups panel and lock out the limbs--that’s shoulders, upper arms, forearms, hands and fingers, thighs, lower legs, feet, and toes. You want them zero and kept at zero (unless your want your arms for a taur).

https://www.youtube.com/watch?v=rG82fogtuCg WATCH THE ABOVE VIDEO IF YOU HAVEN’T ALREADY. :V You can run the auto weight paint from here and/or start dinking around with weight painting your quad’s neck however is most comfortable for you if you want, but you still need to

SIX. rig your quad model! Okay, here’s the one big rule for your grounded legs (wings and funky lil extra limbs that just wave around can do whatever):

you must leave your Rigify legs straight up and down, no angling outwards, and YOUR QUAD LIMBS MUST BE STRAIGHT UP AND DOWN, NO ANGLING OUTWARDS.

See mine:

You don’t have to have them all perfectly in line from the front like I do, you could have your legs be set at any widths (say, wider stance in the armature hind legs than in the Humanoid ones, if your quad has wider hips), but they HAVE to all be exactly straight up and down, just like the Humanoid legs are. I tried matching my actual gryphon limb angles like in normal rigging once, and it resulted in incorrect foot placement/limb angles when standing neutrally (because VRChat’s neutral stance is not a perfect T- or A-pose). It’s fine if they’re different heights, though--here’s a side picture where you can see that my hind legs are lots taller, and my forelegs a little taller, than those of my Humanoid core:

Okay so maybe this belongs up there under FIVE. but, since you CANNOT add any jaunty character to your quad by adding naturalistic/sideways angling in its armature, the mesh, instead, must deviate from the armature to give you the illusion of a jaunty stance, and I DO recommend doing (just a little of) this. Your bones don’t HAVE to be in the center of your mesh volumes to still work okay, especially when they’re only serving as relatively-restricted legs (knees don’t twist, and neither do a bunch of quad bones driven by them). So, feel free to “pose” your quad legs in an interesting way around their upright bones, especially when it comes to giving your hind legs a different character from your front ones. Otherwise it’ll be way more obvious they’re rigidly linked, despite their different proportions. I recommend angling the apparent set of your hind legs out just a little, so your hind feet seem to be set wider than your front ones.

Not only does this help give each set of your legs its own character, to help with the illusion that they’re actuating totally differently, and that these are definitely your own original character do not steal’s full custom animations and not VRChat’s default ones--but your back legs are going to be operating the reverse of your front legs. This means that when the wearer adopts a wide stance, with their feet well apart from each other (as in many dances), YOUR BACK LEGS WILL CROSS. The amount of space I left between my gryphons’ hind legs, above, accommodates the normal amount of moving around that people do pretty well, but be advised that making a beautiful character with its hind legs neatly, narrowly posed might hit you with some heartbreak later! (You could get around this by instead rigging your quad to have its forelegs be the reversed ones, but this might be a little disconcerting for a fullbody wearer; or you could give yourself a “pacing” gait, where both your front and back left legs step forward at once, but this is a glaringly visible design choice for the kinds of people who notice these things. If you do this, make it a choice, not what-you-did-because-it-turned-out-you-had-no-choice.)

(I did a bunch of bogus shit to make it so I could switch between regular locomotion and a pacing gait, but that’s outside the scope of this tutorial.)

Now, your BOB, LEVEL, and BEND bones!

BOB: Somewhere on your armature, put an unparented bone (any size) along your midline called BOB. (I put mine below my hips and called it dingle.dangle.) Ever ported a model in and left something unparented accidentally? Remember how it disconcertingly gets “left behind”? Well, we’re using that phenomenon to our advantage! BOB will be our rotation reference bone for LEVEL and BEND.

LEVEL: So, LEVEL. Your quad’s back/torso should be/have one big bone coming out of the back of your Humanoid hips, call it LEVEL. It should be the parent for all your quad’s limbs, except for anything you have coming out of the head or neck (idk, whiskers, chinwings, whatever).

BEND: BEND is optional, but recommended; a bone that also sticks out the back of your hips, and stretches out more or less to the end of your ribcage, maybe to the middle-ish of your ribcage. Mine is parallel to the floor but that doesn’t matter much, and weighted at around strength .4 to the ribcage behind my shoulders, a little bit of the back of my shoulders where they meet my body, and tapering off towards my waist. Basically when you wiggle this bone up and down, it should arch and bow your back a little bit, over the top of your other weight paints, in whatever way is visually acceptable to you. Mine does this:

SEVEN.

Now, into Unity. Navigating Unity is mostly beyond the scope of this tutorial, but if you can add a VRC Avatar Descriptor, you can add a rotation constraint. It works the same, you just go find the bone (”transform”) in the hierarchy that you want and add a rotation constraint component to it.

So, get your .fbx out of Blender and into your Assets folder or whatever. Click on it and go to Import Settings, set it as Humanoid, apply, configure. Pick out and add all the bones of your Humanoid armature to the Humanoid panel (if it hasn’t autopopulated--it might!), reset your pose and then enforce T-pose if necessary, delete the reference to Jaw, put Chest in and make sure there’s no Upper Chest, etc., all the usual things. You should see a little green T-posing person in the forequarters of your quad! Hit Done and you’re done. (Look up ordinary VRChat avatar 3.0 import tutorials if you’re having trouble with this step; you’re Humanoid at this point already, same as anybody). Now drag your newly-confirmed-for-Humanoid .fbx into your scene. Open up its hierarchy and look for the LEVEL bone; it should be under hips. Put a rotation constraint on this bone (click on it, Add Component button, search “rotation” or “constraint,” pick Rotation Constraint). Click the little plus to add a target, and drag BOB in there from the hierarchy. Leave the strength 1 above and 1 below (the 1 below will always be left alone at 1 unless specified otherwise), and click Activate. There! You did it! Now your whole entire ass won’t wave around!! You can hop right in and Test Avatar if you want--your head and neck will be the only things that move while your legs will all be stiff like a piñata, but by god, your back will be staying level. Try crouching and going prone!

Enjoy this first, sweet taste of quad success if you’ve gotten this far, because there are many, many ways to screw the rest of this process up, and even with me guiding you, you might find some brand new ones. Applying a rotation constraint correctly is as easy as above, but here are some pitfalls: if you move any bones in Unity with active constraints on them, or bones upstream of an active constraint, they get fucked up. If you activate a constraint on a bone that’s been moved, moving the bone back afterwards will fuck the constraint up. LEAVE YOUR MODEL IN ITS DEFAULT POSE AT ALL TIMES, UNLESS YOU’VE MADE SURE TO SWITCH TO GAME MODE. (Sometimes you get lucky and you can rescue a ruined bone by deactivating its constraint and then going to Modified Component -> Revert on the transform itself. But don’t count on it.)

If you change any values within a constraint while it is active, it gets fucked up. Uncheck “Is Active” before modifying any constraint!

But wait, there’s more! If you hot-swap your model (minimize Unity, open Blender, do edits, export your new .fbx, delete your old .fbx in the save dialog and replace it with your new .fbx, WAIT A FEW SECONDS because opening Unity in the middle of the hotswap borks everything, maximize Unity, it thinks for a second, then accepts your new model while hey presto preserving your rotation constraints), AFTER ARMATURE EDITS, so, again, if yo-- if you--*about to sneeze voice*--

If you hot-swap your model after armature edits, the whole thing can get fucked up and you might have to re-apply all your rotation constraints again.

hhhhh that’s better. Now, you MAY hot-swap your model after wholesale bone additions and deletions, but rotation-constrained armatures lose their tiny minds if you change constrained bone lengths, positions, or angles!

Moving on! You just did LEVEL, now let’s do BEND.

BEND is constrained at .5 strength to BOB. Add a rotation constraint to BEND, set the strength to .5, hit the plus, drag in BOB. (Dial your reflexes in on this sequence because you are going to be doing it a lot.) The purpose of BEND is to bring a little life to your otherwise ramrod-stiff quad spine; you can experiment with strengths (of weight paint, of constraint weight, of bone length) but I recommend you try copying me to start. So that’s: BEND, a bone sticking out to about the end of your ribcage, weight painted at .4 or so to your ribcage and gradienting smoothly away, constrained to your unparented bone BOB at .5 strength (waving around without any constraint put too much wiggle in my gryphon).

BOB, LEVEL, and BEND are the major engines behind my quad rigging giving an acceptable effect! You don’t need to throw $90 at Final IK if you’ve got some time on your hands and BOB, LEVEL, and BEND. :)

Now for ALL THE REST OF YOUR LIMBS!

A note before we begin. Unity rotation constraints can’t ever go past 1:1, that is, there is no way to “amplify” a motion to make it a bigger one. You can only approach parity with the reference motion, never exceed it. The clearest example I can think of is a tail. My tail is six bones, and I thought I could constrain each one to the head at .1 and they’d “stack” and make it so a small motion of my head would put an attractive curl in my tail. Lol, nope. The first one rotated the tail .1, the ones that followed each inherited that .1 rotation from their parent and had their constraints satisfied, and did nothing, and I had a tail that barely moved at all. (Blender’s bone constraints work differently and allow this kind of amplification; you can also test things out in there, but I could never figure out which settings would give me Unity-like behavior.) So, with that in mind, bring up a gait cycle of your target animal. If a video is too confusing, look for some static images (like an animator’s gait cycle) that show the gait. Try to see which bones rotate the most, and which rotate noticeably less. Use this to inform your constraint weight values later. If you picked a static image, you can even measure the rotations throughout the cycle to see which move most and least! I don’t know enough to use exactly specific language here, so, to the extreme literalists in my audience.... sorry about what I just said. If you find your ability to magically pick up on what I mean is poor, I’ll just give you my gryphon numbers later! Or you could just try some stuff, like having every bone at max strength & seeing what happens, and then picking just one to turn down to .5 strength and testing again. That should clarify the concept for you quickly.

Alternatively, the quick-and-dirty “I’m NOT HERE to acquire any sensitivities I don’t ALREADY HAVE” test is to just try to get your quad feet as close as possible to your biped feet’s level/height when the biped thigh is picked up to 90 degrees and the shin hangs straight down (the “sit position”). Here’s how mine do:

Now, that’s half of the challenge, noticing which bones in the legs ought to be more or less responsive, and then roughing out an idea of the relative weights/responsivities each leg bone needs to make that happen, deciding which bones are liveliest and should be set at or near 1 and which are stiffest, or least active, and should go around .5 (you might even dip to .3). But (you might scream) what are you weighting these guys RELATIVE to? What are their TARGETS? Well!

...I’m not going to try to explain this. I’ve confused everybody every time I’ve tried. :p Just start with the shoulder constrained to the thigh, then the next bone down to the shin, then the NEXT bone down to the thigh again, then the shin again, and so on (thigh shin thigh shin thigh shin). This will get you 98% of the way there because most of the bones in a tetrapod leg-chain operate in simple opposition to each other. Basically, by rotating the shoulder like the thigh, when you raise your leg, your quad will start to raise its shoulder. By having the next bone rotate like your shin, and then continuing the pattern after, contracting your knee will make your quad contract its whole leg. This breaks down a little at the paw-and-toes, or the distal complexities of the horse, but just start with this pattern by rote. Then test it, and if one of the bones is obviously backwards, swap its target to the other one and test it again.

Last concept: if you have two bones in a row weighted to the same thing (like where you’ve got two bones that do not work in opposition to each other), the second one needs to have a bigger weight to the target than its parent. Because it inherits the parent’s rotation, and then only adds whatever amount that’s bigger. So, for my forepaw, I have it at .5 to the shin, and then the toes are at 1 to the shin. The whole paw acts as a shin-unit, but weighting the hand less than the toes allows the toes a little of their own flair. :v

(Okay that was a third-grade-biology-textbook lie. I actually have my upper paw .5 to the shin and my toes/beans at 1 to the foot. I might have a little bit of weight to the foot in the upper hand/palm part of my eagle foreclaws too. But I don’t recommend you add any weighting to the foot until you’ve got a good baseline result with just weights to the thigh and shin!!!!! The foot does things that you might find confusing and upsetting and which can introduce a LOT of incorrect limb placement/clipping, especially the further up the chain you allow it to interfere; it should be used sparingly or (as in my hind legs) not at all.)

Finally, the more your bone lengths and angles resemble your target animal’s (use a skeletal reference!), and the better you are at deciding which bones should respond a lot (and be weighted with high values) and which should respond less (and be weighted with lower ones), the more visual interest and species-specific character your quad avatar will have! You can see my gryphon’s rig above; here are its constraint values (where I go LR to LR, the left bits of the Humanoid control the left bits of the quad; where I go LR to RL, the left bits of the Humanoid control the right bits of the quad):

Back: LEVEL: 1 to BOB BEND: .5 to BOB Wings: upper_arm.LR.001: .5 to upper_arm.LR forearm.LR.001: .5 to (forearm.LR .5, hand.LR .5) hand.LR.001: .5 to hand.LR Hindlegs (targeted to the OPPOSITE side human legs): thigh.LR.002: .7 to thigh.RL shin.LR.002: .6 to shin.RL foot.LR.002: .9 to thigh.RL toe.LR.002: .7 to shin.LR Forelegs - EAGLE: thigh.LR.001: .7 to thigh.LR shin.LR.001: .8 to shin.LR foot.LR.001: 1 to thigh.LR toe.LR.001: .5 to (shin.LR 1, foot.LR 1) toe.LR.003,5,6: 1 to shin.LR toe.LR.004: 1 to thigh.LR Forelegs - LION: thigh.LR.001: 1 to thigh.LR shin.LR.001: .5 to shin.LR foot.LR.001: 1 to thigh.LR toe.LR.001: .5 to shin.LR toe.LR.005: 1 to foot.LR Tail: tail.001: .5 .5 to head tail.002: .6 .6 to head, etc. ***

REITERATION OF IMPORTANT PROTIP: Again, the quick and dirty test of your targets and values is to switch to Game mode and hike your Humanoid’s leg up so the thigh is parallel to the floor and the shin’s straight down (the sit position). Does your quad also hike its leg up, so its foot is in the neighborhood of your Humanoid’s foot level? Are all of your bones bending the right way? (Any that aren’t need their target switched to the other kind of leg bone.) If your quad is more or less “also contracting its leg so now it’s up,” then you’re either finished, or really really close!! If your quad daintily raises up its lil’ ol’ leggy for you, test your gait in-game and decide whether it has the right “feel”. If one of the bones is too stiff or too crazy relative to your reference animal’s style of motion, change its value so it behaves better, and hang the sitpose test. People mostly spend time standing, anyway, and your quad will likely look great standing and moving around even if it doesn’t do well at the sit test.

#vrchat #gryphon #text post #long post #dash stretcher

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softgrungeprophet · 5 years ago

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ITSV is a very good movie with fantastic design all around but I think that Gwen and Peni’s designs could have been a little more balanced... idk

Gwen feels like she is treated as much older and more mature than she is in the movie--like the college age (?) spider-gwen in the comics, especially since her suit is nearly identical to the comics version--which tbf i think makes sense, it seems like gwen’s been running with the same suit from the start. I guess a lot of it is in her body language as spider-woman, and some subtle vibe i get that just feels... off. And like... part of that, yeah okay, she’s more experienced than Miles, she’s been spider-womaning around for a bit... But I feel like... comics Spider-Gwen, like a lot of Spider-Women and Spider-Girls and other female Spider-People, gets inexorably pulled into the usual cycle of sexualization and objectification (usually in variant covers and the like), and that some of that leaked into the movie’s final design. But who knows.

it would have been nice to see a spider-gwen that’s a little messier, a little more chaotic, but still very musical and full of dance, clever, and so on. but maybe they wanted to differentiate her more from Peter B who basically is chaotic grace already...

as far as peni i legit thought she was like, 10 years old but i’m pretty sure she’s also supposed to be 14... and i think they could have still approached a more anime look with her, without making her look like an elementary schooler... her body proportions in the movie are so child-like, and it seems like the comics version of peni ... looks like a 14 year old.

there is some really cool, more fashion-heavy concept art for both of them where they both look closer in age and gwen in particular looks a lot more like a middle schooler, that i really like, but I also understand why they didn’t use those as actual designs because they are a lot more busy in a way that doesn’t mesh with the very simple, streamlined look of a lot of the character designs in that movie... i still think it would have been interesting to see more aspects of that show in their faces in particular... there’s a particular painting of gwen wearing a messy school uniform and baggy jacket that i really like

i think it’s her body shape and proportions that make the two designs, side by side, feel different. like she’s got longer legs and less baby fat. the suit itself though like, it’s pretty good. It’s a nice, almost-the-same-but-slightly-tweaked approach to the design she has in the comics and the ballet flats do work pretty well with it even if i personally prefer the sneaker look.

there are also some really really cool mech designs for Peni’s sp//der that i absolutely understand why they did not use cause they’re sick but look really complex to animate compared to the (still really good imo) final mech design, which has a simpler shape and doesn’t involve... a combination of peni’s own body with the robot itself... fuckin... stilts... look at this shit it’s cool as fuck

#on the flipside the designs for the adult women like MJ and Liv and May are really really good #and i wonder if maybe it has to do with gwen being one of the main characters and thus in a lot of ways a poster girl #nadia rambles #i've been stewing on this since like february lmfao

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developer-dan · 7 years ago

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Welcome to the first skin picks of the week!

This is a weekly post that I’m going to try to make where I highlight skins I want to see officially supported in Rust. Every Saturday I’m going to make an effort to showcase around 8 skins or skin sets and elaborate about why I like them or what I’d change if applicable. My goal doing this is to hopefully give exposure to skin artists as well as give feedback, and in turn take feedback from the rust community to see if they agree with the picks and would like to see them in the item store. This little selection is stuff I’ve had in my favorites as well as things I’ve seen recently.

A few hours a week I’m going to browse the workshop for skins that catch my eye in several ways, which I’ll highlight here:

Theme: Most importantly to me, I want skins to follow the same art direction as other models or materials in the game, or items that seem like they could be salvaged, hand made, or found in the current landscape. My idea on this is relatively loose, however, there are a few things I like to stay away from such as magical emissions, ancient items that look polished, or skins that show incredibly inaccessible materials like a butt-ton of platinum and gold. A little bit of any of these is fine here and there (don’t get me wrong, they look very cool!), and while you can make really impressive skins that sort of break these rules, personally I like to see skins stay stricter while still being creative. I think that’s what really shows how an artist can shine.

Design: I like to have an eye open for skins with designs that show a clear art direction, and sticks to one theme that it can execute well. I especially like when skins look really niche or can easily stand out compared to other skins for that particular item. This can be done a lot of ways, and I’m always excited to see what people come up with!

Execution: Execution is really important- you can have some really cool ideas, but sometimes they don’t always come together. If I ever see a skin with a cool theme and design but notice the execution is lacking, I always want to help that person strive to improve the skin. Sometimes its a software limitation, other times it’s inexperience. Either way, they have the creativity, and it’s important to notice those kinds of artists. Anyways, in execution, I like to look for good sculpts, a keen eye for proper material use, and detail to make things look plausibly realistic (with some room for more unrealistic ideas).

Oh yeah, also, I’m going to be using in-game screenshots only for these posts to eliminate any bias that pretty thumbnails have- I’m not saying thumbnails are a bad thing because the automatic ones are pretty bad, but sometimes it can maybe exaggerate the skin too much for my liking.

With all of that said and done, I’m going to talk about the 9 skins you see above!

Fallen bomb by Shedmon: I really like this skin. It’s a really creative interpretation of the mesh and the details on it are done awesomely. You can see the outer shell of the bomb peeling back revealing the hot explosive core, and all of the surrounding materials are used well enough to show the journey the bomb took; how it detonated or dud-ed, how scuffed it was from time being out in the wild for some time, and how it was dented from whatever impact it took falling down. Also, it’s rad as fuck to picture yourself cooking stuff using an atomic bomb!

Jaeger set by Mishka₪ and sfonsper: This set is freakin sweet. I love how well done all of the sculpting was to show off that fuzzy wool, and how every part of each skin looks super tactile. It shows a really good understanding of the materials used and every piece in the set was made with the same amount of effort and attention to detail. They all work so well together, and could easily work together with other existing or future skins. The use of the riot helmet is creative, and the entire aesthetic of aviator-gone-rebel fits the game super well!

Frost Wolf Mask by Veys: This skin is super cool. The grainyness of the paint, the really subtle specular differences, and the metal trimmings/depth of the shaped metal create a mask that I can easily picture a person in the world of rust creating for themselves to stand out, without being incredibly flashy. The continued artwork on the top of the head to show off the shape of the whole head also helps it stand out- more often than not, artists will stop at the face, and not really do anything super special with the cap. In this case though, it’s used in a nice way to really outline exactly what the skin's idea is- and It also goes without saying that it would go well with the frost wolf AK, of course!

Nemo by Shedmon: This skin is a neat interpretation of the boonie hat. It’s done well to the point that it looks like a new item in itself, and totally fits that dude’s beard. It seems like a simple idea too, but the extra detail put here and there on the skin keeps it unique and simple while still having that realistic tone to it. One itty-bitty change I’d like to see on the skin though is kind of a symptom of how skins work, but could be tweaked. When I loaded the skin in the editor, the diffuse around the cap was obviously erased because it had to be- however, so was the bottom of the hat’s lid! A bit of an oversight that should be fixed going forward. I understand that if it were opaque it would look strange from the sides, but you could still fill it in, and slowly ease into the alpha of the circumference of the hat. Still well done, though!

Deterrent by Moonfighter and xINFERNO: I notice that a lot of AK skins that are accepted are absolutely plastered in art from tip to toe. I’m not complaining of course, they look incredible and are way better than anything I could do for sure! But I think it would be nice if the skins could be toned back slightly or have some simpler skins introduced for variety. For example, in this skin, you have a nice little etching of a spirit zooming past with a small color palette of yellow, black, and white, the skin stings and really sends a message that your bullets are flying out the other end. It’s rusted to all hell, so it feels very cool to see in your hands (even moreso when they add viewmodel gloves- pls!). The ironsights are kept simple and not distracting, which I like- just a simple white crosshair. The scuff marks and scratches are also placed with some strategy and not willy nilly- one things for sure, and that’s that it looks like it’s been used quite a lot. spooky!

Laboratory Door by Mishka₪: The use of materials here is really cool, and totally conveys that idea of shoddily slapped together scraps that were used just to get a door down. In a way, it almost looks like it’s own tier of door, but not any stronger than wood. I say this because, like the sheet metal door and wood door (duh), there are visible planks underneath. But it’s done in a really good way! Also, i should point out that I really like the normal mapping done on the tarp. It feels like it’s really there, sagging from it’s eight and being pressed to the door by the pins. It has these really gritty outlines that I personally like; it’s sort of a personal taste, but I believe that it fits.

Hazard Garage Door by Underdog: This garage door is freakin sweet. The idea of a smaller door inside the large one is really interesting, and it’s obvious that some thought was put into it too. The door is cut up into sections to show that it breaks apart when the door is sliding upwards into the..... thingie up top. The massive bolts with the oozing rust dripping down feels very grungy and threatening, and the little details added for asymmetry like the gritty vent and posters/scratches really sell the idea of this big toxic door.

Tree Murderer by Me!: This list wouldn’t be complete without a me shilling out on my end. I had a lot of fun making this skin. My idea making it was that I wanted to have a funnier/more peaceful approach to tally marks. Instead of the tallies representing kill counts, it represents how many trees the little roleplayer using it chopped down. Since they spend a lot of time alone farming trees, it’s got a bunch of cute little etchings on it of trees, birds, logs, shrubs, etc- I chose the colorful little sheets of metal because I wanted something colorful to stand out from the handle and the black metal backdrop behind the paint. If the color doesn’t really fancy you, I also made a gray version here, but I think the handle needs to be redone for it to work that way.

Well that does it for week 1! If you’re interested in the lists or have more questions about my decisions or why I pick certain skins over others, let me know and I’ll try to talk. It’s fun making these lists and I hope to see these skins considered for future addition next Thursday!

#rust #skin picks of the week #week 1

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susanpallmannhitegd-blog · 7 years ago

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Something Old, Something New, Something Borrowed, & Something Blue

(I have way too much fun coming up with the titles to my entries; it’s actually criminal. If unfamiliar, the phrase is actually a British custom for weddings, but I found that it uniquely fits the clock depicted above, too.)

So to start off this week’s blog post, I want to tell the story of my little clock shown above, because it has proven to be quite a fantastic tale.

I knew from the start of this project that I wanted to be within a 50s retro-futurism theme, and that had inspired my personification photo-shoot plans and overall color quite a lot. This theme would need to be worked into my metaphorical image, and that’s where I started to struggle quite a bit with ideas. I listed out concepts and half-baked ideas I did like in hopes that I might be able to mesh a few together into something worthwhile, and that is where I thought up using either a clock or a calendar (instruments to measure or observe time) to represent the future. However, I did want to take the meaning a little deeper than that. Just using a clock is pretty lame (in my opinion). One theme I see pretty often in 50s-style (futurism or just everyday) is a “slice of life” look. There are lots of images of 50s-style bedrooms and kitchens; everyday places, but very simple. That’s why I thought I might be able to make a setting that gave the clock/calendar a room to be in. Maybe the clock could be on a nightstand? Who knows? I also, of course, wanted to tie the typeface into it somehow, but at this point I was thinking more along the lines of editing them in somehow in Photoshop.

Unfortunately what I thought was the deadline was quickly approaching, so I needed to get this done. As I have a job outside my full-time student life, finding the time (ironic as that is, I suppose) to get this put together was difficult. To add to that, the store I wanted to buy a clock from was closed on Sunday, further complicating this. Instead, I ended up going to the Walmart across the street from my workplace with low hopes. As it turned out, however, they had this perfect retro blue alarm clock with classic bells on top. It was incredibly old-fashioned, and even [sort of] close in color to my color scheme. So I bought it and brought it to work with me.

While at work (whenever the lobby wasn’t too busy), I worked on setting up my image. I printed the calendar on my boss’ printer, and taped it up next to a shelf. As I set up the clock, however, I was surprised to realize that the numbers on its face are actually in Futura. (Something old, something new.) I didn’t know this before I bought it, and frankly I can’t believe my luck.It matched the calendar perfectly. I snapped a few photos on my phone and loaded them onto my laptop.

Now the walls of my workplace are godawful; I mean they are bad. To add to that, there is that terrible wood paneling - it is really something. Now when I compare it to my Photoshop job, I honestly cannot believe I was so successful in removing it, but I did manage, and the new image was exactly what my zine needed.

Satisfied with my result, I put the clock back in the packaging it came in and promptly returned it to Walmart. (Something borrowed, something blue.) That’s $8 I cannot afford to lose.

I just thought I’d include that anecdote, because I think it’s going to be one of my favorite stories looking back on college someday. Now, on to the design!

I was actually pretty apprehensive about making such extreme differences in contrast (completely black for the light-writing, but so bright on pages like the specimens). I wasn’t sure they would flow together well at all, even with a pretty structured grid system. However, upon printing them all out in black and white, I came to see that it has a really wonderful effect when you flip through it like a magazine. Although we weren’t expected to bind them yet, I don’t like to design without knowing what I’m doing, so I lined up my black and white printouts like they would be bound, and as I flipped through the pages, especially from white to black, I found that the stark contrast really captivated my view, and grabbed interest instantly. Rather than seeing pages of monotony, there is an excitement that comes with being met with a completely unexpected color, and I’m really, really excited about this effect.

This printing also demonstrated the appropriateness of some of my choices for a zine about Futura. For instance, I was delighted to see that my light-writing printed out spectacularly well (and that’s even on a sub-par printer). The roundness of the clock image, as well as the stark square shape of the calendar page was also perfect for showing off such a geometric typeface. Although this effect was not directly intentional (more the result of my eyes visually perceiving “that looks nice”), it really adds to the magazine and boosts the continuity to a better degree. It adds more layers to my images’ meaning, and that is a really great effect. Also like my progress during my poster for project 1, seeing the thing in black and white was uniquely insightful for examining my contrast. I was concerned that the wall of my clock image might be too light, but upon printing I was able to see that it holds a nice mid-tone that helps the black and white feel less estranged. There are a lot of details working together so far, and I’m very pleased with how that has come out.

Don’t mistake my pleased tone for satisfaction, though. There are certainly several details that need to be worked out, and I’ll no doubt be playing with it quite a bit before it is due, but I am glad that what is there for now is working, because that frees me up to look into even more detail for its completion.

Printing did also show me some errors I had not considered. For instance, as most of my projects have been for simple viewing (things like posters, or book covers), I had not considered at all that my design would be folded, and that titles aligned to the inner seam would kind of get swallowed up by the pages.

(Left shows before my edits, right shows after tweaking.)

This week’s reading is about typography technology. We’ve been exploring this all year (from drawing fonts to visiting print shops to laser-cutting), but it is another solid reminder that the computer is a powerful tool. After all of the drafts I’ve printed, it’s so fantastic that I can get back on my laptop and correct kerning this late in the project. I don’t have to start over, or redesign the whole thing - I can just click a button and it’s done. Besides just being easier, this allows for me to really hone in on the details of my zine design, which is really the stage I’m at right now!

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fire-toolz · 6 years ago

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This Nonlocal Forecast Mix Offers Smooth Jazz Fit for Tears and Bong Rips

The Chicago-based artist best known as Fire-Toolz shares a mix of sounds from the world of her proggy computer jazz record ‘Bubble Universe!’ 

The Weather Channel isn’t really designed to be watched actively. It was part of the fabric of my Florida upbringing, a constant presence amid the stressful storm prep that accompanied hurricane season every year. As cyclones inched closer to our part of the state, my sisters and I would play board games with it on in the background. Some poor man in a poncho holding a microphone would be getting blown down the street in Boca Raton as our parents mulled whether or not this was a natural disaster worth fleeing the Tampa suburbs over.

That went for their musical direction as well. During their local weather segments, the station programmed these beautifully chintzy jazz tracks, borderline muzak so distinctive to the station that they began selling compilations of it. Those compilations don’t really hold up all that well, but there’s this memory in my head of emotionally layered and unrelentingly uplifting music that accompanied these segments. It’s probably some construction of nostalgia for simpler times, when even something as grave as a natural disaster was part of the background noise of childhood. But I feel an affection for the spirit of music like this nevertheless, all these years later.

A tape released earlier this year by Angel Marcloid—a Chicago-based musician who’s best known under the moniker Fire-Toolz—proves I’m not alone. The name she chose for the project, Nonlocal Forecast, is telling of its sonic motivations. In an interview with The Wire this week, she said that she too grew up with The Weather Channel as part of the background of her home environment, which developed into a genuine love of these sorts of sounds—emotional, swooning, and dramatic as they are. “I didn’t really end up finding out the names and faces until years later when the classic Weather Channel website popped up and nostalgic fans would upload recordings of old forecasts,” she told The Wire. “I remember back in maybe 2011-2012 scouring that website and writing down every single name.”

Bubble Universe!, the tape that resulted from her years of appreciating these sax-laden mood-setters, is a fair bit stranger than Weather Channel jazz compilations. Marcloid, who grew up a drummer, consciously evokes proggy rhythmic contortions and computer music editing trickier to create a surreal version of the sounds that one might hear on Local on the 8s. It’s sort of like when a digital TV broadcast glitches out and blurs things up a bit. You can still tell there’s a meteorologist on screen, but the colors are a little more vivid—the boundaries a little more jagged and twisted.

It’s a wonderfully strange record, and today, she’s offering another peek into her love for this music with a mix of fusion-y new age sounds. It’s beautiful, sweeping stuff, that Marcloid says should be fitting for just about any pleasant activity you can imagine doing, including, but not limited to: staring out of a window, crying, and taking bong rips. Listen below alongside an interview with Marcloid about the project.

NOISEY: How are we meant to enjoy the mix? What’s the perfect setting? 

Nonlocal Forecast: Although this mix is generally uplifting, it’s an emotional roller coaster for me. For some reason the first song makes me cry every time I hear it so I can’t listen to it at work. But then other songs are pretty adventurous. Track 2 makes me see lightning. In my world, it’s the perfect accompaniment to whatever you love doing the most. Sitting by yourself and listening to a light rain shower beating against your window. A windy chilly walk through a meadow where the sun is warming your skin. Driving through the desert. Floating in space. Sucking down bongs in your room with a nice pair of headphones on and a cat in your lap.

Was there any specific concept to the mix?

 I have a lot of music, and I acquire a lot at once. I throw it all on shuffle. Songs will stick out like sore thumbs, so I drag them to a folder. This process leads to getting lost in full albums of course, but this folder of songs just becomes so fucking charged. I took songs from that folder.

Do you have a favorite moment on this mix? 

Perhaps the violin solo build-up in Jerry Goodman’s “I Hate You.” My least favorite moment however, is when Goodman chose a name for the song.

Is synesthesia a real thing? If so, what color is this mix? 

My experience is that I see shapes, textures, colors and shades, emotional qualities, sentiments and values, recollections of past experiences, all sort of molded together in one matrix. It’s quite a rainbow of things if I look at the mix linearly. As a whole, it’s warm, glowing, glassy, full of green growth, completely safe, watery and flowing, cushy and fluffy, soft but refined. Blankets, rivers, lens flares, stuffed animals, wide open night skies, cats purring, maybe a little facing traumas with LSD as an aid.

When we chatted about the last Fire-Toolz release we talked about the function the more peaceful moments served on that record. What does it mean to you to do a record like Bubble Universe! that’s more consistently focused on that sort of headspace? 

That album flowed out of me so quickly and easily. I felt an effortless flow and peace putting it together. The drive to create was because I had just finished my next Fire-Toolz album and felt a strong momentum to keep going. Writing Bubble Universe! I felt no need to be hyper-focused on the compositional detail I put into Fire-Toolz productions. I guess to some people Fire-Toolz sounds like a mess while Nonlocal Forecast might sound meticulous and intricate in comparison. Screenshots of the programs I use would convince you otherwise. I felt like I made no conscious decision in composing this record besides deciding what preset to start with. Play a chord, next preset, play a chord, next preset. Next thing you know I had a full length. No second thoughts, no months of going back and forth and tweaking like I do with any given Fire-Toolz track.

I know I’ve seen you post tracks on Twitter before that are kind of like this mix and sound a bit like the stuff you’ve done on the Nonlocal Forecast record. Do you, as your name implies, have specific memories about hearing this stuff on the Weather Channel?

 The name Nonlocal Forecast has a double meaning. It is a reference to classic Weather Channel vibes, but it is also (and mostly) a reference to the phenomenon of Quantum Nonlocality, and viewing it through the lenses of both ancient spiritual wisdom and cutting edge physics.

I didn’t have this idea to make a record that intentionally ~channels~ the sounds of 80s and 90s new age, jazz fusion, and easy listening. Nor did I have the idea to adopt a Weather Channel theme. I just wanted to make some music and this is what came out organically and naturally. Probably because I haven’t listened to much of any other genres in the past several years.

As a listener, what specifically catches your ear in songs like these? 

There are melodies or chord progressions that will emerge out of these songs that stop me dead in my tracks. It’s what makes me drag them to my favorites folder. I really love the saxophone as a melody instrument, but somehow a lot of guitars and violins wound up on this mix to fill that role. Sonically, it’s all about the spaciousness, that unapologetically saccharine lead, and the timbre of popular 80s digital synthesizers and MIDI instruments. Put them all together with some jazzy chords and I’m drooling or crying.

Ninety-nine percent of the synth sounds on the Nonlocal album come from VST’s of the Korg M1 and Wavestation, and those instruments are scattered throughout the mix and staples of 80s music in general. I was definitely able to translate vastness, oneness, peace, vivid color, observing the beauty of weather patterns, inner-eye gazing into natural micro/macroscopic marvels, experiencing humanity as a single being. However I am nowhere near the jazz geniuses some of these artists are, and I couldn’t possibly have come up with their melodies and progressions if I tried. I’m coming at jazz fusion from a terribly unseasoned perspective. I’ve no legit jazz background. The Weather Channel raised me, but I was playing metal, punk, emo, noise. I rejected Tony Williams and Buddy Rich and embraced Chad Sexton and Mike Portnoy instead. Yes, Chad Sexton, and that gorgeous-sounding snare drum of his.

New age music sits at this interesting boundary between being functional music (whether for meditation or commerce) and like vaguely spiritual practice. Does any of this inform the way you listen or approach making music like this? What aspects of the packaging—for lack of a better word—of this stuff do you feel resonates with your approach?

 For some artists making new age music, spiritual or nature-themed track titles and artwork was a marketing trend. But for many others, they felt personally drawn to nature, relaxation, simple beauties and pleasures, presence and awareness, love and devotion. Often this music would be specifically presented as an assistant to a spiritual practice from a mystical and contemplative tradition. I think things like nature, relaxation, and spirituality are tight as hell. So naturally this music meshes well with my interests and passions. However my love for the music came long before I uncovered an unquenchable thirst for understanding the nature of reality and experiencing higher vibrations.

It’s all extremely functional music to me. It doesn’t blend into the background. It’s not shallow or plastic. It has a significant personality and value. Even the most bland, directionless sax solo over the most generic 80s electro-pop tune has an emotional depth and safe harbor to it that I could never finagle language to describe.

So this being a pretty focused genre-exercise, do you have any more projects like this kicking around your head? Are there other new directions you want to pursue outside of the Fire-Toolz stuff?

 I didn’t even want to do a new project at first. I felt completely fulfilled with Fire-Toolz and MindSpring Memories because I can do anything I want with Fire-Toolz and it still sounds like Fire-Toolz, and I can use songs I already love as my toolkit with MindSpring Memories. Nonlocal Forecast happened because that emotionally intuitive creative stream was flowing, and I was whining to Max from Hausu Mountain about how annoying it is trying not to get too backed up with new Fire-Toolz material. At the time I wouldn’t have a new LP out for another year and I was in raging MIDI mode, ready to translate insights into rectangles on a grid. I sent him some songs I was working on that were originally intended to be a new direction for Fire-Toolz. He told me to just pick a different moniker, forget the vocals as to separate it further from Fire-Toolz, and they’d release an album of it. Two months later Bubble Universe! was fully produced and mixed. I felt like I had just taken a big pee. All over Max.

There are a lot of sounds that I haven’t explored enough. New age ambient ska with death vocals and mixer feedback maybe? No new monikers, though. Exploring new things is what Fire-Toolz albums are for.

Tracklist: 0:00:00 Fowler & Branca - Etched In Stone (Etched In Stone, Silver Wave Records, 1993)  0:04:40 Brian Bromberg - Sedona (Brian Bromberg, Nova Records, 1993)  0:11:00 Jerry Goodman - I Hate You (It’s Alive, Private Music, 1987)  0:15:54 Tom Grant - Journey Within (The View From Here, Polygram, 1993) 0:21:04 Doug Cameron - Vertigo (Passion Suite, Spindletop, 1987)  0:24:32 Tom Scott - Water Colors (Flashpoint, GRP, 1988)  0:29:47 Checkfield - Live At Five (Through The Lens, American Gramaphone, 1988)  0:34:34 Christophe Franke - Black Garden View (Pacific Coast Highway, Virgin, 1991)  0:39:13 Trammel Starks - Old Town (Gentle Storms, Intersound, 1995)  0:43:48 Victor Biglione - Za-Tum (Baleia Azul, WEA, 1987)  0:49:00 Dancing Fantasy - Happy Harry (California Grooves, Innovative Communication, 1991)  0:53:16 Allan Holdsworth - Dodgy Boat (Wardenclyffe Tower, Restless, 1992)  0:58:42 Maxxess - Castle On The Mountain (Landscapes [1990-1995], Klangdesign, 2011)

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nikashepard · 8 years ago

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Jacob Frye custom DAZ Studio model: Facial morphs/expressions test

I still need to figure out how to properly correct the huge amount of black around his neck (the way UVs work with DAZ textures is quite tricky, you always risk to create a horrible difference between parts, which will result in unwanted seams and color mismatches), in order to make the stubble there a bit more realistic. However, I’d say my custom Mr. Frye is quite ready and waiting for a bunch of new renders and a neverending “Dress Up Game”!

These expressions here come from default and additional morphs into the program and they may look a bit funny in some cases... but considering I heavily altered the original base that was inevitable and totally expected. The important thing is that every morph works nicely nonetheless, even if a few tweaks will be required while posing.

Base model: Genesis 3 Male, DAZ morphs and ZBrush sculpt Face texture: FaceGen (using front and side references) + Photoshop (lots of it o|-<) Hair: Blender (helping myself with the in-game outlines as guide) Beard mesh: ZBrush via Fibermesh Body hair (not visible here): Oh My Body Hair for G3M and ZBrush via Fibermesh Eye texture: In-game reference (obtained through flycam)

I am honestly impressed because this is the most accurate model I’ve created so far. There will always be some minor differences in shape and such, but considering this is a custom product made from a completely different base, a personal touch is not that negative. Only the shilling is left and then I’m done. Check my Patreon for more projects, wips and exclusive rewards!

Coming next: Evie Frye Future AC characters planned: Edward Kenway, Desmond Miles/Altaïr Ibn-La'Ahad, Arno Dorian

Plus more characters from other fandoms (Dragon Age, DmC, Final Fantasy, etc).

Check my custom Connor Kenway/Ratonhnhaké:ton here and here.

HUGE thanks to the amazing @zomgdmc (I could never tag your main blog for some unknown reason) for the very helpful tips and explanations!

#assassin's creed syndicate #jacob frye #daz studio #modeling #3d modeling #zbrush #ubisoft #fanmade #wip

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thedarkhawx-blog · 7 years ago

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GameDev#34 - Convex Meshes Revisited

Last time I touched convex meshes I had just barely scratched the surface; I had learnt how to create a mesh from points and turn this into an object, but not efficiently and the implementation was very naive. However during my spare time over the break I set about trying to make a proper convex mesh generator and I had a few ideas of some advanced features to implement too.

In this post I'm going to touch over my progress with the tool and what the final product looks like, since a large amount of man hours has been spent on this I do not have the time to fully explain every detail in depth.

To begin with I needed to find a way to make the mesh using a proper convex hull algorithm. While I could have written one from scratch there is a very nice library containing convex hull algorithms of 2D, 3D and higher dimensions, written in C#. I decided to use this implementation to save myself time as I really didn't need to be reinventing the wheel.

[1] https://designengrlab.github.io/MIConvexHull/

To begin with I decided to reuse the code some of the code I had previously to generate the vertices and create the actualy mesh object. All I needed to do was modify it slightly so that it properly parsed values into the convex hull generator and could then interprent and convert the output into a mesh that Unity could understand. I also wanted to have a large amount of control over the shape so I also made sure that the code I wrote was able to utilise many parameters without much effort required. Multi object support was also considered, however not implemented yet.

And the result from this early prototype is seen below - I used a DebugNormals material just so I could check that the object was being properly set up.

What was quickly apparently was that the object didn't appear to look like a low-poly model. Low poly models normally have one color per face, but this seemed to blend the colors together. As it turns out, in Unity the normals of an object are stored per vertex and not per face; meaning that the normals across a face will be a blend of each of the normals of the faces' vertices.

This was a problem. I posted a question on the Unity subreddit and recieved a response fairly quickly; the replier told me that my solution was to duplicate the vertices for each face and make sure all the vertices for each face were facing the same direction.

[2] https://www.reddit.com/r/Unity3D/comments/6hc3aa/generating_mesh_normals_from_vertices_and_faces/dix6qb5/

After a bit of tweaking, and adding a new function to duplicate the vertices and fix the normals a low poly solution was found.

At this point I was able to generate basic shapes such as a cube and a sphere and make them look fairly low-poly like. I wanted to expand upon this so I decided to add some new options such as pyramid, hexagonal prism, cone, triangle and cylinder - I still have some other shapes written down but as of writing this I haven't gotten around to implementing them. I also implemented a cut-off percentage variable; this variable allows me to cut off parts of an object. For example if I selected a sphere and set my x cut-off value to be 0.5 I would generate semi-sphere orientated in the x-axis.

Now that the basic features were implemented I decided to add some QOL features before moving onto some of the other larger features I had in mind. Firstly I decided to allow for more than one object to be generated at one time, also with this change I added the option to secify a rotation and position offset for each object. Currently you specify the number of vertices for the entire object and then the generator will divvy those out - I decided to modify this so that the number of vertices were per object rather than for the overall.

An option to specify whether to create a convex collider was added and a few other small features were added. I also decided to begin building a custom editor for the generator since the inspector was becoming very messy with the inclusion of multiple objects.

[3] http://catlikecoding.com/unity/tutorials/editor/custom-list/

In the previous image a field called Pattern and Object Pattern was visible as well as a preview mesh button.

The preview mesh option is a feature that I began working on but did not get very far. The feature went through a few iterations and I have since learned about Unity's handles feature, however the feature has been put on the bench for now as I have decided to focus on more important aspects of the generator.

The next large feature I decided to implement was the pattern feature. While being able to make one object is great, I knew the true power in this generator was to be able to make lots of objects quickly and being able to create different patterns and create large complex objects. I knew I wanted some simple patterns like a grid, but I also wanted to have complex patterns such as arches or shapes.

Actually implementing this wasn't as hard as I thought. All I really needed to do was to modify my current code to remake objects X number of times (determined by the current shape) and then add a function to move and rotate each object to their proper location in the pattern. Then I just needed to implement the patterns themselves.

I also added a few QOL features such as a randomness factor so that you can modify the shape's size, location and rotation by a certain amount. Also a removal chance so that some objects will be randomly destroyed. Another feature is the ability to specify the distance between objects in the pattern.

The patterns I decided to create was a basic grid like pattern (with the option to make it brick like with an offset), a spiral pattern that can spiral up or down and in or out, an arch pattern, a shape pattern (e.g. evenly placing objects in a sphere shape, a cube shape - i.e. grid, a cylinder shape, etc. It can also be hollow shapes), a stairs pattern and finally a splatter pattern (which works by generating seeds in a grid and then "growing" objects around it with a %chance - so that it generates clumps of objects).

One last thing was to add an overall pattern to the whole object. This would copy the entire thing again in the pattern specified. Which is how the bridge below was created - one arch was copied three times.

The last thing that I got to implementing was predefined objects. I knew from the get go that this mesh generator could be very powerful, and I knew that there could be some way to generate more complex shapes rather than just primitive ones. That's where predefined shapes come in.

Predefined shapes are complex shapes and objects that require specific combinations of primitive shapes combined together to create. Predefined shapes are not necessarily convex.

To begin with I wanted to try with something simple - so why not attempt to make a blade of grass. Grass itself had no holes and was fairly simple to model; low-poly grass was basically made up of a bunch of segments put together, each segment made from 2 sets of 3 or more vertices.

To make this grass I needed to break down the object into the individual shapes - for a blade of grass this is just each segment - where each segment is defined as a straight piece of the grass before it turns.

Each segment as you can see can be made from a convex hull - therefore if I simply combine a few convex hulls I can make a blade. I went about this by splitting the work into two main methods.

The first method generated the shape outline, that is it generated the positions of each segment that make up the blade (seen in the diagram below as the drawn dots and lines). These points were then stored and passed along to the convex mesh generator. From there the convex mesh generator would take each point and generate vertices in a disc about that point facing the direction of the next point - exceptions were made for the first and last point, wherein the upwards direction and a single final point were used respectively. Then traversing along the shapes points it would generate a mesh using the previous point's vertices and the current point's vertices - that way the final mesh all lined up.

Once all these segment meshes were made they were combined together and any duplicate faces were removed - i.e. the faces between the segments. This final mesh was then passed to the object generator to be used to make the actual game object.

It was as simple as that. The hardest part during this whole process was getting the shape outline generation correct and generating points in a 2D disc using only a centre point and a normal - this was done by creating a new orthogonal basis to generate the points about (rather than the origin).

The last thing on my list to add was tree support. Now that I knew how to make segments and primitive shapes I believed I could work out how to make trees, since trees would just be a combination of the two; use segments for the trunk and branches, and then use a sphere shape for the canopy.

I encountered a few small problems along the way with combining meshes and utilising multiple materials but eventually it actually worked and nice looking trees were generated. And the method used is almost exactly the same as the method for grass - generate shape outline, however store each segment in an array of arrays, each branch and trunk is it's own separate array of vector3 positions so that the segment hulls don't use the wrong vertices; then store locations for the canopy as the end points of the trunk and branches. With these locations generate the hulls individually and then combine them together in the end using submeshes for the different materials.

And that's it for the convex mesh generator. While it's not terribly efficient it is very powerful and has so far saved a lot of work for the artists. We've had to add some helper scripts to combine meshes, remove colliders, align objects to floor and remove any objects within other objects to help optimise and make the generator great, but for now it does what we want it to do and works well. And there's plenty of room to add new primitive shapes, complex shapes and even CSG support.

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bestnewsmag-blog · 8 years ago

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New Post has been published on Bestnewsmag

New Post has been published on https://bestnewsmag.com/how-the-mac-can-move-to-the-forefront-of-college-football/

How the MAC Can Move to the Forefront Of College Football

There you are, at your favored cozy space to unwind, do some creative work or simply hang out.

The ecosystem is just right, tasty drink inside attains, and you are equipped to type away after which… Out of nowhere, your web browser opens up to a Xi-finite website requesting your username and password.

You brush it off as a one-time annoyance and near the browser. However just like a child begging for interest it comes returned, appears up to you, and faucets in your shoulder asking to move on a web joyride, not once, no longer two times, But On every occasion, you close up the browser.

You may subsequent wireless put this wild toddler in the day trip and get again to your wi-fi area.

The hassle lies inside regions, the general public gets entry to part of the router in either the house or commercial enterprise you’re linked to and the community list in your Mac.

Public get admission to

In Comcast’s in wireless understanding, they have got re-provisioned their routers to allow subscribers to log into their Comcast account and connect with the Internet anywhere carrier is to be had thru the community call “xwirelessnity will-fi”. The ones looking this large availability without a Comcast account are out of success.

This permits subscribers to do matters:

First, it connects subscribers to the numerous routers inside Comcast’s territory, growing a mesh network of public hotspots with just your login information without incurring extra prices in your very own account.

2d, it separates the relationship between the home or commercial enterprise owners from that of the subscribers who briefly connect to the router and does no longer be counted as wi-fi generated from the proprietors of the router.

Now on to getting this wi-fi out of the way.

Mac community listing

The massive hassle with little “Xi-finite Wii-fi” going in your face lies inside a place you have got control over – your network list.

A pair notes on Mac network options:

Because the Xi-finite Wii-fit is an open network, it does not require a username and a password until you log into the community.

Open networks get favored status and are tried wireless when the wi-wireless adapter appears for a community to enroll in.

You can tweak your Mac’s default behavior via rearranging the list within the network panel in System options.

Tweak Your list Of desired Networks

1. In Machine, alternatives click on community.

2. The first network option listed ought to be c084d04ddacadd4b971ae3d98fecfb2a make certain that is highlighted.

three. Next, locate wireless and click on on the Advanced button at the lower proper.

four. You can flow your selected networks better inside the list in keeping with frequency to the pinnacle of that display. locate wireless the “Xi-finite will-fi” community within the list click on it and then click the “-” button to rid yourself of this beast.

I wireless. If your iCloud keychain is lively, click on Do away with (All devices connected to iCloud will also Eliminate the “Xi-finite wireless” network.)

6. click Adequate.

7. click Observe.

Now you do not must worry about Mac’s constantly beginning your net browser On every occasion you need to connect to a wi-wireless community.

Nevertheless, want a bit help with getting a handle on your wi-wireless networks?

Way to Pinterest, card-layouts have ended up very popular these days. This style of web architecture stays one of the freshest web design traits nowadays – absolutely due to the truth that they membership splendor with capability. Let us additionally inform you that this particular design element is appropriate for all display sizes in addition to apps. Both huge and small brands can explore them. these days, we will be taking a take a look at various elements of this shape of layout and looking to wireless out why it is so famous.

What Precisely Are Card-Styled Designs All approximately and What are their wi-fi?

Now, it’s no longer certainly wireless with the intention to understand what these card layouts are all approximately. these are Those container-shaped digital cards that normally contain a few unique wireless piece of data- which is relevant to the primary textual content of the page. But, you would possibly as well attempt versions. You may pass on to offer a part of your foremost text within the box as nicely.

The virtual playing cards are an effective manner with the help of which You may really gift a burst of facts in small portions- so that it receives wi-fault for trap wi wireless to consume records. this is one purpose why it’s so popular nowadays and that’s the same reason why the Website Development Enterprise employed by means of you must be truly wireless privy to this wi-fi trend. This precise design makes it immensely clear for readers to digest the data offered to them.

This design renders a totally prepared look to the whole way in which you gift records.

Why did we characteristic the increase of card layouts to Pinterest? it’s certainly because of the reality that the social networking websites like Twitter and Pinterest are recognized to use this structure to a big extent and have performed a wireless position in popularizing the same as properly.

The vertically oriented digital playing cards can properly be manipulated by several methods. You can either pick out to stack them for my part or for that remember, area them in a grid. While the former sample is more suited to cellular devices, the latter is a better suit wireless for large displays. What more? Both the alternatives come to be looking visually stunning as well.

This wi-fi format is similarly appropriate for the responsive framework. Designers are at liberty to shrink or upload columns to make them suitable for the size of the display screen. In maximum instances, the width of the containers remains wi-fixed At the same time as the height is bendy – which means You can regulate it as per your convenience.

should You Remember Exploring box formed Designs for your Web sites?

Retaining all of the aforementioned Benewiwireless in thoughts, it can properly be stated that card primarily based layouts are simplest poised to develop in the coming years. There is no reason why designers should not Recall them. The best feasible purpose why those playing cards would possibly experience plummeting fortunes is saturation. They will simplest give up to feature in Web sites while they may be overused- when designers will wi-finitely attempt to break far from the mundane and discover something wi-finite wireless new.

Plenty of soccer gamblers knows thoroughly how the markets and odds furnished usually work. But, for The one’s people new to the soccer having a bet might reveal a few problems Even as seeking to choose the excellent odds of their selected markets. Such gamblers should wi-fi it vital to acquire unfastened betting suggestions from person sites which offer the offerings. It’s far essential for new bettors to understand wi-ficaciouslywireless diverse markets and how they work. free having a bet suggestions will only be of wi-fi to gamblers in the event that they realize football having a bet basics. soccer fans have to realize the standard markets earlier than staking their money on any furniture.

There are numerous alternatives to be had for punters to stake their money in terms of soccer making a bet. The hobby of making a bet on soccer video games has come to be so famous that several websites typically provide having a bet tips for his or her visitors. Tipsters often offer free making a bet tips on markets which can be wi-fi predictable. Recommendation on complicated markets is frequently offered to punters on account that their odds are excessive and consequently the returns if a bettor wins the guess. famous markets are explained so that The ones new to football having a bet can without diff wireless recognize in which they’re taking their money and the possibilities of them to lose or win the guess.

The most common form of market to be had for football making a bet is the wireless making a bet. In this form of market, the punter absolutely has to choose the wi-final results of the sport. The alternatives are commonly displayed as 1X2. 1 represents the house group to win the wireless, X stands for the healthy to lead to a draw Whilst 2 stands for the away team triumphing the encounter. This market is regularly very easy to are expecting except in a scenario wherein competitive groups are facing every other. The group that is maximum likely to win the in shape is typically low as compared with the odds for a draw and the alternative group to win. Tipsters are probably to give unfastened tips wherein the wi-final results of the healthy is one way or the other obvious instance in a case where a sturdy crew is dealing with a weaker team. whilst groups of same strengths and capabilities are going to each other, It’s miles wi-fi to choose prevailing odds. In this example, tipsters normally don’t provide loose making a bet suggestions. They either promote the suggestions for the game or avoid predicting in any respect. Lots of recent bettors opt for this market because it is easy to pick and not state-of-the-art in any respect.

Any other not unusual marketplace in football making a bet is Both groups to attain. This market is frequently displayed as GG for Each team to attain and NG for Both teams no longer rating. It is also a good marketplace for most punters. The make became no longer to be had in lots of sites until Betfred introduced it. different betting businesses have considering that incorporated this marketplace in their websites. A predictor can either pick out that Both groups will score or Both groups no longer rating depending on their evaluation or feel about purpose scoring abilities of the groups facing each other. loose betting hints are often given by using tipsters in this marketplace. Punters who aren’t sure which choice to move for ought to wi-find offerings of tipsters who convey thorough evaluation earlier than determining whether Each group will rating or no longer.

The double danger is yet Some other shape of a marketplace available in soccer making a bet. On this sort of marketplace, bookmakers protect the punters who’ve towards any team to emerge effectively in a healthy. Such punters can pick out their favorite team to win or draw the game. The bet will be a winning bet if the group either win or draw the game. Despite the fact that odds of this marketplace are small, several bettors prefer it because it by some means reduces the threat of dropping the wager. loose having a bet tips are often given with the aid of tipsters concerning this market. It is the exceptional market for The one’s punters who need to return a crew which they’re certain it’ll no longer lose the sport. Some other form of the double risk marketplace can be in this type of way that the sport will not result in a draw. Denoted as 1 or 2, this shape of the double risk market manner that both team A or group B will win the wireless. It is the quality marketplace for The ones bettors who are certain that the game will not lead to a draw.

Handicap betting is also a form of market supplied for soccer bettors. This form of market commonly has proper odds, and those who danger it correctly are constantly rewarded handsomely. It’s far wi-first-rate for punters who’ve sure that a particular wireless team will win the wi-fi, however, the odds are not full wireless. Such punters can, therefore, move to this market which involves giving the weaker team one or dreams and Still lose the suit wireless. Punters deciding on this market ought to be very cautious and be wi-fico wi wireless that the underdog group can be beaten by means of a tear iwi wireless margin surpassing the handicap dreams given. If as an instance, an underdog is given a handicap of two dreams and they score Every other intention, the advanced team will have to internet four or extra dreams for the punter to win the bet.

Another commonplace sort of market available for soccer bettors is the underneath/over making a bet. On this kind of marketplace entails the punter deciding on if the general dreams scored in a wireless will surpass a positive quantity. The mark is ordinarily located at 2.wi-fi desires Whilst different bookmakers can area it t 1.wi-fi dreams. deciding on over 2.5wireless goals, for instance, the approach that the punter predicts that the whole dreams scored in the game may be three or more. The marketplace is favorable to most bettors sand loose having a bet tips are regularly supplied in this marketplace.

different markets together with wi-first aim scorer and each time purpose scorer are often given by way of soccer betting companies. Such markets are rare, However common in most effective expert or instead well-informed bettors. It’s miles diff wireless for new gamblers to decide on this market wi-fi when one does not realize the skills of the players nicely.

Football punters ought to be careful while deciding on which markets to wager. Those who are not so certain about their meant selections can are trying to wireless services of tipsters who provide free making a bet guidelines.

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