#I was also trying out some new brushes for line art which was a lot of fun

[mistydragonflyart]

WARM UP 16

Thematically I wanted to end the year with something that parallels one of the first drawings I did this year. I don’t have the words to explain what it means so I hope it can speak for itself.

[ms-demeanor]

hi! i am not sure if you will have good advice for this but your photography guide made me think about this issue. i grew up quite poor (school supplies were a struggle every september) and now as an adult i am not as financially stable as id like. this has made me very scared to use any art supplies because im always thinking that im wasting them on not good enough projects or not good enough skills or similar thinking. however that leads to me having supplies bc of gifts and whatnot (ie watercolor paper) but not using it out of anxiety. do you have any advice? thanks!

There are two ways that I go about getting over this kind of issue:

Get out the supplies right now and start making any marks. Cut a piece of watercolor paper in half. Draw a line down the center of a page in grease pencil. Do anything to just start using it to get over the "can't open it, must save for special occasions/projects" mindset. Once you've broken the seal on a first use, it's a lot easier to use tools or notebooks or paints a second time.

Plan projects for yourself like they're assignments. Give yourself a deadline and materials list, write it up like a school assignment sheet, and then do the assignment.

And, if it helps to think of it this way: you're likely hesitant to use your materials because you don't want them "going to waste," but at the moment they are being wasted because they aren't being used.

It is solidly my opinion that art supplies used for art are never wasted; not all "art" is meant to be kept and a part of the process of creating art is practice, which should lead to massive piles of clumsily made, "bad" art that you wouldn't want to hang up on the wall but is nonetheless a part of the process of making art that you'd want to hang on the wall.

You may be looking at the watercolor paper and thinking "I shouldn't break into this because each piece of this paper needs to be something special to show that I value this gift" but you don't get better at painting with watercolors if you use them on printer paper. You need to use the paper (and the paints, and your brushes) to maintain and improve your fluency with the medium.

Many people are hesitant to "waste" sketchbooks or good paper or canvas or expensive paint because they think they are throwing away the good things they *could* make if only the had the perfect plan and create the perfect piece of art with each page and each new tube.

But these things are consumables. Your sketchbook is not a guitar, and it is not a finished song, it is a set of strings. The lovely watercolor paper is a gift for you to make art with, but it is also a gift for you to *practice* making art with and the practice is just as much a part of the gift as a finished artwork would be.

So you're not wasting it if you just get out your paper and start painting with no plan, or if you "mess up" a piece, or if you just use the paper for practice.

So, if you're trying to get yourself to use watercolor paper specifically, I have an assignment for you:

Watercolor Thumbnails Assignment

Materials: Watercolor paper, 2 colors of paint (your choice), Hard pencil Tools: Ruler, Small and medium brushes, Palette

Instructions:

Using your pencil and your ruler, divide the page into 10 equal rectangles.

Visit this website and click the "surprise me" button. Select 10 artworks to create monochrome thumbnails of. (you can click as many times as you need to, but the goal here is to do thumbnails of art that you aren't familiar with rather than seeking out art that you know well for this assignment)

Reproduce each of the images as a monochrome thumbnail in the ten rectangles you've marked on your paper. You don't have to mix a unique color for each rectangle, but you should mix a few different colors and use only one for each rectangle. For instance, if you are using green and yellow paint, some images should be yellow, some should be green, some should be green-yellow, some should be yellow-green.

Purpose:

To use your materials

Work on achieving different values with single colors by layering or diluting your paint.

Composition study

Time Limits:

Once you have collected your ten images and have your station set up, you should take no more than one hour to complete your thumbnails.

Due Date: July 20th 2024

___________________

If you are not familiar with watercolor, here's a good video on some of the basic techniques for painting with watercolor:

And this is a good example of a monochrome painting done in watercolor; if you want, you can watch the video and use it as a tutorial to practice getting a feel for monochrome painting.

Use this assignment to practice! Make use of the gift that you were given by familiarizing yourself with the medium and thinking about art and working in color.

I'm going to play along too and will reblog this post with my thumbnails on July 20th - anyone who wants to join in is welcome to do so as well.

And everyone please remember: time and materials spent doing something you love or practicing a skill you enjoy are never wasted. Even if you don't end up with a "good" finished product, you have learned something and that, in itself, is valuable.

[gsweazel]

your work is so beautiful!! can you share a little bit about your process when working with gouache and india ink?

thank you so much! and of course I can!!!

it’s a long one…details below!

I use gouache just because it’s what I have to hand, but watercolour would work well, if not better.

I start with a sketch, then a wash of the blue, covering the whole page - it can be messy because most of it will be covered with the black ink. at this point I like to go over the shapes with the blue just to vaguely define the forms.

I like to start with the darkest areas! usually this is around the studs, or the ‘seams’ (if there are technical names pls let me know 🙏). I try not to focus on one area too much at once just to keep everything proportional and remind myself of the overall form! India ink is fab because it dries so quickly, and as far as I’m aware it doesn’t lift once dried, so I can go over the fine details to add reflections and shading! when I do the shading, I treat the ink like watercolour - I dilute it heavily, going from light to dark. you can always add more pigment later!

I always forget to take photos as I go along, but hopefully this kind of illustrates what I’m yapping about

I was very silly and forgot to take my brushes with me to uni… buuuut from memory, I think it’s a ‘round’ brush? it can carry a lot of ink but tapers to a very fine point at the end, allowing for the teeny tiny details on the armour, as well as the larger washes of pigment. this is a4 paper for scale (I think that’s around 8.5 x 11 inches!) I use a bigger round brush for bigger areas! I also loosely sketch out the details in pencil before painting but the drawing is usually more ambitious than what I can realistically achieve at this scale - the squiggly lines were the hardest! I tended to depart from the reference at this point and make up some organic shapes. basically the smaller scale means it’s no biggie if you do make a mistake!

I use bristol paper - super smooth surface that holds the ink really well!

it’s a little different for my first knight though (below)! still started with the blue gouache wash, but I used fine liner pen. I think it’s either 0.5 or 0.3 - leaning towards the latter just because of the smaller details! this is a less forgiving medium imo, but super satisfying. I used black gouache to fill in the background for this one - I didn’t have any inks at this point. I’m working on a5 paper here in a moleskine notebook, so it wasn’t really meant to be damp.

also I am still bad at taking photos of my art - but I am getting better! I scanned the painting, then adjusted the shadows (just using the photos app). literally the only edit is turning ‘shadows’ down to -100, but you can see how much of a difference this makes! I’m including this because it’s always so disheartening when the camera doesn’t pick up the artwork properly. something I struggle with when using ink is getting an even surface with large areas of undiluted black, which is why I tend to adjust the contrast. if anyone has any tips on this I would appreciate it!

apologies for the very long post - if there’s anything else I can clarify please let me know!! I’m quite new to tumblr so sorry if the formatting of this post is a little off.

unfortunately I have just gone back to university, so it will probably be a while before I have some art to post - I also left all my art supplies at home… whoops! maybe this is a chance to improve my digital art!!

and thank you so so much for all the notes on my previous post! I read every tag on reblogs and they always make my day <3

[eemamminy-art]

My art process, more or less

Hey, so a lot of people have asked me before to share some of my art process. So when drawing a recent quick personal piece I decided to finally take screenshots as I went to make a write-up. This is the artwork:

And below the cut is all the steps as I drew this. I wasn't counting the time but I think it was something like ~5 hours between two sessions.

This is less a tutorial and more just showcasing how I draw. You know how writers sometimes call themselves a planner or a pantser? I'm a pantser with art. When I try to plan stuff out too thoroughly I get stuck in the mindset of like, it HAS to be one way and I can't improvise. Improvisation and pivot is kind of essential in how I draw, and I recommend everyone trying to not be so rigid when drawing if you can help it. I'm kind of all over the place and winging it through most drawings so I hesitate to call it a tutorial as I feel it would be hard to follow for beginners. I can only manage to draw this way because I already have some classroom training, thousands of hours and artworks under my belt, and a pretty strong sense of visual recall that gives me a good sense of how to eyeball proportions and the like. Okay, disclaimer done, let's jump in I guess

I had an idea to draw my OC wearing a layered shirt combo that I saw in a cat video and I thought suited him. You'll see the snippet I took of it in the corner of the canvas throughout, but that's where the idea spawned. I began with just trying to get the basic gesture and flow of the pose. I was constructing it from my head, as I most often do (I don't recommend this, but I am usually too lazy for finding pose refs)

I flip the canvas and use the lasso tool all throughout and just continue to push and pull on the body shape and gradually add more substance to it until I'm satisfied with the undersketch

Once I feel like the undersketch is what I want it to be, I lock the transparency and reduce the opacity to 15%. You could also just change the colors on it if you'd prefer, but I've done that and then drawn on the wrong layer too many times lol so I prefer to just lower opacity. Then I make a new layer at 100% opacity and start to draw the clean sketch on top.

I'm making changes to the pose and expression as I go, as you can see I ended up shifting his head away from where it's positioned in the undersketch

I achieve some of the effects in my art, especially the line weight, through setting the colors to transparent and continuing to use my sketch/line brush so that it now acts as an eraser but maintains the same texture and size as my brush strokes. I use it to cut away excess lines, and also add transparency to stuff like having the eyebrows be a suggestion beneath the bangs

I redrew parts of his face, neck, and hair several times and questioned what I was doing with my evening (normal part of the process) and eventually ended up with this:

I realized the hands were way too vague in my undersketch so I went back to it to try and figure out the hand pose better

And here's the finished hands. Well not really finished, I continue to mess with line weight later, but this is basically their final form

And this was basically the finished "lines" (it's still a sketch to me because I use this rougher brush, but people always refer to it as line art. So I guess it's line art), with the undersketch on and with it off

Of course I took one look at the art above and said "something's wrong" lol but I was in a bad mood and it was late so I went to bed. I came back the next day and began tweaking it, using my beloved lasso tool to adjust his face somewhat which helped a lot

I then proceeded to add some more line weighting, adjusted proportions further, and toned down the folds on his jeans because there was WAY too much focus on them lol. Side by side to show the differences:

Okay now we can start colors. And I know this is the thing you're all here for, the skin rendering. Well, sorry to burst your bubble, but it's mostly just magic with textures and layer modes! I make a flat color layer for the skin base, and three layers clipped above it (clipped meaning, they lock to the alphas of the base layer). The first layer clipped above is set to 100% opacity with a normal layer mode. This is for color variations on the skin like blemishes, freckles, lips, tattoos, hickeys, and in nude works, nipples and genitals. In this artwork though, it's just his lips.

The top-most skin layer (three above the base) I set to 40% opacity and hard light mode. This is important, but can be adjusted. You can use multiply or soft light if you want, or adjust the opacity, really mess with it. But this is fore the texture on the skin. I use a custom airbrush that simulates skin pores, and I use a saturated orange color and dust it all over his skin

Next is what I normally like to call blush but it's all over, so it's really like. Definition? People call it rendering and I suppose it's kind of like that but in my head I'm just being lazy to make my flat colors look better and not have to actually do proper shading on the piece! But this is below the pores layer (so it's two layers above the skin base) and it's also set to 40% opacity, hard light. Again, use your discretion and play with it. I use a dark red color for this, it leans slightly pink but it's still fully red I'd say. Like a wine red I guess? And I just start defining shapes of the body, and deepening it in areas that actually would have a lot of blood flow (like the cheeks or ears)

I basically do it like this: I use the same brush that I use for blending when I am doing actual rendering (it's just an oil brush with a chisel tip that I got off the assets store, though it is currently unavailable last I looked) and I block out the area darkly. Then, I swap my color to transparent once again and I use that to carve out the midtones. I use a light touch so I can blend it out really nicely but I do leave some hard edges where it feels appropriate.

So satisfying, so beauteous (★ ω ★) Then I just add in the rest of the colors, putting them in their own layer so I can easily edit them later.

And edit them I did. What is this color scheme?? Whack lol I color picked the shirts from the video I was referencing.. and realized I didn't like it. So I tweaked the colors to better match Mal's earthy color scheme. I also colored the lines by locking transparency on the line layer and coloring over it in a deep red.

Lastly, I made some little edits to line weight, gave him his fuzzy arms (essential, and also? Charm point) and used a deco brush from the clip studio assets store for the background. Here's the finished artwork:

And here's the deco brush, if you wanted to download it:

[beryllineart]

New Favorite Brush

I don't know, I've been looking for a brush that has a sort of messy or rough quality to it so it doesn't feel so digital, but pencil brushes, while great for sketching, are a bit too rough looking for my taste. I tried out this brush during a random sketching session and oh my gosh, the flow of it is so nice. It is so much easier for me to do thick and thin lines, and it's actually a lot of fun to try putting on hatching. It's so expressive, and it's making me like art again.

Also, I like the idea of Gaster being the "man who speaks in hands" because he's deaf (or hard of hearing). I'm taking an ASL class right now, so I'm signing every day, and my teacher is crazy good at communicating. Her stories are the best (and more than one have been about her getting pulled over by the police).

Anyways, I think it would be a really fun challenge to draw a comic where at least one of the characters is deaf or just doesn't speak. (In some AU stories in my head, Frisk has selective mutism and sometimes prefers to sign). And the thing is, drawing sign language has its unique challenges. When you write about someone speaking in sign language, you can just describe some of the signs and provide translation. When you animate or film sign language, you can capture all of the necessary signs on the screen. But in a static drawing, you can only do one sign, you can't make or describe the necessary movements, and the difficulty with comics is choosing which signs to illustrate. Luckily, there are rules, and I know the basics, so I might try a comic with sign language in the future.

[o0kawaii0o]

Had issues with layout in the ask post so here's the rest!

However 1 artist comes to mind for now and that's Murata Yusuke; I'm rereading Eyeshield21 (again lol) and each time his art makes me go "wah so damn good".

From colours, to how dynamic and alive pieces can feel, to lighting/shading, to textures, etc. Lot of the pieces also have this feel of mundanity in it which I really like, and I also how at time I feel like I'm there as well. I love the mixture of realism in lighting/shading (and at times anatomy) with the manga/comic style!

The last image also was a bit of an inspo for my latest Luffy art!

As for tutorial, I might elaborate in another post at some point (cus it's quite a broad thing to go about). Like I've mentioned before, I'm soaking up things along the way! Which includes things like colour theory, lighting/shading, composition, etc. But I personally don't recommend forced research/practice; art needs to be fun after all, take things at a time but it might be nice to try something new with each piece, however how subtle.

I can recommend Saito Naoki's YT channel! I watch his 'whimsical correction' videos during lunch at times haha - Each 'correction' (more like professional advice) has a certain goal/theme which can be improved upon, which can be story wise, appeal, anatomy, etc.

--

Anyway, some advice I have for now are kinda my 'cheats' will follow now! [Disclaimer: these are things that work for me and are by no means the 'correct' way of doing things. So if I say things like "avoid this", it's something I personally do.]

My strength lies I think mostly in my lighting/shading at this moment!

My flats aren't bad or anything, but I feel like it really comes alive after shading. And the first thing to do is to establish where the light source is. Try to avoid 'pillow shading', work in bigger shapes and don't be afraid to do so. Working digitally, I can recommend to take a big brush and just put it very roughly on your character. You have the means with digital art to easily erase parts that are too much and to refine shapes afterwards.

One cheat is bouncing light.

(This was a Multiply mode layer set back to Normal mode for sake of visibility.)

You gotta have a bit of understanding of volume of where to apply it, but it's light that's been reflected by e.g. the ground back up again. This little variation in shading can add a lot. Note that it's better to go from the OG shading colour and sliding it on the colour wheel (hue) to be either warmer or cooler and then sliding in the square/triangle (saturation and value).

More examples of bouncing lights:

It depends how intense the light is reflected; the more, the harsher the contrast is compared to the OG shading colour.

Second cheat is 'light terminator' and 'substance scatter', not sure if it's really the correct terms but oh well.

This reddish tone (again on the Multiply shading layer) is kinda the border line from light to shade. It's reddish on skin (if you have red blood haha) but you apply it on other things with other colours too!

Make sure you don't overdo it and put it everywhere, also note if you use harsh or blended brush strokes, maybe even both for variation! Try it out and see what works best for you!

--

That's it for now; this took more time out of me than planned 💀 you better appreciate this anon! /jk

My main motto regarding art is "fck around and find out". This mindset also helps with keeping art fun!

[amustikas]

hi!!! <3 I love your art so much <3 your style is soo good, especially your coloring, it's so pleasant to look at <3 also, mind if I ask what kind of software and brushes do you use? The texture of the sketches, lineart etc. look so nice and I was wondering if there's something like that it Photoshop. Have a great day! <3

Hello!! Thank you for your sweet words!! <3

I work on procreate and mostly just use these two basic ah default brushes. I am sure photoshop equivalents exist for both of them out there somewhere!

And since I work a lot with these two I thought I would give ya some extra insight into how exactly I put them to use :)

The 6B Pencil brush has got to be my all time favourite brush and I use it for literally everything!

From rough sketches..

to lineart..

to colouring and details.

This brush is quite pressure sensitive, so you can achieve many different variations of size in one stroke by changing the amount of pressure you apply by hand. Through it all, it maintains it's relatively rectangular shape and brings with it soft grain like texture.

Come to think of it, I think I drew this whole next piece with only the 6B Pencil, start to finish. I think it really goes to show that in the end, it's not really about what brushes or software you use, but about how you make them work for you and how much fun you have while creating. I find that the drawings I have the most fun with end up being my favourites in the long run.

And to me, the 6B is just a damn fun brush to use!

It is perfect for adding silly little shapes and lines all over the place :)

And the other brush I find myself coming back to is Salamanca from the Painting category.

I use it for filling in bigger areas of colour and just colour blocking in general. I like it's subtle canvas texture and the fact that it is not entirely opaque by default, which allows for interesting variations of hues.

But that is not all! I like to size it down to use it to add details and colour to my portraits. I find that it's softness works really well on faces and it's transparency makes it easier to bring in variations of colour.

And would you look at that! More shapes and lines! It's really all I know how to do haha

At the end of the day, I try to just enjoy the process of drawing as much as I can :)

I find that young digital artists often put a lot of emphasis onto finding the correct drawing software and brushes. And while that is important, I find that it is equally as important to throw caution to the wind sometimes and to just try out new things and to not care so much.

I mean hell, people create masterpieces in MS Paint!

My drawing process usually boils down to simply trying to ensure art stays something fun for me, and these two brushes have helped me achieve that over the years.

Hope this has been some help and not all pure gibberish!

[sunderingstars]

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✩ ‧₊˚ ⌞ EIDOLON NAMES AS NARRATIVES ⌝

analysis masterlist

— fandom: honkai star rail

— type: analysis, general

— word count: 1.1k

— overview: (as of 2.3) a look into the potential narrative meaning of eidolons and their various titles. meant to be a companion piece to my eidolon art analysis & sampo eidolon analysis (as well as any other characters i do down the line!)

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As of now, I have four main ideas as to what eidolons mean:

— Linear Development: Tracking from a character's past (or backstory) through the present and sometimes into the future.

— Birth and Rebirth: Following linear development until a "rebirth" moment at E6.

— Cycles of Day/Night: Progressing through different time frames as the character goes about their day.

— Least Vulnerable to Most Vulnerable: Showing the character at their least vulnerable (E1) before bringing them through eidolons where they get progressively "weaker," eventually ending up at their E6 where they are the most vulnerable.

Side Note: While there are characters whose eidolons seem to center around specific fighting styles or moves (i.e. Seele, Yanqing, etc.), there can still be a narrative interpreted from them — i.e. following the linear moves of their weapon as they fight.

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First, I’ll start with the most straightforward — linear development.

When looking through different eidolon sets, I noticed that many of them contained references that lined up with the character’s backstory and development, usually tracking from the “beginning” of their story to the “future,” where they are now, or where they might be going.

As of the time of writing this (2.1), Aventurine is the latest character, so let’s use him as an example:

Here is my interpretation of E1-E6:

— “Prisoner’s Dilemma” (E1) signals his time in slavery as he tried to figure out how to escape.

— “Bounded Rationality” (E2) describes him operating in these confines to achieve a goal.

— “Droprate Maxing” (E3) refers to his deal with the IPC and him trying to max out his success in joining them.

— “Unexpected Hanging Paradox” (E4) has to do with the new paradox he finds himself in which is how the IPC is yet another cage.

— “Ambiguity Aversion” (E5) leads us into Penacony and his inner self-reflection on why he seems so confident in gambling everything he has.

— “Stag Hunt Game” (E6) describes Aventurine going forward with his mission deeper into Penacony’s depths (with Stag Hunt Game referencing a conflict between safety and social cooperation). For me, this tracks fairly neatly through the stages of his life, eventually ending up at where we know him today.

Similarly, eidolon sets like Welt’s and Clara’s speak to a narrative development as well. Himeko’s is the most obvious, I think, as it literally starts with “Childhood” and ends with “Trailblaze!”:

This is one of the main features I’ve seen within eidolon sets, with some tracking more neatly than others.

Additionally, I’ve seen a few that continue this development but seem to hit a “rebirth” moment at E6, like with Lynx (which also ties into the idea of a day/night cycle):

Here, we can see different times of day progressing normally, except instead of ending at “night” it ends at “dawn."

Similarly, Blade’s E6 literally has the word “reborn” in it after progressing linearly from E1-E5:

My conclusion from this is that this is specific to certain characters like Blade where “rebirth” is technically a part of his linear progression, or Lynx who spends lots of time in the wilderness.

As for the day/night cycle, Lynx and Guinaifen are the best examples I’ve found.

Guinaifen especially seems to have her eidolons as a microcosm of her typical day, tracking from eating breakfast to brushing her teeth to performing various acts for entertainment:

However, I also believe this to be dependent on Lynx and Guinaifen’s specific character traits, like Lynx operating off of a wilderness survival timeframe and Guinaifen having a regimented life because of social media.

Lastly, it is possible that eidolons are also meant to show a character’s progression from least to most vulnerable (with E6 literally being the most vulnerable physically as there are no clothes on the character).

I find Pela and Herta to be the most interesting in this regard, as they both have E6s that very much remind me of “vulnerability” for different reasons.

For Pela, her E1 starts with “Victory Report,” an act that often shows strength and confidence, yet her E6 ends with “Feeble Pursuit,” something much more vulnerable. Additionally, her eidolons track from “adamant” to “suppressive” to “analysis��� to “jeopardy,” which seems to hint at a slow loss of control before reaching “feeble pursuit:"

On the other side, Herta’s eidolons start with her in a position of authority and security — being able to kick someone while they’re down — but end in the idea that “No One Can Betray Me."

Her eidolons seem to go from a genuine position of safety to a delusional self-confidence, the kind that often leaves people extremely vulnerable; when you assume no one can betray you, that ego can blind you and make you more susceptible to the thing you don’t believe will happen.

We can also see this confidence build from objective strength to hyperbolic self-confidence through the transition from action “Keep the Ball Rolling” and “Hit Where It Hurts” to cussing big (which can often be seen as a cover-up for inadequacies):

Again, I find these highly dependent on the characters’ personalities, but it is an interesting trend regardless.

Overall, most eidolon sets seem to follow some sort of narrative, whether that be one interspersed with day/night cycles, vulnerability cycles, birth and rebirth, or just plain backstory-to-present references.

I’m sure there can be more interpretations sourced from these (especially the sets in other languages like Ratio’s and Kafka’s) but these are the personal conclusions I’ve reached!

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જ⁀➴ if you’ve read to the end, thank you for listening to my nerdy rambling! i’ll be posting an in-depth analysis of sampo’s eidolons soon, so if anyone is interested please keep a look out for that!

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© analysis by sunderingstars. do not copy, repost, translate, modify, or claim my work as your own.

[bristof]

Dragon Age: The Veilguard Should Have Been Rated T

Spoilers for the entirety of Dragon Age: The Veilguard

I can't fathom how Dragon Age: The Veilguard exists in the way it does. Every now and then a game will come along that is so baffling in its design that I spend more time wondering how they came to certain decisions than thinking about the actual content in front of me. I'll start with the things I liked, which is unfortunately, not much. I found the combat and some of the exploration elements to be pretty fun and reminiscent of the recent God of War games, a comparison I'm sure you've heard before. Some of the overlap is pretty hard to overlook, the exploration and level design philosophy in both games are VERY similar and you can feel it with the small puzzles you do, the party members having different abilities that can interact with the world, looting, gear progression etc. While none of these ideas are new to games like this, even with God of War, it's the most recent and apt comparison I can make based on how the game feels to play. While I am a bit disappointed that you can't control party members in full like in previous installments, it makes sense for the combat framework here. Build crafting wasn't as flexible as I would have liked it to be, but I still found it to be fun a lot of the time. There's enough variety present within build crafting and itemization that I never found myself brushing it off just so I could get through the game, unlike some other aspects. I played a mage and landed on a hybrid necromancer evoker build that I was really enjoying. The other thing I liked is a double edged sword that will transition into what I didn't like about the game, which is basically everything else. The art design is a mixed bag to say the least. On one hand, the environments are stunning, there isn't a single location that isn't beautiful to look at. Some stand outs being Arlathan, Minrathous and The Crossroads. Another point for the art design is the sky box tech they used. Veilguard might have the most beautiful and detailed sky boxes I have ever seen in a video game. Unique lighting techniques are used in some areas and the sky boxes fully take advantage of that. Also it had been said to death but I cannot get over the Qunari design in this game, they look like direct descendents of Yakub.

Tone is a difficult thing to set and stay consistent with in any story, especially one that is meant to be experienced for 25+ hours. Veilguard fails to set a consistent tone on almost every level. This is a considerable step down from previous Dragon Age games in terms of everything related to writing. This game revolves around trying to kill two "gods", from act 2 to 14, that is the main goal. Except there's almost no consistency with how dangerous and powerful these gods are. What do I mean by that? One of the big shifts in tone is at the beginning of the game when you go to D'metas Crossing and find a terrible mess of alien looking biomass and corpses strewn about everywhere. Up until this point, Veilguard had been relatively light hearted with you exploring a magical, colorful forest and meeting characters that present no friction to any dialogue choice you make. Then you're thrust into this town with people mangled everywhere, you can see bodies that were trying to escape only to be caught by something and reduced to a skeletal shell, devoid of their outer layer of skin. It would have been an effective shift, except right after this we go back to happy go lucky dialogue and characters. When you go back to Arlathan and tell some of the people about it one of them goes "First the darkspawn and now this, all of this is getting very scary!". While this line was so bad I laughed out loud, it signaled to me that the writing in this game is probably not going to get better. Later on the gods wreak havoc on a city and you have to choose one to save, one of the most impactful choices in the game. However the city you choose to not save, while looking a lot worse for wear, doesn't feel all that terrible, especially when compared with D'metas Crossing from earlier. There are a few more moments I could make an example of but the bottom line I want to make is that both of the gods do not present as a threat save for a few moments towards the end of the game. Solas should have been the main antagonist of Veilguard, he is by far the most compelling and well written character and is with you the entire game. Knowing that this game used to be called "Dragon Age: Dreadwolf" it's pretty easy to assume that this used to be the case for the narrative and was later changed.

The most disappointing thing in this game would have to be the party members. There are 7 of them in total and I only really liked 4 of them. However, I didn't do many of their companion quests as I got to a point where I didn't want to do side content anymore and just wanted to be done with the game. That left all of their stories unfinished and it's baffling how little characterization these characters get within the main story. Some of the characters have major moments within the main story that relate to their quest line, but that only counts for 2 or 3 of them depending on how you look at it. I'll leave the thoughts on the side content for later, for now I want to go through each party member. I don't have much to say about Harding as I found her to be a pretty nothing character. She has some moments during the memories of the Dreadwolf quest that leave her with interesting questions about her people and their history, but other than that she felt like such a nothing character. I can say the same about Bellara but she had a bit more charm with her energetic personality that endeared me to her a bit more. Neve is cool, she has better dialogue than some and worse than others, very middle of the road. She is focused on Minrathous and really really cares about Minrathous, that's her entire character. By itself that's not a big deal, Lucanis is like that but with Treviso, I just found it to be a bit redundant since my Rook was also a Shadow Dragon that cared about Minrathous a lot. Emmrich is really awesome, I really like the spin on a necromancer being really nice and posh. He provides the most insight during the group discussions and has funny banter with the other characters. Lucanis is probably my favorite, during the main quest he falters and doubts himself and changes quite a bit. I kept it pretty short for most of the characters since I don't have much to say about them. While I liked some of them, none of them left a lasting impression on me. Davrin and Taash are interesting in what they represent rather than their actual character. Taash is pretty compelling, kinda? Their journey of self discovery is handled pretty weirdly. During my playthrough, they have one conversation with Neve right after they join the party and then decide they are non-binary. I love seeing representation in games but this felt very "hey guys look, we have a non-binary character!!!" rather than something genuine. Especially when the rest of their questline has to do with their cultural identity and that you basically tell them to choose rather than say "hey you don't have to be defined by either groups of people because you are your own person". It's a very cool idea to flesh out a non-binary character in a long rpg like this with both their gender and cultural identity, it's just handled poorly here. Another thing that upsets me a bit is Davrin. I like his character quite a bit, however, he represents the step back the Dragon Age games have taken with Veilguard in terms of mature themes. Race has always been an important theme in these games, I played an elf in Origins and that decision heavily affected me for the entire game. Yet here things are all of a sudden just more tolerant? They mention how elves are still heavily discriminated against, Bellara says it a couple times but most of it comes straight from Davrin, I played an elf for Veilguard and all it changed was that I could say something about the gods every now and then in conversation. None of the discrimination present in the other games is here in Veilguard, which is crazy because the plot of this game should have amplified that idea tenfold. The gods threatening the entire world are elven and everyone knows it. That is a ripe opportunity for upsetting and insightful storytelling and all we get is Davrin saying "Elves really have it hard" every now and then.

I skipped most of the side content in this game, and I was heavily punished for it. The game tells you a few times that you should do the side stuff and I ignored it for the most part, this led to me getting the "bad" ending where every single member of my party, myself included, died, saving the world in the process. My issue lies with the lack of decision that led me to this ending. There were no dialogue options throughout the game that I could have chosen to prevent this and get a better ending. The game basically said to my face after the credits rolled "If you did the side content you would have gotten the good ending". I do not think an rpg that prides itself on the choices you make affecting the narrative should work like this. That's not even mentioning the lack of choice you have in regards to anything in this story, you make decisions don't get me wrong, they just don't affect much. Even with the party, 9/10 times everyone in the party agrees with everything you do, I only saw the "X character disprove" pop up maybe 3 or 4 times and I was choosing the meanest options you could make sometimes. The worst part is, I found the ending I got to be the most affecting and emotional part of the game. My home city of Minrathous looked like D'metas Crossing, everything was terrible, all my party members were dying one by one, leading to my character sacrificing himself to save the entire world. It was the dark and desperate tone the game was teetering on the edge of for the entire runtime come to fruition, and directly after Veilguard gives you a text pop up that basically says "you didn't do the side content and everyone died because of it". A final slap in the face after Veilguard actually made a risky choice, I should have been the one wondering what I could have done differently after the credits rolled, wondering if I had helped the party with their personal issues if things would have turned out differently, wondering if I had helped the various faction prepare for the coming battle if we could have won with little to no casualties. Veilguard disguises itself as a narrative choice driven rpg but there is a story it wants to tell, it does its best to push you in the direction of the ending they want to show as it would be consistent with the rest of the pg-13 writing the game has to offer. I wish we could have seen what the original concept of this game would have looked like, when it was more Dreadwolf and less Veilguard.

[charon-cries]

Hiya! Hope this message finds u well :3 I absolutely love your art; found you from insta! Quick question also; I’m not sure if you’ve answered this before, but which brushes do you use for ur digital art? I love the textures they’re so crunchy (endearing)!! Have a lovely day!! :D

hello!! here's a little brush tour ft. this half rendered martin.

also, a great app for ipad artists who really want to dig into texture is art set 4. i swear by it and i've been using it for about two years. none of my more recent art uses it, but that's just because i'm experimenting with my process rn

so here's a list of my most used brushes lately, and there will be links to all of them at the bottom of this post.

the two labeled "custom pencil" are both my own personal modified pencils (both sourced from the 6b pencil) but the narinder pencil and the vanilla 6b pencil are both very similar to them. i use these two for sketching and flat color specifically, and if you do specifically want these two brushes then i'd be happy to upload them somewhere for you to download, but they're not really necessary for texture

i also use G&B halftone brushes sometimes! but i greatly prefer the RSCO sample pack, and i cannot find the link to the G&B brushes no matter how hard i google, and pretty much any halftone brush set will do the same job

and here's what they look like in practice!

(i like to set these halftones to color burn. color burn is my most used blending mode, even for shading)

and then i hit "copy all," paste, and duplicate it. so you should have two layers of just your entire canvas. then import a paper texture

i'm partial to the set i'll link down below, my favorite is #5. you should absolutely check out the rest of the free texture packs on their website if you're wanting to diversify your texture process btw, all of their stuff is fantastic.

to use that texture, your layers should look like this!

on the layer set to the linear burn, i also like to go into the adjustments menu and bump up the brightness until all of the colors are at similar values to what they were before. and the normal layer on top is just to control the intensity/opacity of the paper texture!

after all of that, sometimes i'll go in with brushes like MM rake follow, or more from COFE's weird pencils, on top of all of those layers for finishing touches.

definitely play around with it, try new free brushes all of the time (i heavily recommended subscribing to Manero. they have a lot of free stuff and it's all fantastic) and see what works for you <3

here are the links to the brushes in this post, as well as some extras! some of them are paid and some of them are completely free. + it wasn't mentioned here, but i use the tatyworks linen fabric brush for blending! for any of the paid brushes, i'll try to link some free alternatives

paid brushes:

alternatives to paid brushes:

free brushes:

extra goodies:

[weemsfreak]

Full Circle -Par 3

Part 1

Larissa Weems x fReaderOC

Summary: After Prudence's fathers death, she struggles to get back to her sport, golf. Larissa finally has time to indulge in her long forgotten sport as well, meeting some friends and culprits along the way. Both women hope to find joy on the course, but will they find something unexpected as well? ~6.9k words.

✂ Song that goes well with the fic: Dear Prudence by Siouxsie & The Banshees (linked at bottom)

Note: Hi everyone! So, many people seemed to like the idea of Larissa being part of a country club. I chose golf because I'm more familiar with it than tennis or anything else. There were so many ways I wanted this to go, so I hope that I met your expectations! This is pt 1 of probably 2. (If anyone else wants to be tagged in pt 2, let me know)

Warnings: A bit of misogyny, harassment, alcohol

@dopenightmaretyphoon @danverssawyer @dingdongthetail

Also, you're welcome for blessing your eyes with this image. I wanted to create digital art of her, but I haven't had time, so this is partially AI generated.

☼☼☼

Larissa's life had always been busy, excessively busy. For years, she had been caught up in the rollercoaster of a journey to becoming a teacher at Nevermore Academy, and eventually the Headmistress. She has had little to no time for herself, even during the summer months. However, about five years ago, a weight had been lifted. Well, it felt lighter, as she now had time. Time to return to a passion that she had long neglected and missed dearly. 'You're not getting any younger', she reminded herself. 'Get back out there'.

With that, she found herself at a golf club just outside of Jericho, purchasing a new set of clubs.

After playing alone for most of the season and getting back into the grove of things, she crossed paths with a trio of seasoned golfers: Tom, Glen, and Richard. They had noticed her playing by herself a few times, and one day asked if she would like to join their group.

"What's a pretty little thing like you doing playing alone?" Richard asked, winking at Larissa. The headmistress scoffed at the label, 'pretty little thing'. "I'm just getting back into the swing of things" she replied, trying to brush off his comment. "Come play with us, we've never had the pleasure of playing with a young lady before" Richard replied, wiggling his eyebrows. Tom chimed in, "Yeah, we could teach you a thing or two."

Larissa reluctantly agreed to join the men, and found that their persistent staring during her address wasn't doing her any favors, as her shots were less than ideal. About halfway through the game, Larissa regained some confidence, and started putting more power into her shots. "Pretty good, for a woman" Richard commented with a sly smile. Larissa rolled her eyes at him.

Despite Richards teasing and rude comments, the older men had recognized the potential in the younger woman. They knew that she had strength hidden behind that 'slender frame of hers', as they called it. Hell, she already had the precision.

"I'll make you a deal" Richard smugly said, smirking up at the woman. She straightened her posture and nodded down at him, "Alright." Richard observed Larissa's clubs, noting that they were top of the line. Perhaps money wouldn't motivate this woman. "You got a very nice set of clubs there, it's clear that you have potential. If you beat me on this hole, I'll give you $100." Larissa raised her eyebrows, a bet? She wasn't motivated by the money much, but beating this elderly man and showing them up, well, that was intriguing. "Deal" she said confidently.

As it was, Larissa put her all into everything that she did. Her drive sent the ball soaring with remarkable distance and precision. When it came time to putt, she had hope that she could beat Richard, for she prided herself on her putting skills, which for a lot of people was not a forte. Larissa and Tom managed to finish with a birdie, and Richard and Glen on par. "Well I'll be" Tom marveled. Richard let his eyes rake over Larissa's tall form, a smile pulling at his lips. "She has talent and beauty gentlemen, she's a keeper." Larissa couldn’t' help but shake her head at him as she let out a giggle. "Here you are" Richard said, handing Larissa a crisp hundred dollar bill. "Don't spend it all in one place."

Larissa continued to play with the three men for years, earning their respect and forgoing genuine friendships. She learned a lot from them, not only about golf, but also about life. When a golf season ended, she looked forward to the next. But, as fate would have it, after three seasons Richard didn't show up for golf. Tom and Glen solemnly informed Larissa that he had passed away. She silently thanked him for what he did for her, for he had turned her into a better golfer.

☼☼☼

You have been playing golf since you were a child. Over the years you have learned all the ins and outs of the game from your father, who had been a professional golfer himself at one point. His passion, and yours, for the sport was unmatched. Together you dedicated countless hours to perfecting your swing, honing your putting, and mastering every aspect of the game.

After your fathers passing, you found it very hard to muster the energy or motivation to play, especially without him by your side. Yes, you were grieving, your father and the game. It felt like when you lost him, that part of your life was lost too. Golf, for you, was lost in translation, out of the question, and thrown into the abyss.

And that was how you felt, for the longest time. That was, until your most recent life changing decision. You quickly fell in love with the mountains, greenery, and breath of fresh air that was Jericho, Vermont. You had never ventured far from your hometown, but now, you figured it was time.

Your father had gifted you a set of clubs once you had stopped growing. They were the latest models at the time, and they suited you perfectly. The only club in your bag that was not so new, was your driver. When you were younger and your father had stopped playing professionally, he had gifted you his pride and joy, his driver. After years of wear and tear, though, it was becoming a bit shabby.

You pulled up to the golf course just outside of Jericho, 'West Bolton Golf Club'. You had been here a couple of times recently, your first time back out was harder for you than you had anticipated. Yet, after not playing for a long while, you were still as good as ever. A tad rusty, you will admit, but you thought your father would be proud. You stood your clubs next to a table outside the clubhouse and opted for a sandwich before teeing off. You hummed quietly as you ate, soaking in the sun and the warmth it brought you. It was a beautiful day for golfing, gorgeous in comparison to the other days that you were here.

As you sat and ate, excited to get out on the course, you heard some men laughing at a nearby table. Old men jokes, you thought, never really funny. You turned your attention to them as you watched an older man reach his hand out and playfully swat at a woman's arm. They were all laughing, seeming like they were genuinely enjoying each others company, it made you smile. When you were finished with your sandwich, you walked to the trash and discarded your wrapper, then made your way back to your table. You had caught the eye of one of the older men, as he watched you sit back down and rearrange your clubs. You were glancing at the woman at the table, trying your best to be somewhat stealthy. She was an image, she looked like she was straight out of an old movie. She was definitely a member here, there was no doubt about that. Her whole demeanour screamed wealthy, though it was odd. Usually it would be no surprise to see an older woman at a golf club dressed to the nines, but this woman looked considerably younger than these elderly men. The color of her hair was making you think otherwise, but you'd swear it to be blonde, not white. "Hi there" one of the old men smiled, waving at you and pulling you away from your staring. You smiled and looked around, was he talking to you? He was looking at you. "Hi" you waved back, blushing in embarrassment.

Your attempt to be stealthy was not successful, it seemed. He definitely saw you gazing at the woman, what if she was his wife? The man smiled and made a 'come here' gesture with his hand, to which you stood and made your way to their table. "I haven't seen you here before, you new?" You looked around the table and found six eyes focused on you, two of which were distractingly beautiful. You swallowed, "Yes, I just moved here." The man nodded and responded warmly, "Well, welcome to West Bolton, sit, sit." You returned a quiet thanks before settling in the only empty chair, next to the woman. "I'm Glen, this is Tom" Glen gestured to the man beside him, then turned to the woman, "and this is Larissa." Tom nodded your way, and Larissa extended her hand with an enchanting red-lipped smile. The woman's appearance was nothing short of stunning. She exuded an air of wealth and sophistication, from her golf attire to her jewelry, from her meticulously styled hair to her bold yet elegant makeup. The way she laughed, the way she drank her wine, not to mention her confident demeanor, screamed at you. It was clear now that she was considerably younger than the older men, her porcelain-like complexion fixing you in a trance.

"Nice to meet you, darling" she greeted. You stammered as you shook her hand. You knew that you should give them your name in return, but your breath caught in your throat when the woman's smooth British accent hit your ears. "Y-you too, I'm Prudence." The woman continued to hold your gaze, and you then realized how close you were sitting to her. From this proximity, you could see that her skin was smooth and pale. You couldn't help but feel that you'd hurt her if you touched it. You didn't mean it in the way that she looked old and fragile though, heavens no, but in the way that artists would portray angels- bright, creamy, delicate, exquisite.

"So Prudence, do you play often?" Tom asked, breaking the silence. You shook your head, "Not much anymore, but I used to." Tom gestured to your clubs, "Those are nice clubs you got there." You smiled and nodded in agreement, "Thank you. My father gave them to me, he taught me how to play." "Who's your father? Would we know him?" Glen asked in curiosity. "Paul Clair" you replied proudly. Tom's eyebrows raised, "Paul Clair? From Tennessee?" You confirmed with a nod, "That's him." The old men paused and exchanged glances. "He was excellent at his sport, our condolences" Glen replied. After another moment of silence, Larissa turned to you. "We're going to tee off in a minute, would you like to join us, Prudence?" You considered her invitation, you were intrigued by this woman. But, you were working on your technique, and you didn't want to hold them up.

After politely declining, you allowed the group to get ahead of you before making your way to the first hole. You placed your tee into the ground and set up as you let the fresh air of the fairway fill your lungs, relief flooding your veins. You had always found solace in the manicured fairways and lush greens, which you desperately needed recently, especially today. After teeing off and sending the ball soaring through the sky, you smiled to yourself, "Pru, you still got it".

You took your time to correct your silly mistakes and scold yourself for things about which you knew better, until half way through, when you caught up with the group in front of you. Glen, Tom, and Larissa were at the next hole, joined now by two younger men. You scrunched your face up in confusion, there were only four allowed in a group.

Tom spoke to the newcomers, who looked eager to impress. "Newbies, eh? You wanna learn a few things?" The younger guys exchanged glances before nodding at the old man, "Yeah, sure." Tom demonstrated, setting up the ball and taking his shot, sending it straight down the fairway, out of sight. "Alright, your turn" Tom motioned to one of the boys. You observed the younger men, noticing that they carried themselves rather tall, chests puffed out and chins high. One of them walked up to the tee box and set his ball up, gripping his club and getting into position. The other boy was seemingly fixated on Larissa, and you realized that she was who they were eager to impress. You watched as the ball was sent flying with great strength, but it was a slice, and it landed in the trees. The next newbie took a turn, but didn't make contact with the ball on his first swing. He cursed before trying again and making contact, but not sending the ball far, at all. "Alright, alright" Tom intervened, giving the boys a few tips. After a few minutes, Tom walked back over to Glen and elbowed him playfully. You watched as Larissa chuckled and shook her head, as if she knew what was coming. "Alright boys, I'll make you both a deal." The boys smiled and replied with okays. Tom pointed to Larissa. "If one of you drive the ball further and with more precision than Larissa here, I'll give you each $50." The boys both turned their attention to Larissa, before giving her a one over and a smile. "You boys better buy the woman a drink with your winnings" Glen joked, the boys agreed happily.

You moved closer, eager to see how this bet would play out. Larissa turned to you as you walked up behind her. She smiled, "Shall I give them a run for his money?" You chuckled and nodded your head, "Give it all you've got."

The boys tried again, determined to impress. You had to give it to them, they did better than the first time. "Not bad boys, not bad" Tom praised. "You're up, Rissa." Larissa approached the tee box with a graceful sway of her hips, and placed the tee in the ground. As she set up, you couldn't help but roll your eyes. The boys wandering gazes were venturing lower, they weren't even trying to hide it. Larissa took an elegant practice swing before aligning her club up with the ball. You watched her, captivated by her movements. She was so proper and graceful with everything that she did, every move that she made. She swung and drove the ball, sending it straight down the fairway with grace. "I think that went further than mine" Tom laughed. The boys let out frustrated groans and chuckled in embarrassment. "Well boys, the lady beat you. Don't dwell on it too much, I'll buy you both a drink when were finished." You watched as they all packed their clubs and hopped into their golf carts. Larissa headed to the cart and returned her driver, but before she left, she turned her attention to you and gave you a wink, leaving you in awe.

☼☼☼

1

After a particularly taxing day at work, you sought comfort from the golf course. You decided to sit at a table and order a drink before you started. It was relatively calm tonight, as the beautiful day had turned chilly far too soon. However, the day turned beautiful once more when you caught a glimpse of light blonde hair in a passing group of people. To your surprise, and utter delight, Larissa was sitting at a table, alone. You wasted no time in gathering your belongings and walking over to her. "Hi!" you greeted, gazing down at the older woman. Larissa's face lit up with a smile when she met your eyes, "Hi darling, have a seat."

You settled into the chair beside her and took note of her choice of drink, red wine. You watched as long elegant fingers wrapped around the stem of the glass and manicured hands brought it to her lips. "You blew the boys out of the water the other day, quite impressive" you giggled. Larissa swallowed and chuckled, "Oh, you flatter me so."

You looked around at her empty table, "Where's Glen and Tom?" Larissa waved her hand dismissively, "Sometimes they're too much. I'm flying solo today." You nodded in agreement, "So, how do you know them?"

The woman smiled, reminiscing about the day she met her older friends. "Well, when I first started here, they made a bet with me, much like yesterday. Richard, may he rest in peace, said that if I bet him, he'd give me a hundred dollars." Larissa chuckled, shaking her head, "I got the hundred, and they invited me to play with them. At first they flirted with me and made stupid jokes, but I fired back, and they soon learned that I wasn't going to take any shit." 

You laughed at Larissa's story, "Wow, that's amazing!" The woman nodded, "I still have the hundred, it's on my wall." Your eyes widened in shock, you would've spent that money so fast. "So neither of them are your boyfriend, or husband?" you blurted. Immediately regretting your question, you slapped a hand over your mouth. You don't know what prompted you to ask that, you just wanted to clarify, for some reason. Larissa burst into laughter, throwing her head back as her hand flew to her chest. "No! No love, I'm not with either of them" she replied reassuringly. You let out a breath of relief, "Oh! Okay." Larissa suddenly narrowed her eyes at you. "Did you really think I was that old?" Heat crept up your cheeks, and you felt the need to explain yourself. "Oh, no! I knew you were younger. Well you look younger, but that doesn't mean anything" you smiled, embarrassed. The woman nodded her head in understanding and looked down at her wine glass. "How old do you think I am?" she asked. You froze, you hated that question. Um, 30? 50? You were horrible at this guessing game. "Umm, 40?" you replied sheepishly, it really was your best guess. She smiled, "Close, I'm 49." Your jaw dropped, she didn't look anywhere near that age, not that 49 was old. "How old do you think I am?" you asked. Larissa furrowed her brow as she studied you carefully. You just sat there, feeling like you were being penetrated by her gaze. "Late twenties" she finally said. You shrugged and smiled, "Yeah, good guess."

After Larissa's red was gone, she asked you to accompany her on the course, to which you happily agreed. This woman was a beast at the game, being on par almost every hole (and sometimes under), and never slicing the ball into the trees, water, or bunker. She was a joy to golf with, sharing tips and tricks whenever you needed them. You thought that she would be an excellent teacher. It was apparent that she loved to help and pass on her knowledge.

You watched from behind as Larissa putted, noting the small details of her form. Her putting form, that was. Well, maybe her physical form too. She wore a baby blue colored golf skirt that showed off her long legs and accentuated her wide hips. Her white colored polo shirt fit her perfectly. Her clothes were always pristine with no wrinkles, you could learn a lot from her. Her shoes were white, of all colors, stained with nothing, no grass, no dirt. As your gaze raked over her form from head to toe, you berated yourself internally, for you were no better than any man.

As the sun set and darkness fell, making it impossible to see, you both decided to call it a night. "You did amazingly today, darling" Larissa complimented. Blushing, you packed up your clubs and took them out of the golf cart. "Thank you Larissa, as did you." Larissa's gaze shifted down to your clubs, and she noticed a charm hanging off of your bag. She took the photo delicately in her fingers, "What's this?" It held a photo of your father, which you had placed in a clear case and attached to your bag. It made you feel like he was with you whenever you golfed. "That's my father. I didn't golf for a long time after he passed, so this makes me feel like he's still golfing with me." Larissa looked at you sincerely before running her hand down your arm soothingly. "Well, I'm so glad that you decided to get back to your sport, Prudence. He would be so proud." Larissa smiled down at you before holding her hand out to you. "Can I have your phone for a moment?" You reached into your pocket and handed her your phone, unsure of her intentions. She quickly entered her number into your contacts and handed it back. She had called herself 'Larissa (from golf)' which made you chuckle. "There's my number, incase you ever want someone to golf with, or just to talk to." You smiled up at the lovely woman, reveling in the warmth that her bright blue eyes radiated. "Thank you, Larissa."

☼☼☼

You found yourself driving to a liquor store in Jericho one evening. You had been non stop thinking about wine recently, but you were unsure as to why, you weren't usually a wine drinker. You were searching the store for a brand or variety that may appeal to you, when you set your eyes on red. You had in mind white, or perhaps rose, but something about red was very, very tempting. You picked up the bottle and read the description, you knew it would be strong and dry. You scrunched your face up in question, why was this so appealing to you? Suddenly, you remembered where you got the craving for red, Larissa.

You heard the door bell ding, indicating that someone was entering the store. Speak of the angel and she shall appear, or rather think of her. Her eyes scanned the store as she subconsciously made her way to your isle. She stood next to you and grabbed a bottle of red, the same bottle that you were holding. She didn't notice you standing there at first, and you used that time to take her in. She was wearing a sage green sleeveless dress, and a scarf tied around her head. She adorned nude colored kitten heels, and when you realized how tall she really was, you gasped lightly. Larissa swiveled her head around quickly to find you peering up at her. "Oh, hello love" she spoke, surprised but delighted to see you. You quickly smiled and averted her gaze, hoping she didn't notice your staring, "Hi Larissa." The woman took the bottle in her hands and held it next to yours. "We have the same taste, do we?" she chuckled lightly. You blushed and spoke hesitantly, "I actually never tried red before." Larissa turned to you with a grin, looking you up and down. "Well, I recommend it. It is my favorite, after all." You nodded, if this was Larissa's favorite, you'd at least try it. "So, I take it you live in Jericho?" You replied with a yes. "As do I" she smiled. After you purchased your wine, you walked out of the shop together. "Would you like to golf together again, Prudence? Perhaps Saturday?" You smiled wide and nodded your head excitedly, "I'd love to, I'll see you then."

☼☼☼

2

Saturday rolled around and you were eager to get on the course. You had played a couple of times by yourself recently, and your body ached from the exercise. Being out of practice was defiantly taking it's toll on you.

You played with the older woman, and delightfully you two became closer. You  learned that Larissa was the headmistress of Nevermore Academy, which you were not surprised about at all. When she had told you what type of school Nevermore was, you were a bit nervous, due to being unfamiliar. As you and her talked though, you became increasingly intrigued by Larissa's stories. You learned that her name was Larissa Weems, and you decided that you loved how her name rolled off of your tongue.

"Do you mind?" Larissa asked with a grin, handing you a bottle of sunscreen. She turned around so that her back was facing you, and pointed to the parts of her shoulders and neck that weren't covered by her tan sleeveless polo. "I can't reach very well, but I'm afraid I burn fairly easily."

You poured some sunscreen out into your hand, gently smoothing it over her skin. The warmth of her pale skin, and the contact in general, quickly brought a blush to your face. You tried your best to not miss any spots as you focused on not feeling, or looking, too flustered. Once you applied the sunscreen, you ran your hands lightly down her forearms. On purpose? By accident? You didn't know. Larissa turned around and took the sunscreen from you with a side smile and a flutter of her lashes, "Your turn."

As you spent more time with the headmistress, you quickly found yourself becoming enamored with the tall woman. She was a remarkable golfer, and you both bonded over your similar taste in clubs and similar techniques. She was easy to talk to, she was very sweet, and she was incredibly kind hearted. She had a playful, youthful spirit that was apparent with her constant jokes and antics. She was always ready to bring a smile to your face. Yet, she possessed a mature and responsible side, and when the situation called for it, she could assert herself firmly. You admired this quality of hers, especially since you tended to avoid confrontations. Larissa was the guidance that you needed in life, yet the friend that would support you. You prayed that your connection with the woman would continue to deepen, as you cherished your moments with her.

☼☼☼

"It's a beautiful day for it" Glen remarked, pulling his driver from his bag.

"Sure is" Tom replied. The older men watched Larissa as she prepared to tee off, carefully placing her tee in the ground and taking a practice swing to gauge her aim, factoring in the breeze.

"So Larissa, we haven't-"

"Tom, can't you see that I'm golfing here?" Larissa interrupted, standing and turning to her friend while narrowing her eyes at him. Tom held up his hands in surrender, "Sorry."

After Larissa took her shot, she turned back to him. "I was going to say that we haven't seen you in a bit. Have you grown tired of us old bags?" he joked, elbowing Glen.

Larissa chuckled and shook her head. "No, of course not. I've just been busy."

Tom and Glen teed off, moving to find their place on the fairway. "Busy huh, with what? You're off for the summer, you can't be doing work" Glen exclaimed.

Larissa rolled her eyes, they loved to get her going sometimes. She glanced down at her ball on the fairway, balancing her hand on her club. "I've just been doing my own thing."

Glen and Tom glanced at each other, giving knowing looks. "You've been playing with that young girl, haven't you?" Glen huffed in false annoyance.

The elder men knew that Larissa was interested in women, and they were always supportive. That's why they found it amusing to watch the young men flirt with her, for they didn't stand a chance. Yet, Larissa has been single for a long while, the old men were aware of that too. She didn't want them making jokes about you and her when you were purely just friends. Hell, she didn't even know if you liked women, let alone her. She scrunched her face up at the older men, hoping to appear convincing in her lie. "No I have not, why would you say that?"

Tom chuckled, "I saw your name in the books."

 Larissa stared at them, expressionless, before sighing and nodding her head. "Okay, we have played together a few times."

The old men laughed before moving on to their putting. "Nothing wrong with that" Glen spoke.

"Is she good?" Tom chimed in.

Larissa smiled, thinking back to the times that you two had played together. "Very good, almost as good as I am" she replied, sinking the ball and beating both men by a stroke.

"Shit" Tom murmured.

"Well, bring her out next time, Rissa. We'd love to see her play," Glen suggested.

Larissa gave them a knowing look, "You'd love to annoy her, you mean."

Tom chuckled and placed his hand on Larissa's upper back. "Yes, that too."

☼☼☼

3

Although you were confident in your golfing abilities most of the time, you had always been nervous about golfing with others. You feared that you might hold them back, or appear too cocky, or god forbid have a particularly bad day. Alas, when Larissa texted you and asked if you wanted to play with her and the older men, you had decided that was 'the way of the game', as your father used to say.

You loaded your clubs into a golf cart and sat next to Larissa. Her outfit of the day caught your attention, as it always did. She looked stunning in her red sleeveless dress, which matched her red lips and contrasted nicely against her porcelain skin. She smiled down at you when she saw you eyeing her outfit. She reached out and stroked your arm, making a rush of warmth spread over you as your gaze shot up to meet hers. "How are you today, darling?"

You felt your heart flutter at her question, her eyes brightly boring into your own. She never failed to make you feel cared for and important. "I'm good Larissa, how are you?"

Larissa turned the cart on and shifted into drive, smiling wide.

"Much better now that I'm here with you."

As Larissa drove to the first hole, you dug out a cold alcoholic beverage. You knew it wasn't allowed on the course, as they wanted you to buy drinks from the shop. Sucks for them, you only had so much money, and the prices at the club were steep. "What have you got there?" Larissa asked, peering down at the can in your hands. "Vodka soda, want one?" You dug through your bag, pulling out another. Larissa shrugged and scrunched up her nose playfully, "Sure, why not."

As the day progressed, you found that you were playing rather well. Glen and Tom occasionally made remarks, one about you being so young, and something about Larissa and women. You didn't know what they were getting at exactly, so you ignored them. Larissa and the men shot comments back and forth as you sat in the background in hysterics. The old men really seemed innocent, and you now understood why Larissa liked them so much. By the 9th hole, you had become relaxed and comfortable with their bickering. It was all in good fun, after all.

"Aww, ducks!" you exclaimed, pointing to ducks in a pond while you were passing by in the golf cart. Larissa turned to catch what you were pointing at and stopped to let you enjoy the moment. However, she stopped so abruptly that Tom and Glen almost rear ended your cart. "Rissa, get going!" Tom yelled. Larissa ignored him and turned to you, "Do you want to go see the ducks darling?"

You excitedly nodded your head and exited the cart, walking over to the pond. You observed the ducks happily as they dived for food and quacked, swimming about the small pond. You remembered how your father would point all the animals out to you while golfing, the ducks in the pond, the rabbits in the woods, and the cows that lived next to the golf course, the one back home. You were always scared that if you didn't send the ball straight, it would curve and hit one of the cows.

"C'mon, they're just ducks" Glen chuckled.

"Leave her alone, what are you in a hurry for" Larissa replied, sitting in the cart patiently watching you. She smiled as she marveled over you. She thought that your interest and love for the simple things was adorable, and she would never want to take any joy away from you. She found that, even though you had only played together a few times, you reminded her to slow down and take her time with things, to appreciate them more. In Larissa's busy everyday life, she had forgotten how to do that. She admired the way you thought about things twice, so that you would do them right, but at the same time, you weren't too caught up in the competition, in the hustle and bustle. You went at your own pace and did your own thing, and that was how it should be.

You walked back to the cart and got in, smiling ear to ear. You were grateful for her support, and you appreciated her sticking up for you. "Thanks, Larissa" you said, blushing slightly at her. "Of course love" she replied, reaching for your hand and stroking her thumb over your skin.

You were teeing off at the next hole when Glen noted your worn out driver. "You got a lot of use out of that" he said, pointing to the scuffed up and dented head. You picked it up and brushed it off, "Yea, I guess I could use a new one." "You'd do better with a new one, that one is probably throwing you off" Tom noted. You nodded and chuckled, "I'll get a new one, eventually." Larissa took note of your attitude, it was like something was bothering you. "They have nice ones at the shop darling, we can go look at them" she chimed in. You shrugged, "Maybe another day, I'll have to save up" you embarrassingly admitted.

You sat in the golf cart enjoying a snack as Larissa conversed with the older men. Your jaw almost dropped when your gaze landed on her, the sun cascading around her form and accentuating her red accents. The sky was unusually colorful today, with pink, orange, and yellow hues blended together smoothly. Larissa's smile glowed even more than on a normal day, and her eyes crinkled with joy. She was truly a breathtaking image. An image. You gasped excitedly when you recalled packing your polaroid camera, and you quickly pulled it out of your bag. You looked through the camera lens and focused it on her, your hands shaking as you tried to keep it steady. As you were about to snap the photo, Larissa turned and started walking toward your cart. You pulled away from the camera nervously, hoping to snap a photo without her seeing. You said screw it as you lined the camera lens up with her, ceasing an opportunity that was too good to pass up. She smiled to herself and her gaze met the sky as she made her way to you. You snapped the shot. Candid photos were always beautiful, as they captured the essence of a person. You laid your camera carefully back in your bag, listening to the whirring of the printing photo. Larissa sat next to you, still smiling wide as she gestured to the sky. "Isn't it beautiful, darling?" You looked up at the array of colors, before lowering your gaze to your bag. You chuckled to yourself, debating on letting your thoughts run with the breeze and carry themselves to her ears, 'It's not as beautiful as you.' Alas, you refrained and your gaze met hers warmly. "It really is Larissa, it's so beautiful."

After the 16th hole, you loaded your clubs into the cart and settled in the passenger seat again. You had a few drinks while on the course, which may have affected your performance, but not too much. You were caught off guard as Larissa stepped on the gas, giggling, as she thought it would be hilarious to leave Tom and Glen in the dust. You squealed as you fell gently into the woman, and quickly grabbed the handle to pull yourself away. She raced down the dirt path to the next hole, and you watched as the sunscreen fall out of the cart and onto the ground. "Shit Rissa, the sunscreen!" you hollered. The older woman slammed on the breaks, the cart drifting in the dirt and gravel. You jumped out and retrieved the sunscreen, laughing hysterically. "Geeze, you gotta be somewhere?!" you said, eliciting a cackle from Larissa as she drove down the path. When you stopped, she leaned closer to you and took your hand in hers again. Her plump lips curled up into a cute smile as brown eyes met blue, and you blushed. "You're very fun to be around, Prudence. Thank you for coming out today" she whispered. Your blush deepened as you looked down at your intertwined hands and squeezed hers reassuringly, "It's my pleasure. You're a delight, Larissa."

Glen ended up winning this round, with Larissa in second and you in third. Tom, being the loser, offered to buy the drinks. As you all sat, worn out from the day, a man appeared at your table, "What can I get you all?" He looked younger than Larissa, yet older than you. You noticed that he was paying an unusual amount of interest towards the woman. He talked enthusiastically, and you watched him as he took the old men's orders of beer, your order of a rum and coke, and Larissa's order of red wine. He took Larissa's order last, looking her up and down with a smirk. He then opened his mouth, to your dismay. "I saw you playing today Larissa, not your best day huh? Maybe it's because you're not wearing your blue skirt. That one shows you off nicely" he winked. Before you, or anyone else could say anything, the man walked away. Larissa let out a groan in annoyance and placed her head in her hands. "What the hell is his problem!?" you asked, frustrated and confused. Larissa sighed and turned to you, about to respond, when Glen spoke up. "He's a cocky young thing. He works and plays here. When Larissa first started playing, he challenged her."

"He challenged her, and Rissa beat him! Now he's sour about it" Tom added, rolling his eyes. Larissa leaned in closer to the men and whispered in disgust, "He never leaves me alone. I always see him eyeing me, little pervert."

"He'll get what's coming to him" Tom replied confidently, taking a drink of his beer.

After a drink and some much appreciated golf advice from Glen and Tom, another man made his way to your table and stopped next to Larissa. "Red wine, a fine choice" he said, flashing her a toothy smile. Larissa smiled back and nodded, "Yes, it's my go to." The man looked around the table at the older men, then at you. "May I buy you another?" he asked, gesturing to her drink. Your eyes narrowed at him, how arrogant, it seemed that he had deemed her available to flirt with. Tom laughed and shook his head, "You're barking up the wrong tree pal." Larissa glared at Tom with an expression that said 'shut up.' She then looked up at the man and waved her hand dismissively, "Thank you, but I'm fine." The man replied while eyeing Larissa up and down. "Are you sure? I saw you golfing today, and I'm pretty impressed." Larissa chuckled but shook her head no, about to politely decline again, when you spoke up. You furrowed your eyebrows at the man and placed your hand on Larissa's, "She said she's fine." The man's eyes widened in surprise as they shot to you. He then nodded and headed back to his table. Larissa gazed down at you and chuckled in amusement and surprise, squeezing your hand lightly. She hoped you couldn't read it on her face, but she thought it was precious, how you defended her. "Someone has a crush" Glen spoke, picking up his beer and taking a sip. Larissa smiled, "I'm sure he just wanted to talk about golf." Glen raised his eyebrows as he looked at you, "I'm not talking about him."

Larissa gave him a questioning look before letting go of your hand, "I'll be right back." As soon as Larissa entered the building and was out of sight, the men turned to you. "So, what are your intentions with our friend here?" Tom asked. You tilted your head in confusion, "What do you mean?" "Do you like her?" Glen chimed in. You raised a brow, "Well yeah, I like her. Why wouldn't I?" Tom and Glen smirked at each other before chuckling at your obliviousness. "No, are you interested in her? Do you like women?" Your mouth dropped open as you blushed lightly. You knew the answer to that question, but why did they care? You shrugged, "No, no. I mean maybe, yeah."

Larissa was making her way back from the washroom when caught your conversation. She stopped at the door and discreetly listened in. "Well, she likes women, and she's single" Glen replied, hinting. Larissa's mouth opened in disbelief, they were just casually outing her to you? Okay then. "You know she's 49, right?" Tom laughed. Larissa's mouth dropped further, they weren't ones to talk about age. You chuckled and shook your head at the men, now eager to speak the truth. "I don't care if she's 49, she's fucking lovely." Glen and Tom erupted into laughter at your response, but inside, a toothy smile lit up the older woman's face. Larissa's heart swelled in her chest at your words, you innocent thing you. She returned to the table and settled down next to you, scooting her chair closer to yours. Her eyes crinkled as she smiled down at you, and when you returned a side smirk, she gave you a knowing wink.

☼☼☼

Part 2

[crabsnpersimmons]

Hello there!

I'd like to know your advice on drawing tablets?

As in, what do you use for your digital art? Is there any you suggest?

I'm planning on getting one, but there are so many options, and I'd like to know your opinion and preference.

Thank you ^^

hi anon! thanks for the question!

i draw with a samsung galaxy tab s7!

BUT if this is your first time drawing digitally, then it's a good idea to test out if you like it with cheaper options first (so you don't drop a whole lot of money on a hobby/medium of art you don't enjoy)

some suggestions:

if you have a smart phone, try drawing with your finger using free to use drawing apps like ibispaint X or HiPaint (i recommend HiPaint cuz the UI is a lot simpler and less overwhelming, but both have a good selection of tools. i wanna say ibispaint has better text tools tho and there's A LOT more tutorials and resources online) drawing digitally with your finger is different from drawing digitally with a pen AND drawing traditionally, but this is a good way to familiarize yourself with digital art tools. a very simple entry point if you already have a smart phone.

if you don't want to draw with your finger (understandable, i personally couldn't stand it) you can try simple drawing tablets, which are the tablets that you plug into your computer/laptop, come with a pen, but they don't have a screen you draw directly on. they're actually a lot more affordable nowadays (i saw some for under $50 CAD, which is WILD), so that’s a good starting option if you want to draw with a pen. with a pen, you have more control with line weights than you do with your finger, but it takes practice to get used to. it also takes some getting use to drawing on a tablet and looking at your monitor, but this is where i started haha. i still have my old bamboo wacom create drawing tablet. but nowadays, other brands like xp-pen and huion are very comparable to wacom, so definitely consider getting a cheaper one to try out first. of course, if you go with a drawing tablet, you'll need an art program on your computer. i've used photoshop and clip studio paint and they're very good, but probably overwhelming for people who are new to digital art (they are loaded with tools and you have to really familiarize yourself with the menus and everything). there are probably simpler options available... but i'm not as familiar with them. oh wait, i think there are some drawing tablets that can also connect with your smart phone too nowadays. man, that's so cool. that's probably a better option instead of purchasing photoshop or clip studio paint right off the bat.

if you REALLY want a screen display experience, try a cheaper general tablet. iPads are a popular option if you're comfortable with the Apple ecosystem (i'm not 😅) but they can be pricey PLUS you have to buy the Apple pen separately. for Android, I'm pretty sure even the Samsung Galaxy Tab S6 is a solid choice and it comes with a pen unlike an iPad. the SPen is built with Wacom tech, so you know it's quality. and while iPad has Procreate, HiPaint is available for Android and it's basically a Procreate clone (i explain more about HiPaint here) otherwise, ibisPaint X is also good and infinite painter is probably the most sophisticated free to use drawing app i've encountered (sophisticated as in it does a pretty good job at imitating traditional media in their brushes. it's cool, but the free version is very limited).

also if you like watching videos, Brad Colbow and Teoh on Tech on YouTube are great resources. they specifically review tech from an artist's perspective.

why i suggest testing it out is because if you're used to drawing traditionally, then switching to digital is a different experience. some artists can't get used to drawing digitally, and that's fine. that's why it's a good idea to test it out with a cheaper option first to see if you like it and to give yourself time to familiarize yourself with drawing apps/programs. i actually kinda hated drawing digitally at first. i didn't have the same level of control that i was used to with drawing traditionally. and overtime i made a lot of bad habits with my digital art that i had to unlearn by switching back to traditional art for a couple years (some bad habits like: relying on the Undo button to make "perfect" lines; trying to draw really fast because the pen glides over the screen unlike a pencil has friction against paper) so... give it a try and just let yourself have fun. don't worry about making anything perfect, just have fun!

[thedawner]

hey I really enjoy your style and brush packs! I've bought a couple of the packs, and I wanted to ask if you have any tips for using your brushes/getting the most out of them? Like what sort of brushes would you say work best for coloring/shading/lineart - some are obvious (ex liner for lineart) but I struggle with picking ones to use and what works!

Hello, thank you very much for the support! Let me know which program you got 'em for and I could try to highlight some particular ones from there.

I like to try to use the lineart brushes both for sketching, lining and coloring, especially the brushes that are like "Thick Tone Pencil"(or similar) or have coloring changing features to them!

Also, this is a more general answer:

🔶 I usually use brushes named around the word "Shale" for lineart and I usually sketch and color with those too. If you use Procreate the Personal Shale from this free set is my most frequently used:

I try to treat it like a very springy, multipurpose brush pen.

I've first tried to make something similar for Photoshop here(and later on re-made the brushes for CSP and Procreate):

From the sets above I like to use the Dried Up Ink/Dry Ink brushes both for lineart and for painting. I draw over loose paint strokes with it to define shapes or to re-make what I painted over! Those sets also contain painting brushes such as Flat Varnish Oil/Painty, Textury, Triangly/Oil Brick which could work well if you want to go for a thick, mushy oil pastel/oil paint texture. For thin, precise sketching, I like to use the Concept Art Lad!

🔶 I also like sketching/lining/coloring/painting with the coloring changing tone brushes such as the ones from these sets:

When painting with color changing brushes, I like to color pick from what the brush randomly generated for me and build up on that!

The brush sets above have a brush called Wispy Sketching Brush which I use for bold and loose brush strokes! It's like a sable brush but covered in graphite(that also changes colors with each stroke).

🔶 There are also a lot of flat, tone brushes for shading in those sets too and a few more in here:

That one above contains a series of Blocky Marker brushes that I like to use for fairly much everything.

🔶 There's also this free PS brush pack which imports decently in Procreate and CSP that has a brush called Soggy Pencil. It behaves like a regular sharp pencil tip, but if you make it bigger, you can create dusty, blurry or out-of-focus effects:

[penixels]

I love your headcanons for Tanlorin's astrology :) do you happen to have thoughts on other placements?

No way 😭 thank you so much, I didn't think anyone would care about my goofy ramblings.

I'm still relearning astrology and chart placements and I do have more thoughts on Tanlorin, though not as in-depth as I'd personally like. There's so much I'm brushing up on and I'm still learning new things too.

I can drop these random ones though.

They definitely have a Libra stellium (three+ placements in a sign or house but we're not getting into houses.) A stellium isn't common, but isn't crazy rare either. Learning about my own two stelliums really helped me understand how they function: a stellium = heavy influence from that sign or house.

They're outgoing, friendly, a good listener, and charismatic, but might be optimistic to a fault when it comes to those they love. They also tend to get lost in the sauce when it comes to romance. Building connections comes so easily, but letting go is painful to them. (Only amplified by the cancer moon btw.) Also, it's pretty apparent they love beautiful things and I don't have proof of the line, but they did mention something about painting in passing. Not sure what triggered it and I haven't heard it since, but it shows they have an inclination toward art, which I think is precious.

They for sure have their Sun, Venus, and Jupiter in Libra. (Potentially Mercury too but I'm still stewing on that one.)

Venus in Libra is painfully obvious with their charm and flirtatiousness. I wouldn't say they have commitment issues, but they're someone who likes to explore options and experience different kinds of connections. While Libras in Venus are extremely romantic, I find they tend to take a while to settle down, thanks to the tendency for Libras to be indecisive. However, overall, they're a great lover once they do commit fully: being able to balance give and take, communicating openly and clearly, and they're one to surprise a partner with sweet, romantic gestures. Libra is at home in Venus after all, so they got lucky with that one. 😒

Tanlorin having Libra in Jupiter just makes sense: they have a strong sense of justice and are diplomatic. Those with Jupiter in Libra tend to lean towards work that helps those in need, and is that not what the Garland Ring is about? They take great pride in that. They also are someone willing to grow, often doing so by learning through others. However, they can be a little bit superficial at times, taking things at face value because they consider it ideal in some way. Libras in Jupiter also have a tendency to people please and just given Tanlorin's backstory, I feel that prior to even joining the Garland Ring, they would have been a chronic people pleaser, wanting to find a place to belong and wanting to find their people, kind of floating around and feeling out of place.

Also, Mars in Pisces is something I'm leaning towards. Tanlorin is mild mannered and not quick to temper, but they're kind of an escapist (not faulting them at all). They're someone who has had to sacrifice a lot and I feel they're someone who may have had the tendency to self sacrifice prior to meeting them, something I feel they may fall into still, but to a much lesser degree. However, they're someone who is very forgiving and will usually leave doors open to resolve conflict, and boy did they try to resolve things with Wisteria. They probably would have forgiven her if she didn't go as far as she had. In time, I feel they'll forgive her in their own way, but healing from it will take a long time. Same with their family- though estranged, I feel in a way they've forgiven it so they can move forward. (Definitely never forgets tho.) I think everything between them and their family- and Wisteria specifically- is what confirmed Mars in Pisces for me.

Didn't mean for this to be as long as it is but that's what I've got so far.

[umbrvx]

i like ur art. its great and interesting!! i really like your artstyle and i really like the way u draw hsy, yjh, and kdj. you captured them so well in terms of vibes/character. also i was wondering do u have any advice to improve on drawing anatomy/poses/faces?

wahh thank you so much...!! i feel like im still trying to figure them out in a lot of ways but i do really like ironing out my visual interpretations of them so im really happy to hear if people like what im coming up with

also anon you super activated the part of my brain that cant help but yap about art theory... i spent some time writing as many tips as i could think of. unfortunately i dont think i have the time currently to do a fully illustrated guide, but ill still try to include some visual examples:

[incoming wall of text lol]

ANATOMY:

to preface i think that like 100% of the time you should reference a real life photo for anatomy rather than other artwork or drawn references. the best way to learn the body is by… well, actually looking at the body! but also artwork is informed by a person's own artistic ability/stylization choices/sense of idealism, so while looking at art can help give you an idea on how to break down forms, i think you would be best served observing real life references. i labor on this point because i do think that having over relied on drawn reference material and avoiding photographic references on the basis of not being interested on realism hindered me as a largely self-taught artist as a kid, so i want to encourage live or photographic reference since anatomy is one of the foundations from which everything else is built on. that being the case, all of my doodles i'm doing for this are going to be for the sake of example rather than to strictly say how you should or should not be drawing something

-> when you are doing a study of a photo, just try copying it as best as you can. pay close attention to the natural lines and shapes of the body -- the S-curve shape of the leg, the triangular shape of the forearm, the trapezoid shape of hips/thighs when they sit, and so on. note where the body folds or squishes or pulls; how mass will shift to accommodate a certain position. if a form is hard to visualize, focus on the negative space and carve that out, rather than strictly drawing the positive space.

don't expect to get it perfect the first time. in fact, iterate on it multiple times to build understanding. try doing it to a timer of 15, then 10, then 5 minutes. doing this will force you to have to prioritize the most important shapes. you can help reinforce this by using a thicker brush or a brush with no pen pressure (no joke ms paint works great for this) to force you to be loose and not become preoccupied with details.

-> pinterest is a great resource for finding and compiling photo reference material

-> organic shapes are curved, so embracing/emphasizing that (particularly for the extremities) can help make your drawings look more natural or fluid

POSES: -> it all begins & ends with contrapposto… you've probably heard of the line of action, which is related. if you're offsetting the shoulders & hips, it: makes poses more natural, more dynamic, and helps the pose sort of "draw itself" -- the legs will follow the direction of the hips, and you can use the arms to reinforce the angles

-> context is key. don't ask: what pose should i draw? instead ask: what do i want this character to convey? what does happiness, anger, sadness, and so forth look on this particular character? how do they express that? consider these drawings: these are both ostensibly the same pose, but look at how changing just the shape of the spine recontextualizes it.

for more on pose design i recommend watching Tracer & Pose Design 101 - The Animation of Overwatch by New Frame Plus (i promise this is a genuinely super informative video).

to expand on this, in general, all of the components of a piece (background, composition, pose, etc.) are best considered in conjunction rather than separately. it is difficult to choose a pose and then choose a background because they are missing the context that would make a piece cohesive. when you are planning a drawing, try to begin with your general concept/idea/prompt and then do several thumbnails -- small and quick doodles that should take no longer than 5 minutes each -- developing it: you may find that the pose and bg will naturally fall into place.

-> silhouette: the degree to which you need to push this varies by style but generally speaking the pose needs to be readable; i.e. instantly recognizable. try to keep important elements of the gesture outside of the silhouette. for example, if the character is pointing, keep that arm out of the interior of the body. the same pose can be more or less readable or dynamic depending on where the character is pointed in relation to the viewer

-> exaggeration!! goes along with the previous point. push the pose as much as you can (and what makes sense for your style) to communicate your pose as clearly and as intensely as possible.

FACES: -> i highly recommend the app Handy Art Reference Tool by Belief Engine for all things related to drawing hands/heads/feet. its on both android and ios. it isn't free -- it costs around $3 -- but that is seriously such a small price to pay for the amount of utility you get out of it: the hands models are fully poseable (there's also pose presets), you can rotate the head models however you want, and there is 3-point customizable lighting. it is really helpful for getting those super tricky and hyperspecific head angles that you just can't find a real life reference for. that being said given that there's only a few different head model variants, bear in mind how differences in features can affect what exactly a face will look like in those angles.

-> i still recommend doing studies of real people. as with anything else, learning generalized proportions is important, even if you are going to later on bend or break this depending on style

-> as for my own approach... it kind of depends on the style i'm doing at that particular time. for my paintings (what id consider my main style) i approach a character with a few real-world features in mind and then apply them to the best of my ability. it usually will take a few iterations to land on an interpretation i really like as i try out different things. a lot of the face also gets developed during rendering rather than through my initial sketch too, as i adjust for lighting and correct proportions on the fly

(look how much this image changes between sketch and render lol)

if i were to recommend anything, i think it would be to nail down your most distinct features first -- the ones that will make your character's face recognizable, and could apply regardless of art style. in my case with kim dokja, i knew when i first started drawing him that i wanted to give him a longer face and down-turned eyes. when i decided to do the disco elysium inspired set, in which i was breaking out of my comfort zone by letting go of any idealizations focusing on conveying characterization/making them feel "real", i landed on some more specific traits (defined lower lids/perpetually tired eyes/eyebags(?) the crease there idk how to describe it) which i continue to try to evoke even if im drawing something much more cartoony

(pictured are my first kdj -> disco elysium style -> my post de-style kdj)

as a side note, this very same process changed yjh much more dramatically

(^ that first guy is mad someone else)

those handful of key features will be the thing that you can then take into a simpler style and simplify or exaggerate to whatever degree suits you. you can also play with shape theory (square = sturdy/solid, circle = natural/smooth/welcoming, triangle = energetic/dangerous). shape theory doesn't necessarily need to be so rigid -- you can combine shapes as you please to convey whatever vibe you're going for -- so please think of it as a tool that may help rather than a rigid law you must abide by.

-> expressions: exaggerate them. thats kind of it!! make it big!!! you wanna be able to really feel those emotions. the principles of squash & stretch help here: think of how the muscles move when you, say, open the eyes or mouth really big. as one side of the face stretches open, the other side squashes to accommodate it

even without changing the position of the jaw here, moving the nose and scrunching the eyes will sell the expression

you can also play with squash/stretch to break proportions to sell a feeling more

since expressions are just, well, poses for the face, everything else for poses applies here (and facial expressions & pose should also be considered in tandem). while the term contrapposto itself just refers to the offset of the shoulders & hips, the similar principle of asymmetry also carries here as that will help make the expression a bit more dynamic.

and i think... that's it!! all i can think of at least. i hope it helps anon!!!

[hey-i-am-trying]

All my Empanada's arts

It has been a long journey. And I wanted to my homage to Empanada, what a good little egg. I also drew her a lot until I reached this design, which I think is my favorite one for her. So hey, why don't hop on my memories for a second and take a look in all my Empanada fanarts?

You never forget the first one. I drew this on the same day we all met Empanda, our little pancake baby.

This one I was trying out with her hair, but the core concept was creating three outfits based on her moms styles. At this point she only had met Bagi, Niki and Mouse, so only made those three.

Baby first heart break </3 God, I still remembering feeling sad and angry with her death.

This one a bit less sad. I was trying out some new brushes and wanted to draw a quick breakfeast trio art. They are a sunset pallette <3

The day Em met Baghera! I thought their interaction was so cute and deep at the same time. Thought Empanada would recruit Baghera to the mom village, even if not as HER mom.

Fun fact, I started this art before the 100 days birthday stream, I only ajusted a bit after seeing our cute girl outfit

This one was for ccBagi's birthday! It took some work, not gonna lie, but so satisfying to make, Empanada's and Richas' curls were so fun to do <3

Not the final art, but the final design. The pancake ear protectos are my favorite for sure.

This one is still a WIP but I will force myself to finish, not metter how many times I cry!

And the last one, at least for now. The Sonnet of Fidelity is one of the most famous brazilian poems, that because the last line has become a almost popular saying in our country usually actully being "bastardized" to: Love, be eternal as long as it lasts.

And that was QSMP and all the little eggos for me, but Em had a little special place in my heart. Always said her and Richas were my children too kkkk Thank you, CherryBee, for giving life to such amazing girl, an unapologetic girlie girl that would wack people with her frying pan, that loved flowers and sweets, that loved her moms, siblings and tios. She wanted to protected everyone, she wanted to be loved, she wanted to live a long life. She was insecure, scared, protective, kind, smart and so much braver than she though she was.

We never got to say goodbye to her.

The littlest girl ever. So pitica.

Obrigada, Cherry.

Adeus, Em. Muito te amo.